Podcasts about jimmy hendrix

Yo! Yo! Yo! Yo! Yoooooo! LOL-eros, grab your maracas and get ready for this high-energy episode of #LatinosOutLoud! This episode is dedicated to the amazing production of Buena Vista Social Club on Broadway. Join #RachelLaLoca on the red carpet for opening night of the Broadway musical that touches the soul and pulls at both the heart AND guitar strings! She was joined by Latino theatre expert, Paola "Pie" Soto who covered interviews with band members such as Renestio Avich aka the Jimmy Hendrix of Cuba and trombonist, Eddie Venegas. Rachel got to chat with the celebs that came out to support this tribute to the pursuit of a dream during tumultuous political times. She linked up with icons and former guests of #LOL, like Producers of the show, John Leguizamo, Lin-Manuel Miranda, his father, Luis A. Miranda, Jr, and actress Daphne Rubin-Vega. Other stars captured during this amazing evening include Luna Lauren Velez and Rubén Blades. Also, enjoy a recap of both the musical and red carpet coverage by Rachel and Pie, shot at the Recirculation Bookshop in Washington Heights. ABOUT THE SHOW Inspired by true events, the new Broadway musical BUENA VISTA SOCIAL CLUB™ brings to life the GRAMMY®-winning album and tells the story of the legendary musicians who lived it. A world-class Afro-Cuban band joins a sensational cast in this unforgettable story of survival, second chances, and the extraordinary power of music. With a book by Marco Ramírez (Drama Desk Award, The Royale), direction by Saheem Ali (Tony Award nominee for Fat Ham), and a visionary creative team, BUENA VISTA SOCIAL CLUB™ showcases the golden age of Cuban music. The production features choreography by Patricia Delgado and Tony Award winner Justin Peck (Illinoise, Steven Spielberg's West Side Story). Follow Rachel Follow Buena Vista Social Club Follow Recirculation https://www.wordupbooks.com/recirculation And while you're at it, follow the yellow brick road! #LatinosOutLoud #Broadway #BuenaVistaSocialClub #RachelLaLoca #LinManuelMiranda #LuisMiranda #RubenBlades #DaphneRubinVega #LunaLaurenVelez #RubenBlades

A rock & roll marionette artist that brings to life the iconic rock performances of Jimmy Hendrix, Tina Turner, Michael Jackson and others by pulling a few strings. Lee Zimmerman, aka “The Puppet Guy” has been doing his show all over the world for more than 40 years. Some of the greatest names in music history come alive in a unique and amazing display of humor and skill. Lee was a regular performer at Universal Studios and The Improv in Hollywood and has appeared on dozens of TV shows and films, including The Drew Carey Show and the cult film, Eddy Presley with Quentin Tarantino. Lee also entertained the cast and crew at the Seinfeld final wrap party and has done command performances for many dignitaries and celebrities such as the Sultan of Brunei, Hugh Hefner, Arnold Schwarzenegger, Frank Zappa and Guns 'N' Roses. Since 1998, Lee has been a performer/instructor at numerous circus camps, including the Winnipeg International Children's Festival Circus and Magic Partnership, (CAMP) a circus arts program designed to help kids-at-risk. For Custom Puppet Portraits as gifts visit thepuppetguy@hotmail.com

James Marshall Hendrix (nacido como Johnny Allen Hendrix; Seattle, Washington, 27 de noviembre de 1942-Notting Hill, Londres, 18 de septiembre de 1970), más conocido como Jimi Hendrix, fue un guitarrista, cantante y compositor estadounidense. A pesar de que su carrera profesional solo duró cuatro años, es considerado uno de los músicos y guitarristas más influyentes de la historia del rock. El Salón de la Fama del Rock and Roll lo describe como «Indiscutiblemente uno de los músicos más grandes de la historia del rock».[1]? Nacido en Seattle, Washington, en una diversa familia afroestadounidense que contaba además con raíces cheroquis, comenzó a tocar la guitarra a los 15 años. En 1961, se enroló en el ejército de los Estados Unidos como paracaidista en la 101.ª División Aerotransportada y se licenció al año siguiente. Poco después, se mudó a Clarksville, Tennessee, y comenzó a tocar en algunos conciertos conocidos como Chitlin' Circuit, donde consiguió un hueco tocando como músico de apoyo de The Isley Brothers y después para Little Richard, con quien continuó hasta mediados de 1965. Más adelante pasó a tocar con Curtis Knight and The Squires antes de mudarse a Inglaterra a finales de 1966 gracias a Linda Keith, quien además llamó la atención del bajista de The Animals Chas Chandler para convertirse en su mánager. En cuestión de meses, Hendrix ya había obtenido tres sencillos Top 10 en el Reino Unido con su banda The Jimi Hendrix Experience: «Hey Joe», «Purple Haze» y «The Wind Cries Mary». Saltó a la fama en Estados Unidos después de su actuación en el Monterey Pop Festival de 1967. Al año siguiente, en 1968, su tercer disco de estudio Electric Ladyland, llegó al primer puesto de la lista estadounidense de éxitos; fue su éxito comercial más grande y único número uno en dicho país. En su momento, fue el artista mejor pagado por su concierto en el Festival de Woodstock (1969) y el Festival de la Isla de Wight (1970), antes de su muerte por ingesta de barbitúricos el 18 de septiembre de 1970 a los 27 años de edad.

Nordmark Pod får besök av skådespelaren regisören och författaren  Alexander Karim!Det samtalas om och att; Vi ser bara yngre ut! In the presence of death, Gladiator, premiär i London, provfilmning, 80 filmer, Ridley Scott, skådespelarstrejk, Ravi, vill du gå på middag med Paul Mescal, Pedro Pascal, Ridley och hans fru, hedonistmiddag, de bästa i världen, Dylans rumskompis,  Arthur Max, Woodstock, Jimmy Hendrix loge, snubbens snubbe, Dark side of the moon, du är ju Forest Gump för i helvete! Man ska leka, förhandlingen är klar, nya scener, banka in det här, man kan glömma text, jag saknar min familj, en fängelsedom, det roligaste som finns, magsjuk efter premiären och att man måste vara stolt över det man gjort..Mäktigt  Produktion av NordmarkEditering av NordmarkMix av Nordmark

Se nos fue noviembre con éstas bombas: Cumplimos la cabala, Emily And sacó disco y nos visito con su habitual flow conceptual en #losacusticosdePrestame (porque #anderdelasemana le queda chico ya) #discosdelsemana en exclusiva estrenamos las flamantes reediciones de Oktubre y Gulp! los clásicos de Patricio Rey que por fin fueron relanzados en vinilo, en forma oficial. Perlitas caucheras: Dj Obvio agitó con un clasico de Lenny Kravitz que se esta paseando por Chacarita y Dj Manija mando saludos al cielo con una inoxidable rola de Jimmy Hendrix. Dale play!

Leute, diesmal ging es gleich hinein in die große DVAG-Teilzeit-Analyse. Geriet diese Sendung also unmittelbar zur deutschesten aller Boomer-Shows, mit Geschichten aus den 80ern, 90ern und dem vielleicht sogar besten von heute. Mit Tommy, Budde und Waldi. Mit Poldi und Kloppo. Und mit Maik als Jimmy Hendrix. Die große Aufführung. Mal wieder mehr Evelyn als Didi Hamann, mehr Premiere als Sky. Mehr Kölner Treff als Kölner Keller. Und, Ehrensache, mehr Sinn als Verstand. So tanzten wir durch die Schlagzeilen, erfreuten uns an neuen Haudegen, die mit alten Gewissheiten brechen. Und an einem Schlawiner, der halb Raumdeuter ist und halb Power-Ernst. Ein Fetzen als Freigeist. Und natürlich holten wir gleich danach auch die Pöhler-Kappe aus dem Keller der Kunstfreiheit, um über einen Mann zu sprechen, der sein Werbelächeln ab Januar noch einmal anders vergolden wird. Ein Dosenöffner, für die Büchse der Pandora. Denn Jürgen Klopp, die alte Snitch, ist zu den Bullen gegangen. Und hat mit diesem Rodeo nicht nur allen Romantikern die Hörner ausgesetzt, sondern ganz nebenbei auch noch die Rollen getauscht. Vom Helden zum Villain, das Kloppo-Cape plötzlich rotes Tuch. Nun ja. Zum Ausklang jedenfalls gab es dann noch die angemessene Portion Pietät, mit einem Nachruf auf Dieter Burdenski, den gebürtigen Bremer, der mehr als alles andere ein Kind der Bundesliga war. Mit 444 Spielen für Werder und dem ersten gehaltenen Elfmeter in einem Elfmeterschießen. Paraden fürs Panini-Album. Erinnerungen, die kleben bleiben. Danach war Schweigen, anstandshalber. Innehalten, das können wir ja auch. Wer von euch Schlachthof-Schweinchen und WM-Club-Geiern jetzt allerdings trotzdem noch wissen möchte, wo hier eigentlich der Fremde fickt, dem legen wir ans Herz, doch bitte bis zum Ende dieser Folge dabei zu bleiben. FUSSBALL MML - denn alles andere ist bloß Zukunftsmusik. Viel Spaß!

Leute, diesmal ging es gleich hinein in die große DVAG-Teilzeit-Analyse. Geriet diese Sendung also unmittelbar zur deutschesten aller Boomer-Shows, mit Geschichten aus den 80ern, 90ern und dem vielleicht sogar besten von heute. Mit Tommy, Budde und Waldi. Mit Poldi und Kloppo. Und mit Maik als Jimmy Hendrix. Die große Aufführung. Mal wieder mehr Evelyn als Didi Hamann, mehr Premiere als Sky. Mehr Kölner Treff als Kölner Keller. Und, Ehrensache, mehr Sinn als Verstand. So tanzten wir durch die Schlagzeilen, erfreuten uns an neuen Haudegen, die mit alten Gewissheiten brechen. Und an einem Schlawiner, der halb Raumdeuter ist und ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion.

Leute, diesmal ging es gleich hinein in die große DVAG-Teilzeit-Analyse. Geriet diese Sendung also unmittelbar zur deutschesten aller Boomer-Shows, mit Geschichten aus den 80ern, 90ern und dem vielleicht sogar besten von heute. Mit Tommy, Budde und Waldi. Mit Poldi und Kloppo. Und mit Maik als Jimmy Hendrix. Die große Aufführung. Mal wieder mehr Evelyn als Didi Hamann, mehr Premiere als Sky. Mehr Kölner Treff als Kölner Keller. Und, Ehrensache, mehr Sinn als Verstand. So tanzten wir durch die Schlagzeilen, erfreuten uns an neuen Haudegen, die mit alten Gewissheiten brechen. Und an einem Schlawiner, der halb Raumdeuter ist und ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion.

Banquet dining isn't boring anymore! This week I'm talking with Chef Brittany Martin, Banquet Chef at Hyatt Regency Lake Washington, about how banquet dining has been leveling up. Chef Brittany shows that it can now even go neck-to-neck with restaurant dining, especially with her all-inclusive approach to menu-planning. Brittany's surprise recipe is a fun nod to Seattle-born Jimmy Hendrix that is sure to wow you and your guests!Brittany's Links:Hyatt Regency Lake WashingtonIG: @HyattLakeWashChristine's Links:Bacon GravyClassic London BroilWhole-Roasted Butternut SquashHomemade Candy Apples 

Carly Gregg, 14, is accused of murdering her mother, Ashley Smylie, by shooting her three times and wounding her stepfather last March. Security cameras at the home in Rankin County, Mississippi recorded parts of the incident. Now, weeks ahead of her trial, Gregg has turned down a plea deal and is using an insanity defense. Law&Crime's Angenette Levy talks with Jackson Jambalaya editor Jimmy Hendrix about the case that has shaken the community in this episode of Crime Fix — a daily show covering the biggest stories in crime.PLEASE SUPPORT THE SHOW: If you're ever injured in an accident, you can check out Morgan & Morgan. You can submit a claim in 8 clicks or less without having to leave your couch. To start your claim, visit: https://www.forthepeople.com/CrimeFixHost:Angenette Levy https://twitter.com/Angenette5Guest: Jimmy Hendrix https://x.com/Kingfish1935CRIME FIX PRODUCTION:Head of Social Media, YouTube - Bobby SzokeSocial Media Management - Vanessa BeinVideo Editing - Daniel CamachoGuest Booking - Alyssa Fisher & Diane KayeSTAY UP-TO-DATE WITH THE LAW&CRIME NETWORK:Watch Law&Crime Network on YouTubeTV: https://bit.ly/3td2e3yWhere To Watch Law&Crime Network: https://bit.ly/3akxLK5Sign Up For Law&Crime's Daily Newsletter: https://bit.ly/LawandCrimeNewsletterRead Fascinating Articles From Law&Crime Network: https://bit.ly/3td2IqoLAW&CRIME NETWORK SOCIAL MEDIA:Instagram: https://www.instagram.com/lawandcrime/Twitter: https://twitter.com/LawCrimeNetworkFacebook: https://www.facebook.com/lawandcrimeTwitch: https://www.twitch.tv/lawandcrimenetworkSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Con the Flirtations, the Coasters, Chuck Berry, Elvis Presley, los Teen Tops, Jimmy Hendrix, Bruce Springsteen & E. Street Band, Bo Didley, Blanca Iris Villafañe, Myrta Silva, Noraida, Raquel Bigorra, Mari Trini, María Dolores Pradera con los Gemelos, Concha Buika y Chucho Valdés, Chavela Vargas y Mercedes Sosa.

VII En el programa 138 y el 140 hablé de famosos y experiencias paranormales, eran famosos en general, modelos, cantantes, actores, que han vivido fenómenos inexplicables. En esta ocasión, quería hablar solo de músicos. Y aunque a veces sus anécdotas las han vivido solos, no en pocas ocasiones, ha sido toda la banda… algo que puede dar qué pensar. Casas embrujadas, encuentros con fantasmas, avistamientos OVNIs, o mensajes de esperanza. Voy a contaros anécdotas de muchos músicos muy importantes, tal vez de la historia, como Elvis Presley, quien tuvo experiencias con su madre fallecida y con avistamientos, entre otras anécdotas. David Bowie, a quien canciones como, Space Oddity, Oh! You Pretty Things, Starman, Moonage Daydream, Station to Station, podríamos decir que han sido inspiradas en dichas experiencias. Durante la década de 1970, también se adentró en un mundo oscuro y misterioso: el del ocultismo y la magia negra. La canción “Quicksand” del álbum “Hunky Dory” menciona a Aleister Crowley, el famoso ocultista británico. Hablaré de Jimmy Hendrix y Robert Fripp de King Crimson, quienes grabaron en Château d’Hérouville, al parecer un lugar embrujado, ya que se dice que el músico Frederic Chopin, se veía con su amante George Sand. En la actualidad la compra Michel Magne y hace un estudio de grabación. También pasan por allí, Grateful Dead, Bill Wyman, el bajista de los Rolling Stones, Bee Gees, Pink Floyd, Cat Stevens, Iggy Pop, Deep Purple, Uriah Heep , Jethro Tull, Elton John, Richie Blackmore, T Rex, Sham 69 y Fleetwood Mac. También hablare de músicos de la talla de The Clash, Black Sabbath, Tony Iommi, Geezer Butler, Ozzy Osbourne, Radiohead, de su cantante, Thom Yorke, New Order, Robbie Williams o The Cure, The Police, Sting, Sammy Hagar, reconocido por su brillante carrera en Van Halen tras reemplazar a David Lee Roth, John Lennon, The Beatles, Ringo Starr, George Harrison y Paul McCartney. HAZTE MECENAS, no dejes que La Biblioteca, cierre Nunca sus Puertas… GRATITUD ESPECIAL: Siempre a los MECENAS. Sin ustedes… esto no tendría sentido. SUSCRIBETE AL CANAL DE TELEGRAM: https://t.me/LaLamadaDeLaLuna PUEDES VER ALGUNOS VIDEOS DE LLDLL: https://www.youtube.com/channel/UCEOtdbbriLqUfBtjs_wtEHw Suscríbete al Canal Youtube y a Ivoox. Sigamos sumando en LLDLL, SUSCRIBETE en IVOOX y comparte. Y si deseas escuchar todos los programas en cerrados y sin anuncios… Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

In episode 08 of Careers and The Business of Law: Legal Data Intelligence Series, Omar Haroun chats with David Cowen about his diverse career, starting at top-tier law firms like Wilson Sonsini and Orrick, and leading into his philanthropic work with Indego Africa. They dive into how Omar's passion for "doing well by doing good" shaped his career, spotlighting the power of legal data intelligence to boost both personal and organizational growth. Omar stresses that the next wave of legal pros needs to be adaptable, ethically driven, and savvy about leveraging data's potential to spark real change.   Key Highlights: Omar shares about his multicultural family background, with immigrant parents from Pakistan and Europe, and how their values of hard work and patriotism profoundly influenced him.  Omar discusses his transition to Indego Africa, a social enterprise helping Rwandan women. He was inspired by the concept of 'doing well by doing good,' a revelation that came from his interactions with the organization's founders and his personal experiences in Rwanda. Drawing on the philosophical teachings of Aristotle, Omar articulates his vision for a fulfilling life through achieving potential and ethical living. He links these ideals to his work at LDI, aiming to empower individuals and organizations to harness the full power of legal data. Mentions: Legal Data Intelligence official site: LegalDataIntelligence.org Indego Africa: Indego Africa Wilson Sonsini: Wilson Sonsini Goodrich & Rosati Orrick: Orrick, Herrington & Sutcliffe LLP Song: Castles in the sand by Jimmy Hendrix  

Picture a rock 'n' roll icon like Jimmy Page, or Jimmy Hendrix, and they've probably got an electric guitar in their hands.But, as classic rock - and classic rockers - continue to age, is the guitar industry struggling to attract younger customers?In six years, electric guitar company Gibson has gone from filing for bankruptcy to opening its first flagship store outside the US. We hear from Led Zeppelin's Jimmy Page, Grammy nominated singer James Bay, and one of the world's foremost female luthiers to find out whether the guitar's association with rock 'n' roll has become bad for business.Produced and presented by Will Chalk.(Image: Jimmy Page of Led Zeppelin performing on stage at Earl's Court, London, May 1975. Jimmy Page is playing a Gibson EDS-1275 double necked guitar. Credit: Getty Images)

This episode contains: All three hosts are here and ready to talk about sci-fi; no science, sorry. Devon tells us about a birthday party at a trampoline park and Steven played a bunch of Star Wars board games. Meanwhile Ben was recording his son's performances on his iPhone. Ben's also been playing digital pinball on a vertical monitor. Devon has finished the Three Body Problem on Netflix and was pleased that it included elements from the second and third book. He was worried they would only include the first book, which he feels is only the prologue to the real story. Steven gives us a rundown of Tales of The Empire on Disney Plus. This show provides backstory to characters in Ahsoka. Ben and Steven talk about X-Men '97. If you're not watching X-Men '97, you should be! It includes wacky and wild, heart stopping moments. X-Men '97 was written for us, but new viewers could still understand about 90% of the show.   Book Club: For this episode we read the short story “2043... a Merman I Should Turn to Be” by Nisi Shawl. https://www.goodreads.com/book/show/58647676-2043-a-merman-i-should-turn-to-be?from_search=true&from_srp=true&qid=UGvenc3N0K&rank=1 Devon made sure to read the short story for this episode and has read the story for the next episode. Devon thinks the story would be better as a digital short given the “off-the-wall” concept and action in the story. Ben reminds us that the story is connected to the Jimmy Hendrix song: 1983 A Merman I should Turn to Be. The story reminded Ben of Lovecraft Country. Ben liked the statement about enemies wanting the same things we do. Steven enjoyed the story but was confused on some of the elements. We have a discussion of who and how people would actually modify their bodies to live in different habitats. We note that adapting to new habitats is not easy and ponder what the first inhabitants of the Moon, Mars, etc. will face. We all give the story 3 out of 4 stars.   For the next episode we are reading The Jaunt by Stephen King. https://archive.org/details/the-jaunt-stephen-king Until next week, keep watching the skis! I mean skies.  

¡Episodio de aniversario! Cumplimos 1 año en Tiempos Imposibles y les traemos este episodio sobre algunos integrantes del "club de los 27"- ¿Qué hubiera pasado si sobreviven Jimmy Hendrix, Kurt Cobain y Amy Winehouse? Platicamos sobre un posible activista, un talentoso artista y una exponente de las conferencias motivacionales. Este es un podcast de ucronías: relatos de ficción basados en hechos históricos pero que no sucedieron. Todo lo que aquí se dice es una charla entre amigos y no entre historiadores. Sean curiosos, los invitamos a imaginar con nosotros y a no creer todo lo que les dicen, y menos lo que decimos aquí. Una coproducción de Secuencia Digital https://instagram.com/secuenciadigital https://www.secuenciadigital.com Y Tiempos Imposibles https://tiemposimposibles.com

Famosos que vendieron su alma.Esta semana en Código Misterio hablaremos de algunos cantantes y músicos que vendieron su alma a cambio de fama, dinero y lujos.Nuestra investigación comienza conociendo como durante una época el heavy metal fue relacionado con pactos diabólicos. Grupos como Megadeth, AC/DC,  Kiss, aprovecharon este rumor para convertirse en algunos de los más sobresalientes de los años 80's.Dos de los más importantes violinistas Paganini y Guiseppe Tartini fueron acusados de ofrecer también sus almas a cambio de convertirse en los músicos más famosos de su época.La lista continúa con Jimmy Hendrix quien al parecer los sonidos que emitía con su guitarra eran una invocación a los muertos usadas en ceremonias vudú, hablaremos también de Los Beatles, Robert Johnson, Marylin manson, Shakira, Karol G, Eminem, Katy Perry entre muchos más.Todo esto y más en este episodio de Código Misterio, búscanos en Facebook e Instagram como Código misterio y descarga el podcast en tu plataforma de audio favorita y pasa la voz.

Rock and Roll demolished barriers, broke down walls, questioned every assumption and embraced every possibility. We should not be surprised that some of today's most influential people reference the music and message of this Golden Age as the inspiration for seeing the world differently. However, this Golden Age had a dark side. With all the money and fame came excess in every way, and out of this carnage came the "27 Club", which includes the rock stars who, uncannily, all died at the age of 27, Jimmy Hendrix, Brian Jones of the Rolling Stones, Jasin Joplin, and Jim Morison, and in recent years, it has added members such as Kurt Cobain and Amy Winehouse.  What caused these stars to become members of the 27 Club? Why were they cut short at the heights of their creativity? Are there any messages that can be learned for us? By understanding their lives, can we live our lives brighter, fuller, more creative and meaningful?

Grammy winners, a new trailer for the Amy Winehouse biopic, Jimmy Hendrix's headband is on the auction block, a floating sauna, the weirdest things patients bring with them to the E.R., some fast facts, Vinnie reads your texts and we play a game!

  Please hit Subscribe/Follow and leave a positive Rating and review. Click here to become a Patreon. Click here to save on High-End Clothing in Jen's Store. Click here to go to our website. You think of someone and they call you or you run into them at a store. If this happens you should ask yourself, “Why is this person coming into my life at this time?” “What does this mean?” What if you think of something and you see an ad for it? We are all connected. Is there a cosmic connection that passes thoughts or feelings to each other?   The dictionary defines Coincidences as, “the occurrence of events that happen at the same time by accident but seem to have some connection” But is there a such thing as Coincidences? Some paranormal researchers don't believe there is. It is difficult to find a natural explanation too why a surprising coincidence occurs. In attempting to find one, we might be inclined to accept a paranormal explanation Most researchers believe that circumstances are predetermined and will happen regardless of our input. There is also a belief that a higher power is controlling the outcome and will make things seem to match up in history. Different circumstances can be attributed to your guardian angels. Is it a circumstance that you decided last minute to take a different route to work only to find out that there was an accident at a corner you would have gone through if you hadn't gone the other way? Or you feel like you forgot something only to run into someone who reminds you of that thing you forgot. The timeless killing. Henry Jigland broke up with his girlfriend who killed herself, Her brother looked for him and when he found him he shot Jigland. Thinking he finished him he took his own life.  But he didn't know that he missed Jigland and the bullet got lodged in a tree. Years later Jigland wanted to cut the tree down. But he used explosives and when he detonated the tree the explosion threw the bullet into him killing him instantly. The Jim twins Twins James Jim Lewis and Jams Jim Springer we separated just after birth and adopted out to separate families. They grew up with no contact with each other and had no knowledge of each other. When they finally did meet at the age of 39 they found out they were living identical lives. They both had dogs named Toy. They excelled in math and woodworking. They both married a woman named Linda and divorced. They both married again to a woman named Betty. They both had sons and they named them James Allen.  They both smoked the same cigarettes, Drove Chevy, and vacationed at the same Florida Beach. The falling babies of Detroit.  1937 A street sweeper Joseph Figloc from Detroit was cleaning the street when a baby fell out of the fourth floor of a building onto him. He saved the baby's life when it fell on him. A year later he was sweeping in an alleyway when a baby fell from another building onto Figloc saving the baby's life.   Eger Alien Poe and the Calobleized Boy. Eger Alien Poe wrote a fictional book called “The Narrative of Arther Gorden Pin of Nantucket. The book is told of 4 shipwreck survivors who after time in the ocean resorted to canalization. They killed and Ater a boy named Richerd Parker. Several years after he published the book a yack named The Minuet sank and there were 4 survivors who were alone in a lifeboat. The 3 older survivors killed and ate the cabin boy named Richerd Parker. The 27 Club This started with the death of Brian Jones of The Rolling Stones. Then Jim Morison, Janis Joplin, and Jimmy Hendrix. As time went on, Kerk Cobane passed at the age of 27. Recently Amy Winehouse passed at the age of 27. She stated in an interview that she was concerned about that age.  Overall, the 27-club claimed over 60 artists, musicians and actors. The Unsinkable Violet Jessop. Violet Jessop was a maritime nurse who was on the RMS Olympic when the ship collided with the warship HMS Hauk in 1911. The Olympic almost sank but made it to port safely. Jessop was reassigned to The Titanic for its maiden voyage. When it sank in 1912 she survived and was reassigned to the HMHS Britannic which sank in 1916 from an explosion when the ship hit a mine. Where she survived. The Titan and The Titanic. In 1898 Morgan Robertson wrote the novel The Wreck of The Titan. The plot revolves around the HMS Titan a British luxury liner that hit an iceberg and sank killing almost everyone on board. In 1912 the Titanic sank in the exact same fashion. Both ships were named unsinkable, both hit an iceberg in the month of April, 400 miles of the coast of New Finland, Both were proximity 800 feet long, and both resulted in the deaths of 2000 people. Both ships didn't have the correct number of lifeboats and life jackets. JFK and Abraham Lincon. Both were elected to congress 100 years apart in 1846 and 1946. The both became presidents 14 years later in 1860 and 1960. Both were guided down by fatal wands to the head. Both were suspended by men named Johnson, who were born 100 years apart. They both died on Friday. Their names contained 7 letters; both of their assassins were killed before trial. Both had 4 children and both lost a son during their time in the Whitehouse. Lincon's secretary named Kenidy warned him not to go to the theater on the night he was assassinated while Kenidy's secretary named Lincon, warned him not to go to Dallis. Both vice presidents who assumed office were named Johnson. Both were born 100 years apart. 1808 and 1908     Two events are said to constitute a coincidence if they occur in such a way as to strike an observer as being highly related as regards their structure or their “meaning”; to dismiss such an occurrence as a “mere coincidence” is to imply the belief that each event arose as a result of quite independent causal chains (that is, they are “acausal”) and that no further “meaning” or significance is to be found in this fortuitous concurrence; sometimes, however, a sense of impressiveness is engendered by the belief that the concurrence is so very unlikely as to have been the result of “pure chance” that there must be some cause or reason for the concurrence, thus investing the coincidence with a sense of meaningfulness. See also Synchronicity.    

Roger Mairlot, a retired car mechanic in his 70s, takes center stage in this episode of Seeing Them Live. Renowned for his passionate dedication to live music, Roger's story has attracted the attention of media giants like Vice News, The Guardian, and CBC Radio Canada. With an astonishing personal record of attending over 725 consecutive gigs and accomplishing the feat of attending six gigs in one night at different venues across London, Roger has become an icon in the city's live music scene. His distinctive ornate military jacket, adorned with badges, has earned him the affectionate name "The Gig Slut" from Debbie Smith of the band Blindness.Reflecting on his early music experiences, Roger shares memories of a Joan Baez concert in the 1960s, marking the beginning of his journey through London's rich music scene. The cultural and social aspects of live performances are explored, emphasizing the intimate connection between the audience and the artists. Roger's passion for live music goes beyond attendance; he meticulously documents gig timings and schedules in "The Book of Bands," showcasing his dedication to discovering new bands and genres.The conversation delves into Roger's connection to the Mod Culture, influenced by bands like The Who and The Kinks, and explores his experiences in London's music scene during the 1970s. Notable bands from that era, including Canned Heat and Queen, are mentioned, while Roger reflects on the changing music landscape in the '70s.Roger's transition to retirement in the early 2000s allowed for greater flexibility in attending gigs, leading to a revival of his interest in live music. Charles and Roger discuss the impact of Mod Culture, Roger's favorite band, The Kinks, and his experiences seeing iconic artists like Jimi Hendrix. Roger's signature look, the guard's jacket, is born out of his paper rounds, which he took on to finance his gigging passion during his early waking hours.The episode delves into Roger's mad gigging phase, discussing his gigging routine, how he justified spending money on gigs through his paper round earnings, and the development of detailed schedules for nightly gig adventures. The conversation also touches on Roger's extensive guard's jacket collection and the experiences he had wearing them.In 2014, Roger pushed the limits by attending six gigs in one night, facing challenges in managing multiple venues and early start times. The episode explores Roger's criteria for choosing gigs, post-pandemic changes in the gig scene, and the decline in fan attendance. Despite the challenges, Roger emphasizes the importance of enjoying a gig and shares his diverse taste in music, spanning genres from jazz to chamber rock.BANDS: Adam Ant, Blindness, Blue Crime, Canned Heat, Color TV, Cream, Fleetwood Mac, Jimmy Hendrix, Joan Baez, Ogunquit, The Breeders, The Kinks, The Libertines, The Palpitations, The WhoVENUES: 100 Club, Camden (general reference to the area), Pure Groove, Rough Trade, Royal Festival Hall, Sculpture of St. James, The Clarendon Hotel, The Dublin Castle, The George Robey, The Hammersmith Odeon, The Hope and Anchor, The Kings Head, The Kursal, The Lock Tavern, The Marquee Club, The Monarch, The Old Blue Last, The Purple Turtle, The Roundhouse.More information including photos and links available at https://www.SeeingThemLive.com. PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

Welcome along to the new show and when we mention legends these 2 bands between them produced 9 Gold albums 5 platinum albums and one double platinum album in the USA between 1969 and 1978. The bands in question are Grand Funk Railroad and Foghat and in todays show we are joined by founder members of both, Don Brewer from Grand Funk who are celebrating 50 years of "We're an American Band" and Roger Earl of Foghat who have a brand new album titled "Sonic Mojo" So sit back and enjoy tales of 60 plus years in the music business from auditioning with Jimmy Hendrix to appearing as the opening act at the now legendary Atlanta Pop Festival of 69 alongside the likes of Led Zeppelin who incidentally a few years later pulled the plug midset when Grand Funk opened for them that and many more stories and tales to come --- Send in a voice message: https://podcasters.spotify.com/pod/show/classic-rock-news/message

On the next edition of "The Classic Rock Podcast" legendary 70's rock band Foghat are back ! founder member Roger Earl joins us to look back at his 6 decades in the business including the day he auditioned for the Jimmy Hendrix band ! check out this preview with Roger talking about that and there is a new album coming "Sonic Mojo" plus also on the show will be Grand Funk Railroad founder Don Brewer . If you love "Classic Rock" then this edition will take you back to the glory days of the 60's and 70's when rock music ruled the airwaves and you had to queue at the box office for tickets albums had great artwork and sleevenotes singles were for pop bands . Join us for a night of legends, kick back put your feet up pour a glass and turn the volume up to 11 ... --- Send in a voice message: https://podcasters.spotify.com/pod/show/classic-rock-news/message

WKRN-FM, station radio de la ville de Détroit. Nous sommes un dimanche d'automne grisaillant. En plein cœur des Etats-Unis, la ville la plus importante du Michigan arrive tout doucement à la fin d'un cycle. Pendant des décennies, l'industrie automobile s'est installée en plein cœur de ces usines remplies d'ouvriers rêvant d'émancipation. Mais tout cela est sur le déclin. La jeunesse américaine vient de fonder l'esprit Woodstock, grâce à des groupes sortant du bois, tant Jefferson Airplane qu'un guitariste absolument remarquable, connu sous le nom de Jimmy Hendrix. Ces jeunes-là n'écoutent pas du Elvis. Non, le King fait déjà partie du passé, lui et son déhanché caractéristique. Eux, ils écoutent du rock. Du vrai. Le progressif, particulièrement. Celui des Doors, des Stones, et aussi, un peu, celui des Beatles. Ce groupe unique au monde, connu dans le monde entier pour être le quatuor le plus talentueux de l'industrie musicale, ne fait plus aucun concert depuis quelques années, pour se concentrer sur la production d'albums studios. Le dernier vient de sortir et il s'appelle Abbey Road. Une machine à tubes. Depuis le 12 septembre, Russ Gibb, animateur radio, ne passe que ça. Seul dans son petit studio, comme tous les dimanches après-midi, il fume une clope et attend la fin de la piste Octopus's Garden. Il l'adore. Un rythme envoûtant, une ligne de guitare enivrante, c'est le pied. Le standard téléphonique le prévient qu'un auditeur souhaite lui parler au sujet des Beatles. En particulier de la pochette de l'album. Et de Paul McCartney, iconique bassiste que plus personne n'a besoin de présenter. « Tu vas voir, ça va être fou ! » lui avait dit Nancy, la petite standardiste aux cheveux auburn. Derrière ses grosses lunettes rondes et noires, le jeune animateur attend donc ce qui semble être la révélation de l'année. Il ne devrait pas être sarcastique, car il est très loin d'imaginer ce qui l'attend. Nous sommes le 12 octobre 1969, les feuilles mortes recouvrent toits et fenêtres de la ville industrielle de Détroit, et bientôt une bombe va exploser aux oreilles des auditeurs. Il est 15h30, et c'est l'heure H de mon histoire. Merci pour votre écoute Retrouvez l'ensemble des épisodes de l'Heure H sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/22750 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Uno de los mejores guitarrista de rock, de todos los tiempos, Jimmy Hendrix, falleció el 18 de septiembre del año 1970.

De TONY BENNETT,SANDRO, ROBERTO CARLOS y SERRAT a CELINE DION, ELTON JOHN, BILLY JOEL, PRINCE, SHAKIRA, FRANCO DE VITA o KATY PERRY... De ISMAEL RIVERO, TOMMY OLIVENCIA y el GRAN COMBO a OSCAR DE LEON y JUAN LUIS GUERRA... De CHICAGO, TACO y GRAND FUNK a HERBIE HANCOK, JIMMY HENDRIX, ERIC CLAPTON, BARRY WHITE o los ROLLING STONES... De CLINT EASWOOD, ROBIN WILLIAMS o LECH WALESA a BRIGITTE BARDOT y "LOS HOMBRES DEL PRESIDENTE", "EL VALLE DE LAS MUÑECAS"... Y MUCHO MAS! QUE DE RECUERDOS! --- Support this podcast: https://podcasters.spotify.com/pod/show/genteenambiente/support

THE ARWEN LEWIS SHOW Today, Arwen welcomes the prolific music artist Jonathan McEuen to the show! Jonathan McEuen is a guitar virtuoso with a voice that sings directly to one's soul. He's spent his life on the stage and in recording studios, creating and performing music in country rock, bluegrass, Americana, rock and roll, and more. By age six, Jonathan was on stage with his father at Red Rocks Amphitheater in Colorado, performing for sold-out crowds. Jonathan has recorded a vast array of solo materials, collaborated and toured with his father, John McEuen, and the Nitty Gritty Dirt Band, Dave Mason, and many more. You could compare Jonathan to Elvis Presley with a shimmer of Jimmy Hendrix, but he is most certainly unique and in some ways, incomparable in his masterful talents as a musician. Follow Jonathan on Instagram: @jonathanmceuenmusic The Arwen Lewis Show Host | Arwen Lewis Executive Producer | Jeremiah D. Higgins Producer - Sound Engineer - Richard “Dr. D” Dugan https://arwenlewismusic.com/ On Instagram, Follow Arwen Lewis Here: @thearwenlewisshow @arwenlewis www.thejeremiahshow.com On Instagram @jeremiahdhiggins https://linktr.ee/jeremiahdhiggins

William Benton's destiny caught up with him. As a kid growing up in Oklahoma every road seemed to intersect with the Hotel Chelsea. Today he shares his story about this iconic space.Check out the website: www.drinkingonthejob.com for great past episodes. Everyone from Iron Chefs, winemakers, journalist and more.

This week Greg talks to his dad, Joe. Greg sits down with his agent Mel Mellmenn to ask what he should be doing differently, Greg's dad talks about seeing Jimmy Hendrix live, and Greg learns something new about his dad on the podcast.   JOIN THE PATREON https://www.patreon.com/TheGregStoneZone FOLLOW GREG http://facebook.com/GregfStone http://instagram.com/GregfStone  https://twitter.com/gregstone_   Produced by Max Marcus https://www.instagram.com/maxmarcuscomedy/

Kap goes on a rant about the Barbie movie and gets mad when he is questioned for not knowing anything about the h-bomb. They talk about Vicente Fernández and artists they'd like to see live in concert, including Jimmy Hendrix at Woodstock on LSD. Has Kappy ever taken LSD? The crew plays a game of Big Deal - Or No Deal? Dealer's Choice! Learn more about your ad choices. Visit megaphone.fm/adchoices

This podcast hit paid subscribers' inboxes on August 7. It dropped for free subscribers on August 10. To receive future pods as soon as they're live, and to support independent ski journalism, please consider an upgrade to a paid subscription. You can also subscribe for free below:WhoDanielle and Laszlo Vajtay, Owners of Plattekill Mountain, New YorkRecorded onJuly 14, 2023About Plattekill MountainClick here for a mountain stats overviewOwned by: Danielle and Laszlo VajtayLocated in: Roxbury, New YorkYear founded: 1958Pass affiliations: NoneReciprocal partners:* 3 days each at Snow Ridge, Swain, Mont du Lac, Ski Cooper* 2 days at HomewoodClosest neighboring ski areas: Belleayre (28 minutes), Windham (41 minutes), Hunter (46 minutes)Base elevation: 2,400 feetSummit elevation: 3,500 feetVertical drop: 1,100 feetSkiable Acres: 75 acresAverage annual snowfall: 175 inchesTrail count: 40 (20% expert, 20% most difficult, 40% more difficult, 20% easiest)Lift count: 3 (1 triple, 1 double, 1 carpet)Why I interviewed themThink about every ski area in the country that almost everyone knows. Almost every one of them has a smaller, less-well-known, slightly badass neighbor lurking nearby. In LA, it's Baldy, forgotten in the shadow of Big Bear and Mountain High. In Tahoe, it's Homewood, lost in the Palisades Tahoe circus. We can just keep going: Hoodoo/Bachelor; White Pass/Crystal; Mt. Spokane/Schweitzer; Soldier/Sun Valley; Snow King/Jackson; Sunlight/Aspen; Red River/Taos.In New York, we have a few versions of this: West and (currently closed) Hickory, adjacent to Gore Mountain; Titus, intercepted by Whiteface as cars wind north. But the most dramatic contrast lies in the Catskills. There, you find four ski areas: Hunter, recently expanded, owned by Vail Resorts and flying two six-packs; Windham, two new investors on its masthead, an Ikon Pass partner that runs three high-speed lifts out of its base; Belleayre, owned by the state and run by the Olympic Regional Development Authority, or ORDA, with a shimmering gondola that no other ski area of its size could afford; and Plattekill.Plattekill is owned by Laszlo and Danielle Vajtay, former ski instructors who purchased the bump in 1993. They have added snowmaking to one of their 40 trails each year that they could afford to. Their lift fleet is a 1974 Hall triple and a 1977 Hall double, moved from Belleayre in 1999. It took the Vajtays three years to install the lift. The parking lots cling layer-cake-style to the mountainside. Plattekill is open Friday through Sunday, plus Christmas and Presidents' Weeks and MLK Day. Access is down poorly marked backroads, half an hour past Belleayre, which sits directly off state route 28.It's fair to ask how such a place endures. New York is filled with family-owned ski areas running vintage lifts. But only Plattekill must compete directly with so many monsters. How?There is no one answer. There's the scrap and hustle, the constant scouring of the countryside for the new-to-Platty machines to rebuild to glory. There's the deliberate, no-debt, steady-steady better-better philosophy that keeps the banks away. There's the 1,100 feet of pure fall-line skiing. The vast kingdom of glades. The special geography that seems to squeeze just a bit extra out of every storm. There's the lodge, rustic but clean, cozy, and spacious. And there's the liftlines, or miraculous lack of them, for such a ski area just three hours from the nation's largest city. And there are the midweek private-mountain rentals – Platty's secret weapon, a $8,500 guarantee on even the feistiest weather days.That algorithm, or some version of it, has equaled survival for Plattekill. When the Vajtays bought “Ski Plattekill” in 1993, the Catskills were crowded. But Bobcat, Scotch Valley, Cortina, Highmount, and Sawkill all vanished over the decades. Plattekill could have died too. Instead, it is beloved. Enough so that it can charge more for its season pass - $779 early-bird, $799 right now – than Vail charges for the Epic Local Pass ($676 early-bird, $689 today), which includes unlimited access to Hunter and most of the company's 40 other resorts. When a harder-to-reach, smaller mountain running 50-year-old lifts can charge more for a single-mountain season pass than its larger, more up-to-date, easier-to-access neighbor whose season pass also gets skiers in the front door at Whistler and Breckenridge, it's doing something mighty right.What we talked aboutPlattekill's “surprisingly good” 2022-23 ski season; building a snowmaking system gun-by-gun; 2023 offseason improvements; how the Vajtays have grown Plattekill without taking on traditional debt; what killed independent skiing in the Catskills; private mid-week mountain rentals; a growing wedding business; why Plattekill was an early adopter of lift-served mountain-biking, why the mountain abandoned the project, and whether they would ever bring it back; assessing Platty's newest trail; potential terrain expansion within the existing footprint; plans to moderate the steep section at the end of the Overlook trail; the potential lift and terrain expansion that could make Plattekill “a big, big player in the world of ski areas”; considering outside investment to turbocharge growth - “the possibilities for the mountain are that it could be a lot more”; “I don't have an interest in selling Plattekill”; Snow Operating; assessing Plattekill's Hall chairlifts; “anybody taking out a lift, please don't cut it up and throw it in the Dumpster before contacting” small ski areas; the lightning strike that changed Plattekill's summer; helping save Holiday Mountain; competing against the Epic and Ikon passes; competing against state-owned and taxpayer-funded ski areas; how New York State could help independent ski areas compete against its owned ski areas; Liftopia's collapse; the Ski Cooper season pass; and reconsidering the Indy Pass.Why I thought that now was a good time for this interviewThe Vajtays have appeared on The Storm Skiing Podcast before, in episode two, which I released on Oct. 25, 2019. They'd agreed to do the interview without knowing who I was, and before I'd published a single episode. I will always be grateful to them (and the other seven folks* who recorded an episode when The Storm was still gathering in my brain), for that. The conversation turned out great, I thought, and fused the podcast to the world of scrappy independents from its earliest days.But in the intervening years, I've gotten to know the Vajtays much better. Laz and I, especially, communicate a lot. Mostly via text, but occasionally email, or when I'm up there skiing. In May, he joined a panel I hosted at the National Ski Areas Association (NSAA) convention in Savannah, Georgia. Alongside the general managers of Mt. Rose, Mt. Baker, and Cascade, Wisconsin, Laz articulated why the Vajtays had so far elected to keep Plattekill off of any multi-mountain pass.The NSAA's convention rules forbade me from recording that panel, but the conversation so closely aligned with my daily pass-world coverage that I knew I had to bring some version of it to you. This is installment one. Cascade GM Matt Vohs is scheduled to join me on the pod in October, followed by Mt. Rose GM Greg Gavrilets in November (you can always view the upcoming podcast schedule here). I've yet to schedule Mt. Baker CEO Gwyn Howat, but I'm hopeful that we can lock in a future date.So that is part of it: why has Plattekill held firm against the pass craze as all of its better-capitalized competitors have joined one coalition or the other? But that is only part of the larger Platty story. Vail was supposed to ruin everything. Then Alterra was supposed to ruin it more. Family-owned ski areas would be crushed beneath these nukes launched from a Colorado silo. But this narrative has been disproven across the country. Because of a lot of things – the Covid-driven outdoor boom, the indie cool factor, the big boys overselling their passes – small ski areas are having a moment. No one, arguably, has a tougher hill to defend than Platty, and no one's proven themselves more.*Those six people were: New England Lost Ski Areas Project founder Jeremy Davis, Lift Blog founder Peter Landsman, Boyne Resorts CEO Stephen Kircher, Magic Mountain President Geoff Hatheway, Killington President Mike Solimano, and Burke GM Kevin Mack.What I got wrongI said that The New York Times profile on Plattekill's private-rentals business ran in 2018. It actually ran Jan. 4, 2019.Why you should ski PlattekillI can endorse all four large Catskills ski areas. Hunter holds a crazy, possessed energy. Impenetrable on weekends, you can roll 1,600-vertical-foot fastlaps off the sixer on spring weekdays. Belleayre throws past-era vibes with its funky-weird trail network while delivering rides on a top-to-bottom gondola that is the nicest lift in New York State. Windham's high-speed lift fleet hides a narrow and fantastically interesting trail network that, when wide open with new snow in the woods, feels enormous.So Plattekill is not, for me, a family-diner-versus-McDonald's kind of fight. I probably ski all four of those mountains about the same amount. But I will make an appeal here to those New York-based Epic and Ikon passholders who are scanning their mountain menus and deciding where to ski this winter: take one day and go to Plattekill. Make it a day that you know will be miserable at Hunter or Windham. A day when the lift queues can be seen from space. A holiday, a Saturday, a powder day. I know you already invested in your pass. But suck up one more lift ticket, and check out Plattekill.Here's what you will find: no liftlines, ever. The parking lots simply aren't large enough to accommodate enough skiers to form them. A double chair with this view:At the top, three choices: loop green-circle Overlook all the way around, thread your way down through the tight and narrow blues, or ride one of four double-blacks all the way back to the valley. I prefer the blues because they lead to the glades, unmarked but maintained, funky, interesting, tap-shoes required.The triple side is more traditional, more wide runs, especially Upper Face. Powder Puff is fabulous for kids. The snow doesn't stick to the triple side like it does to the double side, but when it's deep enough, wild lines through the trees lie everywhere.Plattekill is littered with curiosities. A rock quarry. An old T-bar terminal. An overgrown halfpipe in the trees. Abandoned MTB trails still signed and useable for skiing. More than any ski area in New York, Plattekill rewards exploration and creativity, enables and encourages it with a permissive Patrol and line-less lifts. Twenty or 25 runs are possible here, even on a big day. Just keep ripping.In some ways, Plattekill is a time machine, a snapshot of a Catskills otherwise lost. In others, it is exactly of this moment, stripped of the pretense and the crowds that can seem like skiing's inevitable trajectory. The bozos who can't stand a fixed-grip lift ride longer than three minutes don't come here. They would rather stand in a long line for a fast lift. But you don't have to. You can come to Plattekill.Podcast NotesOn Platty's singular atmosphereNo one has written more on Plattekill than Harvey Road, founder of the fantastic New York Ski Blog. I asked him to share links to his five favorite Platty write-ups:Return to Plattekill Mountain – Jan. 8, 2013“Those intangible forces pull me inexorably to Plattekill. Don't get me wrong, Plattekill has some solid tangibles too: lake effect powder and steeps and trees and beautiful views are important to people who love to ski.  But there's also something more. A simplicity of purpose that fills my soul with an exuberance I have a hard time capturing in my nine-to-five life.”Plattekill: The Life of Riley – March 5, 2018“Later in the morning the snow and the wind really picked up. It must have snowed two or three inches an hour well into the afternoon. By noon all traces of the bottom were gone and Plattekill was 100% open for business. Twist and Ridge were deserted and any tracks you left on that side of the mountain were gone by the time you returned.”I'm Done Skiing Alone – March 20, 2018“When I was a little kid living on a farm, I'd play by myself in a big tractor tire that served as a sandbox. I developed a reputation for playing alone. ‘Harvey doesn't need playmates, he's happy all by himself!' It wasn't true, down inside I didn't like it, but I didn't know myself well enough to push back.”Chasing Plake – Feb. 4, 2019“Around 10:00 am we headed into the lodge to give our legs a break, hydrate and warm up a little (it was maybe -1 F at this point). As we got to the door, we saw the man himself. ‘I was wondering when you'd show up.'“'Hi, my name is Glen!' he said, offering his hand. I introduced myself and my son and asked if he'd been skiing yet.“'No, we kind of take our time on Saturdays. I love to watch a mountain wake up and come alive.'  We chatted about Tahoe and the weather for a couple minutes. I asked if we could take some pics. Of course we could.”Plattekill: Five Days Later – March 11, 2019“We skied down to the double and Sam the Smiling Liftie let us step around the rope and head up early with Patrol. At the top, a new character was introduced. Maybe he'd seen my custom skis, as he said ‘Road? I'm Soule. Jeff Soule.'“I use the word character in it's broadest sense. Gregarious and engaging, with homemade poles he'd carved from tree branches, Jeff had switched to tele this season and was absolutely ripping, hucking everything in sight.”On the lost ski areas of the CatskillsWhen the Vajtays purchased Plattekill in 1993, the mountain was one of six family-owned ski areas in the Catskills. One by one, the other five failed. Here's an overview of each:Highmount, circa 1985Bobcat circa 1996Cortina, circa 1995Scotch Valley, circa 2004I don't think a trailmap exists of Sawkill, which was basically one or two runs and a ropetow on 70 vertical feet.On that ominous New York Times article from the ‘90sLaszlo referred to a New York Times article covering the Vajtays' disastrous second season as owners – that article ran on Jan. 21, 1995. An excerpt:A sign posted at the Ski Plattekill resort here warns against packing the cozy, wood-paneled cafeteria beyond its capacity of 242 people. That has hardly been a problem this winter.With a third of the ski season already over, this resort in the central Catskills has yet to open a single one of its 27 trails. The reason is plain: it has barely snowed this winter, and whatever snow has fallen has been washed away by driving rains and unseasonably warm temperatures. When Laszlo Vajtay, the owner of Ski Plattekill, looks out at his mountain, all he sees is brown grass."It is depressing," he said, as he trudged through the mud blanketing his steepest trail, Blockbuster, on this 52-degree afternoon. "Look at how warm it is. It's like summer. Winter's just not here yet."Mr. Vajtay's experience is the starkest example of what has been a disastrous season for skiers and ski areas across the Northeast. Of the 50 ski areas in New York State, all but nine closed down late this week, hoping to preserve their remaining snow cover for the weekend, according to Ski Areas of New York, a trade group. Things were not much better in New England, where nearly 60 percent of ski resorts reported being closed.On The New York Times article on private mountain rentalsPlattekill has offered private mountain rentals for 15 years. That part of the business really took off, however, after The New York Times profiled the ski area in 2019:Plattekill, in turn, has branded itself as an intimate, old-fashioned resort for expert skiers and families alike. Most important, however, it has been able to guarantee income on the slower weekdays, by becoming a private mountain of sorts. Four days a week, it puts itself up for rent. Any group can have exclusive access to it for just a few thousand dollars a day.In their early years as owners, the Vajtays were obsessed with two things that were not always compatible: making snow and avoiding debt. In the summer, they opened up the mountain for camping, music festivals and mountain biking. They took what they earned and invested it into snow-making equipment.Eventually, a new business idea came from Plattekill's regular skiers, who visited the mountain every time it snowed, even when it wasn't open. (The mountain was and is only open to the public Fridays through Sundays.) This became so common that the Vajtays decided to open the mountain, regardless of the day, following a major snowfall. Typically, about 500 paying customers would show up for the event, called Powderdaize.Powderdaize led to another idea: renting out the entire mountain to groups. Some Plattekill regulars so enjoyed the quiet setting of the last-minute weekday openings that they intimated to Ms. Vajtay how great it would be to have a “power day” to themselves, she recalled. The couple knew of a few members-only mountains in the United States but these were fancy, expensive resorts like the Yellowstone Club in Montana and the Hermitage Club in Vermont. Why not rent out their humble little mountain?In 2008, they started to do just that, charging $2,500 a day for exclusive use of Plattekill Monday through Thursday. (The price has since increased to $4,500.) Clients have ranged from corporations, like Citigroup, to religious organizations. Every year since 2010, Jehovah's Witnesses congregations from New Jersey and New York have met there once a year.On being “The Alta of The Catskills”Laz referred to an old Powder article that glossed Plattekill “the Alta of the Catskills.” The author, Porter Fox, also visited Hunter and Belleayre, but here's the Platty section:Two lifts rose 1,100 vertical feet from the base of Plattekill Ski Resort to the 3,500-foot summit. Between them were a few lift enclosures—designed to mimic gambrel barn roofs in the valley—an oversized base lodge, dirt parking lots, a dirt driveway, and about 200 skiers lapping trails as fast as they could.Plattekill is the Alta of the Catskills. The Little Ski Area That Could has fewer trails but gets more snow than most resorts in the range, averaging 150 inches annually. It is easy to forget that New York State borders two Great Lakes (Ontario and Erie), and that lake-effect storms often carry all the way to the Catskills. Sitting on the northwestern fringe of the range, Plattekill rings out most of the moisture before storms warm up and dry out.The mountain's 38 trails are only open Friday through Sunday. (You can rent the whole place for $3,500/day midweek.) If it snows 12 inches or more, the staff will get the chairs spinning midweek as well. Last year, “Platty” opened on a Monday after receiving four feet of snow in one dump. It wasn't a fluke, resort owner Laszlo Vajtay told me as he pulled up National Weather Service radar images of the storm. Precipitation spanned all the way from Manhattan to Albany in the image. The red dot in the center of the maelstrom was positioned precisely over his mountain.Vajtay, 56, started skiing at Plattekill when he was 7 and never left. He taught skiing, met his wife, Danielle (also an instructor), proposed and got married there. In 1993, he bought the place. The Vajtays didn't have deep pockets, so when their ancient DMC 3700 groomer broke down, they hired a nearby mechanic, named “Macker,” who learned how to fix it. He fixed all of the groomers on the hill, then refurbished an older model that Vajtay bought for a song. In 2014, Plattekill became the only authorized Bombardier service center in New York and Pennsylvania.Meanwhile, one of their snowcat clients asked them to work on their snow guns as well. There was no snowmaking at Plattekill when Vajtay bought it; the Platty crew cobbled one together from used guns and pumps they salvaged from old fire trucks. They took the job on and now part of Plattekill's business is also repairing snow-making equipment and lifts throughout the Northeast. “We run this place like they run farms in the valley—no debt,” Vajtay said. “The one time we had to borrow, we asked our skiers to chip in for a new lift. We paid them back on time, with interest.”Vajtay's standard look is one of excitement, or shock. His clear blue eyes are penetrating, and his gray hair is usually messed up by a ski hat or helmet. The “shock” part is real. He is genuinely amazed at how well he and his crew have done with a small ski area in an era when many others have gone belly up. Sixty-five resorts in New York have closed in the last 40 years, according to the New England Lost Ski Areas Project.In the new world of mega resorts, Plattekill is a time capsule of the way things used to be—steep runs, wild-eyed locals, friendly staff, boot cubbies, $2 frozen pizza slices, and an oversized base lodge bar, where auburn alpenglow settles on the last skiers of the day cruising down. The hand-hewn rafters, deer antler chandeliers, stained pine paneling, antique snowshoes and skis hanging on the wall reel the clock back to the 1980s, '70s, '60s —when televisions received three channels, every car had 300 horsepower under the hood, politicians were accountable for their actions, and all anyone in the Northeast wanted to do in the winter was sleep and ski.Laszlo Vajtay is not just the owner of Plattekill, he grew up skiing there. He and his wife, Danielle, run the ski area like a farm--debt free. They also run it as a family. Above,It's easy to fall into that world at Platty. The day we arrived was the Friday before the annual “Beach Party.” The ticket-seller-bartender-receptionist-office-manager-landscaper gal took a break from blowing up balloons and unfolding last year's tiki decorations to give us tickets before Vajtay took us on a tour of the grounds. Here was the PR-mountain-ops-ticket-sales-manager's office; there were the ski lockers; there was the cafe and the cabinet-sized ski shop run by George Quinn—who wrote two books about ski history in the Catskills and knows the range better than anyone since Rip Van Winkle. Lastly, Vajtay showed us the main eating hall, where a circular fireplace flickered in the middle of the room, itself an actual invention of the 1960s that now absolutely vibes the place with a '60s aura.Out the double picture windows at the northern end of the Blockbuster Lounge was a quiver of double-diamond runs Platty is known for: Blockbuster, Freefall, Plunge, Northface, all of which are pitched straight down. At the top, a long, wooded ridge hems in the resort.Vajtay had rounded up a scrappy crew of locals who were anxious to go, including Scott Ketchum, a longtime local who moved to Phoenicia the same week that Jimmy Hendrix played at Woodstock a few miles away and grew up skiing Simpson's rope tow. After a quick introduction, Ketchum offered to show Reddick some leftover powder in the trees while Vajtay and I talked.Turned out that, at Platty, “leftover powder in the trees” was code for: traverse 45 minutes east across the ridge; find a foot of fresh a week after the last storm; plenty steep and plenty of vertical; bad route-finding at the top; a thicket of trees so dense it became impossible to simply get down; multiple over-the-handlebar moments; broken pole; run-in with an ornery neighbor who had fired a shotgun over someone's head the week before; a few laughs; and, finally, a smelly pig-pile ride in a pickup truck back to the resort.On Snow OperatingLaszlo referenced a podcast episode that I recorded with Snow Operating CEO Joe Hession. Listen here.Laz also talks about Hugh Reynolds, who joined me on a different podcast episode. Listen here. On the Olympic Regional Development AuthorityWe talked extensively about the Olympic Regional Development Authority (ORDA), which manages three ski areas owned by New York State: Belleayre (which is right down the road from Plattekill), Gore, and Whiteface. Recent NPR reports detailed the stunning level of taxpayer funding channeled into ORDA's coffers over the past six years:Standing in the boardroom of New York's state-run Olympic Regional Development Authority in Lake Placid, CEO Mike Pratt spread out photographs of Olympic sports venues in Beijing, Berlin and Sarajevo that lie abandoned and in ruins.His message was plain: This almost happened here.Pratt convinced New York state to bet on a different future, investing huge amounts of taxpayer cash rebuilding and modernizing the sports authority's venues, most dating back to the 1980 Winter Olympics."The last six years, the total capital investment in the Olympic authority was $552 million," Pratt said. "These are unprecedented investments in our facilities, no question about it. But the return on investment is immediate."NPR found New York state has actually pumped far more dollars into the organization since Pratt took the helm, with government documents showing the total outlay closer to $620 million.You can read more here. It's an incredible story.On Ski Cooper's controversial season passI asked Laz and Danielle about Plattekill's longtime reciprocal partnership with Ski Cooper and where they stand on the controversy around it. I've covered that extensively here, here, and here.On Mount Bohemia's $99 season passI've covered this extensively in the past, but my podcast with Boho owner Lonie Glieberman goes into the whole backstory and strategy behind the mega-bargain pass at this ungroomed glade kingdom in Michigan's remote Upper Peninsula. This year's season pass sale is set for Nov. 22 to Dec. 2. The $99 pass no longer includes Saturdays – skiers have to level up to the $109 version for that. Bohemia also sells a $172 two-year pass and a $1,299 lifetime pass.The Storm explores the world of lift-served skiing year-round. Join us.The Storm publishes year-round, and guarantees 100 articles per year. This is article 67/100 in 2023, and number 453 since launching on Oct. 13, 2019. Want to send feedback? Reply to this email and I will answer (unless you sound insane, or, more likely, I just get busy). You can also email skiing@substack.com. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.stormskiing.com/subscribe

In this episode of WorkTape, we delve even more deeply into varying music biopics. From Andre 3000's iconic portrayal of Jimi Hendrix to highly anticipated releases on Bob Marley and Michael Jackson. Here, we shed light on the challenges of music rights, the influence of artist estates, and the undying impact of music legacies. For a compelling dive into the intersection of music, film, and history, listen in to get your dose of industry insights, and some candid opinions!Episode Highlights:Did Andre 3000 portray Jimmy Hendrix well?Why was there a lack of Jimmy Hendrix's music in the biopic?How can the involvement of an artist's estate influence the making of a biopic?How does a biopic strike a balance between traditional elements and innovative storytelling?Why hasn't there been a Frank Sinatra biopic?

With a retrial looming, Leon faces mounting pressure to strengthen his defense. He enlists the help of Jimmy Hendrix, a skilled private investigator known for persuading even the most reluctant alibi witnesses to come forward. Unfortunately, an ill-fated decision from the defense undercuts Hendrix's hard work.Follow Suspect: Five Shots in the Dark wherever you get your podcasts. You can listen to Suspect early and ad-free on Wondery Plus. Find Wondery Plus in the Wondery App or on Apple Podcasts.Please support us by supporting our sponsors.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Night has fallen on the campground, and the party is dying down. The crickets hum – punctuated by the occasional, startling pop and crack of embers from the dwindling fire, like exclamation points for warnings you can't hear. When suddenly, just beyond the smoke, the flames illuminate a strange figure. Some thing inhuman, with two hollow bulging black eyes. Eyes that have been watching you from the dark. From an unsettling Cynocephaly encounter in the Woods of Ottawa, to a conjured vampire prowling  a Pennsylvania suburb. Join us on this episode of Belief Hole as we present compelling accounts of encounters with creatures assumed to be myth, unsettling disturbances with bedroom spacetime, and sentient craft watching it all, from just above the trees.

Too many women age themselves by saying they are too old to do something. That's not true. You know Diane Gilman from QVC and the Home Shopping Network. She does not believe there is any age women have to say it's too late to achieve their dreams. At the age of 60, she sparked a denim revolution by founding what became a multi-million dollar company called DG2 Jeans. Dubbed the Queen of Jeans, designer Diane Gilman revolutionized women's fashion, turned sexism on its head, and went on to sell millions of her blue jeans inspirations for mature women on television. She became the number tele-retailing company for nearly 20 years with the Diane Gilman Collection and DG2 Jeans. Diane is a champion for women and is also a breast cancer survivor. Her designs began at an early age when she sold be-jeweled jeans to stars like Janis Joplin, Grace Slick, Jim Morrison, and Jimmy Hendrix in the 1960s. She is now the author of a bestselling book Too Young to Be Old: 25 Secrets from TV's Blue Jean Queen. Learn what motivates this amazing lady and get inspired for your own success at any age in this episode of Women Road Warriors with Shelley Johnson and Kathy Tuccaro. Please subscribe to our podcast. It's free.https://thedianegilman.com/https://tncradio.live/#Women #EmpoweringWomen #Sexism #Ageism #Youth #ForeverYoung #WomensFashion #Success #Careers #Dreams #QueenOfJeans #DianeGilman #G2Jeans #DianeGilmanCollection #QVC #HSN #WomenRoadWarriors #ShelleyJohnson #ShelleyMJohnson #KathyTuccaro #TNCRadioLive

The nightclub scene was magical in Chicago's South and West sides in the late 1950s and during that time, white kids from the suburbs were finding The Blues at the end of their radio dials, buying the records, studying the music and traveling down to the clubs to meet and play with their idols!That story is told in the new Bob Sarles film, Born in Chicago. We are joined by musician/bandleader Jimmy Vivino and Blues legend Barry Goldberg who, along with Mike Bloomfield and Paul Butterfield, learned his craft at the feet of Muddy Waters, Howlin' Wolf, B.B. King and Buddy Guy. Barry and Jimmy created the film's soundtrack and they are steeped in the history of Chicago Blues and loaded with stories and wisdom about class, race, inter-generational guidance and the joy of sharing and celebrating an art form that contains the power to transform us for the better.Barry and Jimmy give us a full account of the evolution of blues and blues rock from the '50s through today. Barry tells us about sitting in with Muddy Waters and Howlin' Wolf as a teenager and his frenemy relationship with the British invasion acts like The Stones and Eric Clapton who also idolized the Blues greats. He talks about playing in one of our nation's first racially integrated bands, Electric Flag and his experience on stage with Dylan when he “went electric” at the Newport Folk Festival.Jimmy and Barry describe composing the documentary's soundtrack & more and the blues standards that informed their musical choices.Plus, Fritz and Weezy are recommending Shiny Happy People: Dugger Family Secrets on Prime and Fair Play on Hulu and Prime.Path Points of Interest:Born in ChicagoBorn in Chicago - IMDBQ&A with Directors in Chicago ReaderBorn in Chicago on FacebookJimmy VivinoJimmy Vivino on WikipediaJimmy Vivino on InstagramJimmy Vivino on FacebookBarry GoldbergBarry Goldberg on WikipediaBarry Goldberg on imdbShiny Happy People: Dugger Family SecretsFair Play - Prime/Hulu

Bill Field returns from the exciting life of television production to host and interview comics historian Alex Grand & medical marijuana pioneer Joshua S. Berman about their award-winning graphic novel, Hashman about real-life raconteur 'Joey Berkowitz' and his life in the vice world of the illegal and legalized cannabis trade.  Hashman available on Amazon.com, Barnes and Noble and other online retailers.Hashman Trailer here: https://youtu.be/0j2FALN9KbQHashman synopsis: Award-winning graphic novel about Criminal-turned-psychologist Joey Berkowitz whose complicated past, extends through East Coast mobs, the psychedelic 60s, the New York celebrity drug culture, Berkeley Peace movement, the Paris riots, Altamont, Woodstock, laundering money in Southeast Asia, and sitting meditation courses in Tibet. Join Joey as he manages to escape prosecution time and time again by the seat of his pants, ultimately becoming a noteworthy shrink in Seattle where he manages to find himself as a central figure in the worldwide cannabis legalization scene as its most notorious authorizing doc, dispensary financier, and industry stalwart. Will he make it thru? Or will the law finally catch up with him?Hashman is important because it offers a true snapshot of life as a hustler in the late 20th century American pop culture landscape, and how he enters the modern era, offering a view of the underground world of cannabis, and how it evolved for the last 5 decades from its seedy roots to a sterile and legalized corporate venture. Get a front row seat in how the massive need for security, rooted in a childhood trauma, can mix with greed and an obsession for vice to eventually lead to one's personal destruction.Based on a series of interviews with eye witnesses, court reports, and newspaper articles carefully used to construct an authentic and visually visceral ride through the life of a well connected cannabis pioneer.Edited & Produced by Alex Grand.  Images used in artwork ©Their Respective Copyright holders, CBH Podcast ©Comic Book Historians. Thumbnail Artwork ©Comic Book Historians.XR MOTIONExperience the Future of Digital Art with XR Motion! 3D, VR, AR, AI, NFT, Motion GraphicsListen on: Apple Podcasts SpotifySupport the show

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

How should the Lakers play tonight to be able to get a 3-1 lead over the Warriors tonight? We put up a poll! Mychal says he saw Bob Marley perform and Pepe says he saw Jimmy Hendrix. Who is a bigger Legend? Plus, If a singer says he/she is having voice problems and can't perform. Does the fan base have a law suit against them? and another edition of GAME OF GAMES as Mychal Hosts the game and SUPER CORASSTALK with SEDANO and KAP! Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode Mark A Bernardo comes back behind the mic to talk music and anything that comes to mind with Dee Rotten like is Jimmy Hendrix the best guitarist of all time, the new Metallica album and much more. Hosted by: Dee Rotten, Mark A Bernardo Guest: (Music) (Dee Rotten Social Media) https://www.instagram.com/dee_rotten/ (Johnny Riffs Social Media) https://www.instagram.com/johnnyriffs32/ (Pateron) https://www.patreon.com/fromthedungeonpodcast (From The Dungeon Social Media Web Pages) https://www.instagram.com/fromthedungeonpodcast/ https://www.facebook.com/fromthedungeonpodcast/ https://twitter.com/FTDPodcast (FTD T- Shirts) https://tonethreads.com/fromthedungeonpodcast (Famcast Media T-Shirts) https://www.tonethreads.com/famcastmedia/ All music is owned by the artist, and played with the artist consent. Recorded and edited by Dee Rotten

We've got a hunch... this podcast outta be defunct...but not before we ride the psychedelic wave into becoming the best podcast about the Funkadelic and the 136th greatest album of all time, Maggot Brain.    If your expectations for this episode were low, we delivered when we take a voicemail about studying abroad, discuss exotic animals, and provide a music video breakdown of DJ Snake's and Lil Jon's Turn Down for What, which is certain to give you an RHE. We also discuss bar hopping, how long to wait at a restaurant, and desert sharing etiquette. Turns out that if you base your desert sharing on credit, and the carrot cake is gone, checks you signed with cheesecake in the fridge, come back insufficient funds.    Then at (47:00) we move on to some other strains of thought when we discuss Funkadelic's third studio album, Maggot Brain. We discuss Jimmy Hendrix's influence on George Clinton and Eddie Hazel, Funkadelic's influence on hip-hop, and the best songs with deep bass voices.    Rumour has it that next week we'll become the best Adele podcast when we go rolling in the deep in her second studio album, 21.

Welcome to the Adams Archive. Hosted by Austin Adams, we explore the wild, bizarre, and often unsettling events happening across the country and around the world. In today's episode, we expose the shocking belief that the FBI conducted a false flag on its own people on January 6th. With evidence that even the left is starting to acknowledge, we uncover the implications of this belief on society as a whole. We also explore historical parallels and eerie similarities to other events, including the Governor Whitmer situation and events dating back to the 60s. But that's just the tip of the iceberg. We also discuss a disturbing new patent filed by Ford, which would allow them to take control of your car and even drive it to an impound lot if you fall behind on your payments. And if you thought things couldn't get any crazier, we delve into Spain's recent legalization of bestiality and the legislation behind it. But the most shocking revelation of all is about Disney. Something darker than anything we've discussed before. We'll reveal the details of this disturbing discovery and its implications for our culture and society. Don't miss this episode. Hit that subscribe button now to join us as we navigate these compelling and thought-provoking topics. If you enjoy the show, please leave a five-star review and help us climb the ranks. Let's jump into it. Join our Substack and follow us: https://linktr.ee/theaustinjadams   Transcription:        hello, you beautiful people and welcome to the Adams Archive. My name is Austin Adams, and thank you so much for listening today. We are going to be touching on some wild  wildness going on across the country right now, including 61% of all voters, not just Republican, but all voters believe that the FBI conducted a false flag against its own people on January 6th by using Agent Provocateurs. Crazy. I, I, I did not expect the left to agree with that, but apparently they're starting to come around and, and so we'll go through some evidence of that. We'll talk about the implications of society as a whole, agreeing with that point as, as a, as a majority at this point, and then we'll go into some historical. Historical, uh, coincidences, I guess not coincidence, but parallels, , of other events which kind of look eerily similar to that, including the governor Whitmer situation, if you haven't heard about that one. And then some all the way dating back to the sixties. , we're also going to talk about a new patent, which was filed this week by Ford, which would allow them to basically take over your car, shut down your air conditioning, eliminate your ability to roll down your windows, and actually drive itself to an impound lot if you find yourself behind on your payment. So we'll talk about that, which is pretty crazy in and of itself. We are also going to dive into the recent situation, uh, regarding Spain. Basically legalizing beast. I didn't expect that to be out in today's episode, did you? ? So we will talk about that. The actual law in legislation that was passed as a result, to make that happen. And then last but not least, our final topic of today, and the one that we'll touch on the longest is going to be a revelation that actually was passed to me by my wife regarding Disney now.  It's pretty dark. It, it's probably darker than the other situations that we've heard of combined. It's, it's pretty crazy and I don't think it's anything that anybody has touched on at this point. And, uh, we'll talk about all of it. All right now, in the meantime, Go ahead and hit that subscribe button. It would make me feel all fuzzy inside. It would make me feel so good. Hit that subscribe button. You know, I'm gonna hit it in about halfway through this episode and ask you to do the same. So you might as well get away from that feeling that you have in the pit of your stomach. When you know that, I'm going to ask you again, get it outta the way. Hit that subscribe button. If you're new here. If you are not new here, and even if you are, leave a five star review. All right? I would appreciate it. From the bottom of my heart, those five star reviews completely help get us up in the rankings, and Lord knows we need it to have these types of conversations surrounding these terrible tragedies that are going on in our country and around the world. All right, so leave a five star review. If you would write something nice. I don't know. Whatever it is. Whether it's about my, you know, I don't know, my silly hair or my crazy, I don't know. Whatever it is, write it down. Talk about your favorite topic. I don't know. But write something and leave a five star view. All right. Thank you so much. , and let's jump into it.   All right. All right, let's get into it. But first, head over to the CK Adams, not adams, austin adams.ck.com, and you can get our podcast companion free of cost for now. Um, sign up now. I would appreciate it. You'll get all the clips, articles, links, videos, all of it directly to your email every single week. And, you'll be able to get all the articles that I wrote up surrounding these topics for you. So Austin Adams dot.com, that's all I got. The very first article that we're gonna be talking on today is going to be that 61% of all American voters believe that the FBI conducted a false flag against its own people on January 6th by using Agent Provocateurs. You heard that right? 61% of American voters. Now, that's not 61% of Republican voters. That's 61% of all voters, liberal conservative. Middle of the road, libertarian, uh, what were those, uh, people who, I don't know, green party, whatever the hell you, you believe in whichever of these religious sex you find yourselves in 61%. A majority, a vast majority. It's not 51%. It's an astonishing 10% more than being split down the middle. Believe that the FBI in the American government set up the American people to cause this coup like situation at the Capitol right now. There's some things that we saw originally that led us to believe this. I think if you've been following me for a while, you know, I've done whole sections of this show in, in portions of this on Ray. And maybe I'll talk about him a little bit later, but Ray Eps is at the epicenter of all of this. And then you go all the way back to Ted Cruz questioning the fbi. And I believe it was like the head of the department or one of one of those higher up people. This woman who sat there without answering a single question about this would not give a straight answer at all. But now we have the majority of the country believing that our own government is willing to set us up to cause a violent reaction, just to get, I don't know, some, some pushback or belief surrounding Joe Biden or against President Trump. And this should tell you everything that you need to know about the Trump presidency. You saw all of the mainstream media just going after him, going after him, and now we know, or at least 61% of the American populists believe that our own government, our own government, put people in harm's way and had Ashley Babbitt killed in the Capitol building as a result. of their own Provo Pro Provocation. Is that a word? Provocation? Provocate Provo. Provocation . And you go back to all the clips. They still will not release the video footage. Still will not release the video footage. How many, how many years? January, 2021. January 6th. We are now two years past this event, and they have 80,000 hours of footage and they won't release it. I wonder why. Maybe because it shows police officers letting people in with waving arms, removing barricades, unlocking doors. Maybe because it shows the tragic death of Ashley Babbitt in a way that isn't helpful to the FBI's agenda or Biden's agenda. Maybe. So here's the evidence, or, well, maybe not the evidence, but here's the article. Explosive new polling data has just been released and it has the potential to shake the very foundations of the American democracy. According to the latest Rasmus employee, stunning, 61% of likely voters, including 50 per 57% of Democrats believe that federal agents play a role in inciting the Capitol riot of January 6th and 2021. This means that a majority of Americans believe that their own government may have had a hand in one of the most traumatic events in recent American history, and maybe not traumatic, but dramatic might be the more P likely of terms. The poll respondents, how likely it is it that undercover government agents helped provoke the Capitol riot, and the results are shocking. Of those surveyed, 39% said very likely, 22% said somewhat likely. That means a grand total of 61% of likely voters believe that federal agents played a role. The poll also revealed that 59% of men and 63% of women believed that federal agents had helped provoke the capital riot. This majority of voters who believed the capital riot was not simply a natural occurrence breaks down among political party affiliations as well. 57% of Democrats said it is either very likely 34%, well, 34% total. 57% of Democrats said it is either very likely or somewhat likely, very likely being 34%, somewhat likely being 23%. While Republicans, the numbers are 51% said very likely, 19% said somewhat likely. Wow, that's pretty crazy. Many across the media have already questioned the idea that Trump supporters watching then President Donald Trump had taken it upon themselves with no provocation. Hey, provocation, this award to walk from the ellipse of the capitol and demand entry. Tucker Carlson is one of the many who stated his belief based on photos and eyewitness accounts that federal agents have been encouraging Trump supporters to enter the Capitol building. Going back to Ray Abs, it's, we're going into the Capitol. You remember that video into the Capitol. Tomorrow we're going into the capitol. Him sitting there inciting these people while everybody around him points their finger and mocks him going, fed, fed, fed, fed, fed, pointing at him, calling out in the moment. We didn't need two years to decide this. The people that were there and saw this man saying we're gonna go into the capitol, knew immediately, knew immediately that he was a federal agent, trying to provoke them into some sort of riot. They were priming the public, priming the people that were around there the day before this happened to cause this to happen. And again, we have an American veteran, Ashley Babin, who died as a result of this provocation. Goes on to say that this idea that the government may have initiated the false flag against itself is dangerous to the overall belief in American democracy. History has shown that when the public loses face in their government institutions, it can lead to destabilize, destabilization, and unrest. The Rassmuson Poll also asked likely voters whether they thought that the hours of surveillance footage captured on the day should be released to the public. An overwhelming majority of American likely voters, 80% total believe it's important that the footage be released while majority of both parties weighing in that the public has the right to see the footage. Now, what does that other 20% even mean at this point, if you're a 20% saying that we shouldn't release the videos, you're literally just showing your cards that you are somebody who is on the side of Big Daddy government and big brother wanting to like just completely. Like what is it? Ossify yourself like completely. Uh, like put yourself in this cocoon of like against the general world saying that I don't care what the facts are, I don't care what the reality is. My reality is Trump bad man, everybody else, good man. And everything that he does is bad and everything. And it doesn't matter whether he did it or not. It doesn't matter whether our government set him up or not. I don't care. Right? That's what that 20% shows me. The latest polling data adds to a long list of historic examples where the government has used agent provocateurs to incite events from the 10 of 12 F B I agents. We recall this with Governor Whitmer who were involved in the kidnapping of Governor Whitmer to the infamous. COINTEL Pro program run by the FBI in the 1960s and seventies, which we'll get into in a second. There are plenty of instances where the government has used underhanded tactics to achieve its goals. The American people have a right to know what really happened on January 6th, whether the government was involved in any way. Now, that brings up a big issue, right when, when majority of the country, majority of the country believes that our own government inside today riot into our most, like one of the most protected government institutions in the world, one of the most symbolic buildings we have as an American institution. Our own government could have potentially staged this. At least 61% of people believe that. Now, again, what does that mean for our nation when you no longer believe in election? When you no longer believe that our own government has our best interest in mind, when you believe that they will actively incite political unrest in riots, open doors for you to make it happen, and uncaring murder an American veteran, for the sake of your own agenda, the American people are going to start to not believe in this government institution anymore. And what happens? What do we know that happens when, when places like Afghanistan, places like Iraq, places like Mexico, when we have these, these ideas that the, the system no longer works, right? It's rotten from the core, rotten for the structural foundation of our nation is rotten down to its structure, down to down to the, the studs that are holding up the walls riddled with corruption. If you can no longer have a vote or a say in who goes into office, and now all of a sudden we find yourselves with an, I don't know, what is he, 85 years old, blubbering, dementia ridden man who's embarrassing our country at every single turn. When you no longer believe in the fabric of democracy, when you no longer believe that your vote has a a meaning, and no matter what you do, how many people you talk to, how many people actually vote that it will never go the way that you want it to. It'll go the way that the elites want it to. We will find ourselves in historically very violent, unsettled public discourse, which is absolutely not where I wanna see this nation go. But historically, that's what happens, right? When you can no longer vote to use your voice, that's where it. Right, and that's where this will go. Unfortunately, as we thi see things progress, right? If these things continue this way, and the American people can no longer have any, any belief in the people who are running this country, the people behind the curtain, or at least they, we, they pull back the curtain like they have already. And we see that companies and organizations like BlackRock, like Vanguard are actually running the show. People like the World Economic Forum in Clause Schwab, when we know now for sure that the only people that matter, the only people that have a vote are the ones who have a corporation or a wealth management fund large enough to put candidates in place like George Soros, like Klaus Schwab. Those are the people who have a real vote. Now you have the, the organizations that are being ran by those types of people that are being funded by those types of people that are being put in positions of power or, or at least running and managing those people like the puppeteers of the world. Who are operating these FBIs, these three letter organizations, when we know that that's what's going on. We have things that happen like assassinations of presidents, which we are fairly positive at this point. Otherwise, why wouldn't you release the records that they conducted those types of operations? Why should we believe in their government right now? Let's go into the COINTELPRO program or counterintelligence program, which was a secret and illegal program ran by the Federal Bureau of Investigation from the fifties to the seventies. Its primary aim was to disrupt and dismantle political organizations that the government considered a threat to national security, particularly those associated with civil rights, anti-war in radical leftist movements. The PRO program was launched in 1956 under F FBI director J Igar Hoover, and operated in secrecy for many years. The F B I used a variety of tactics to target groups and individuals, including wiretapping mail fraud. Harassment. The Bureau also used infiltrators and agent provocateurs to create divisions within groups and incite violent confrontations. The Conor Intelligent Program's primary targets were civil rights and anti-war activists, as well as groups that advocated for racial equality in the rights of marginalized communities. The program worked to disrupt and discredit these groups by spreading false information, infiltrating their organizations, and using informants to sow distrust and create divisions. So now we want to think that that was so long ago, right? Oh, it's the sixties and the seventies, right? Oh, they would never do that now, would they? How wild. How wild is it that that's where we found ourselves today is that we, we just think the government has all the sudden changed. Right? And, and we see this with people like, you know, is, is it any coincidence that people like John Lennon, people like Bob Marley, people like Jimmy Hendrix, people like the list goes on and on and on of people who randomly died at a young age. And generally it was people who were speaking out against the government, right? John Lennon, anti-war, Bob Marley, anti-war. Right. Speaking out against the, the, um, you know, accreditation or of, or, or for racial equality. Right. People like, uh, people like Martin Luther King. Hmm. Right. All along the same time. You think all those people just suddenly. From natural causes. Right. You think our government didn't have a hand in assassinating some of the single largest and, and biggest opponents and, and dissidents of the public narrative during a time of war that was for the military industrial complex. Do you think that there's not enough money involved in the military industrial complex that they wouldn't do something like that? One of the most infamous pro examples of this was its targeting of the Black Panther Party. The FBI's efforts to disrupt the Panthers included the use of informants, wiretaps, and smear campaigns. The bureau also used undercover agents to incite violent confrontations between the panthers and other groups, including police. The FBI's actions were illegal and violated the civil rights of countless individuals and groups. The program was eventually exposed in the 1970s, and many of its tactics were officially deemed unconstitutional. However, the damage has already been done and many civil rights and anti-war activists were subjected to harassment. And persecution by the government, not to mention potentially assassinations. It was a dark chapter in the American history that serves as a reminder of the dangers of unchecked government power. The program's tactics were illegal and violated. The civil rights of countless individuals and its legacy still resonates today and the ongoing struggle for social justice and political freedom. This should spark complete outrage from the entire country. All right, so that's to me, the fact that 61% of people all agree. That's one of the only things that we're gonna get a majority agreement on from the country right now. 61% of poli people believe the FBI set up January 6th. All right, now let's move on. Okay, so the next topic that we're gonna touch on is going to be that for. Motor company has now put a patent in to be able to surveil you. Shut down your vehicle, turn off your air conditioning, everything in between. If you get behind on the on the car payment, big Brother is watching you and now he can take your car too. Ford Motor Company has applied for a patent on a new technology. It says that would allow them to remotely repossess your car if you failed to make a payment. Just, just a payment. The proposed system would give owners a warning about a mis payment before disabling certain features such as gps, air conditioning and the radio. But if you continue to neglect your payments, the car can then lock you out of it and drive itself autonomously to an impound. What  that is the craziest, do you remember the movie? It was a Disney movie called, uh, what was it, like Smart Home or, uh, gosh, what was it? Pretty sure it was something like Smart Home. It was like this exact scenario. It didn't have to do with payments, but it was like basically the, this ai uh, you know, hologram of a woman was the, uh, was the manifestation of the house's technology and the, the house saw these people doing things that it didn't like. So it locked, it went into lockdown mode and they couldn't even leave their own house. Right. It it. So we'll go into that analogy a little bit further in a minute cause I think that's an interesting one. Um, but Ford's patent application states that the lockdown feature could be lifted momentarily in case of an emergency to allow the vehicle to travel to a medical facility. But it also proposes a possible caveat where delinquent owners working toward clearing their balance would have their car locked only on weekends to allow them to go to work and earning income to make payments toward their vehicles. Could you imagine your daddy, corporate daddy is now going to take your keys on the weekend and not allow you to drive your car, which you purchased it, and own , at least I'll own the loan on. Um, if you miss a payment, this life is getting crazy, this type of surveillance. Base lending, it says, is an infringement on personal privacy and raises serious concerns about the growing trends toward connected vehicles in electric cars. As cars become increasingly digital and reliant on technology, there is a greater risk that our personal information and rights will be compromised. According to Ford, the system is designed to solve the issue of uncooperative owners who attempt to impede the repossession operation and can lead to confrontations. But this type of technology could also be used to target vulnerable individuals who may be struggling to make payments in face losing their cars, which is often a critical lifeline for Americans. The patent application filed in August of 2021 was formally published last week for public review. A company spokesperson said the patent submitted as a normal course of business. They said, but they aren't necessarily an indication of new business or product plans. Yeah, okay. We believe you Ford. Regardless of Ford's intentions, this type of technology is a clear example of how movement towards connected vehicles and electric cars is going to inherently mean more technology that only infringes further on personal rights. We must remain vigilant and advocate for stronger privacy protections to ensure that our personal information and freedom are not compromised by these new technologies. Okay, so think of it like this. Compare it to your house like we talked earlier, right? Imagine coming home after a long day and find that your fridge, TV, and air conditioning have all been disabled. , because you're behind on a house payment, right? Imagine sweating being in 90 degree heat in Arizona, 110 degrees outside, and they're just. Making you lose weight every minute because you can't make your payment. Like is it not enough that you're behind the payment anymore? Is it not enough that you have the shame of, of creditors calling you or getting the potential of your car, getting repossessed or feeling like you, that it is so wild to me that they want to shame you to the point where they will lock your windows, turn, not allow you to listen to the radio and disable your car on weekends because you can't make a payment. Shame on you. So if we apply the same logic to homes, we can see that a future where our appliances, electronics, and even doors could be locked, right? Your ba, let's say you have a patio, they no longer want your patio door to work. So you gotta walk out the front door and walk all the way around to your back patio. right? You can no longer use the second bathroom. You all gotta use the first bathroom. Oh, and by the way, we're gonna lock the other three rooms in your house and just allow you access to one room. You can all sleep on the floor there. We're not letting you in. Right? All the amenities that come with that home that you purchased right now, think of who this is targeting, right? This is targeting low income. This is targeting ar areas of people who are, you know, going to get into these types of loans unknowingly or without the ability to make these payments. This is gonna target a, a majority of, of minority communities, which are historically in these communities where they're having more difficulties financially, right? Statistically and factually. That's true. And so this is going to be targeting them specifically to do things like this, right? It's not just being limited to cars in the future, right? You can limit this to everything. You can limit this to your cell phone, right? Imagine having everything on your phone, disabled, all of the apps, all of your social media, all all of the stuff besides phone calls to Verizon, to, to your, you know, mom and your dad into 9 1 1 because you're behind on, on a payment. I guess Verizon kind of already does that, right? If you miss a payment for long enough, they only allow you to make a phone call, but you can still connect to wifi, right? So you still have access to all those things, right? They're just not gonna pay for you to go do. It's like if they, I don't know, some analogy with gas  or like charging, I don't know. Um, but yeah, just, just think of all the applications. Right there. There's so many ways that this smart technologies, this surveillance big brother technology can be utilized in the future and, and that is a future that I don't want to be a part of. I want to get in a car and press down the gas, and I want gas to be siphoned and I want it to do whatever freaking magic that happens in an engine. There's probably some mechanics listening to this that just want to shake me for not knowing exactly how that works. I want a combustion engine bitch, and I want to be able to put gas in it from the earth that was mined in Saudi Arabia or from some foreign land, or from Canada or Alaska. I want to put liquid into it, and I want to drive by a government building with my middle finger up. That's what I wanna do because there's nothing you can do to stop me from moving. To stop me from driving my vehicle from, from freedom of transportation. And that's what you're gonna find. And we did our last episode on smart cities, right? 15 minute cities is what they're called. And this is another piece of that, right? They don't want you to have vehicles. They want you to own nothing and be happy about it, right? They don't want you to have the freedom of transportation. They don't even want you to be able to drive 15 minutes away. Well, 16, right? They don't want you to have that freedom. They don't want you to have any freedom. Not unless daddy government or daddy corporation, which is truly what daddy government is, has a say so in it, right? And, and, and what we're finding now is like all the people that you know, I am, I am absolutely for capitalism. What we are now is not capitalism. What we are now is corporatism, right? Our government, our institutions, our colleges, our voting processes, our candidates, our. education systems are media, corporations. Our news, the, the shows that your children watch are all owned by corporations who have corporate interests, right? And I've talked about this before. When it comes to corporations, a corporation is a living, breathing entity, right? At least once it gets shareholders, when it's a business, once it, once, it's a, a small business and it goes to a PORs, a, a, a position where it's publicly traded, where there's board members and the CEO who only acts out the po the the needs of the board members. And when they don't, they get removed and kicked out and the new CEO comes in. When you get to a point where a business goes away from having a leader who is truly at the helm, where it is ran by board members, it loses its humanity. It no longer has a moral compass. The only compass it has is off of profitability. , right? So when you have a corporation that has to determine whether or not it should, I don't know, release some type of hmm. Virus so that it can make billions in profits, that doesn't seem like a bad business model to the board members who are just trying to make a profit whose CEO has to enact those decisions or fear being removed from their multimillion dollar position, right? That the entity only thrives off of profitability. It doesn't thrive off of helping humanity. It doesn't thrive off of giving, giving to the needy. It doesn't thrive off of educating the public. It doesn't thrive off of any of these things. It, it thrives off of profitability, right? And profitability is off of the, generally, off of the detriment in, in many cases when it comes from a corporation. To society, right? When we look at things like the, the tactics that were used by cigarette companies back in the eighties and seventies and even early nineties, right? Like when we look at the ways that they lobbied physicians to use their name and say that this is the doctor recommended cigarette, try Merl Burrow Red. Recommended by two out three doctors. Little did you know, they surveyed three doctors, two of which they paid $5 million for that advertisement, right? When you have all these black hat little marketing tactics that drive profitability ran by the ceo, who trickles down to the to, to everybody in between, that's all based off profitability that that loses its moral compass, right? There's no longer somebody there to go, I don't like where this is going, and if they feel that way, they can't say it because the second they say it, in an organization where it's ran by board members and not a leader with a moral compass, it loses all of that humanity to it. It has to continue to thrive off of more profitability. Now, the other thing is growth, right? A company has to continually grow no matter what. When you have a company like Pfizer who made billions of dollars off of their vaccine, . You think next year they're gonna have a 30% drop in revenue and their board members and shareholders are gonna be okay with that? No. The bar has been set and now it has to be exceeded every single year. Or it's a loss or else their share, their stock price goes down and they can't have that. So what do they do? Again? Record year record numbers, record profits for everybody involved in the company, you know, except the employees, the people who did the work, and also humanity, who so happens to die when we profit so much money. But you know, let's forget that, you know, not to mention the Project Veritas video, where they actually said that they were actively working on messing with Coronaviruses intentionally to potentially put out vaccines preemptively. Hmm. It doesn't stop at Ford Motor Company folks. Does not stop there. All right. Now the next thing that we're gonna talk about is going to be that  Spain. I can't even get this one out. I, this is so bizarre to me. I, it's, it's so bizarre to me that this is a conversation that I'm having to have in the bizarre move. The Spanish Parliament has approved a new animal welfare law that essentially legalizes bestiality in Spain. They pass legislation that legalizes bestiality, but there's a caveat as long as the animal doesn't get hurt too badly. Yeah, yeah, I heard that. Right. It's now perfectly legal to have sex with an animal in Spain. As long as you don't. To bring them to the vet afterwards. , according to a new law, if you're caught in the act of sexually exploiting an animal, they don't req that and they don't require veterinary treatment. You won't face any criminal charges, right? Who needs consent when you got a nice legal loophole to screw your dog? Now, it's not just the fact that bestiality is now technically legal, that's so shocking. In this case, it's the fact that the law was supported by Spain's Minister of Social Rights and 23 Agenda. That's their title, supporter, Spain's Minister of Social Rights, and 2030 Agenda. That's the title of this person. So if that tells you anything about where this is going, and this person's name is Ian Valara Ortega. I don't know if I pronounce that right, but it's probably better than you would've done . Let's be honest. I. Let's, like seriously, what kind of world are we living in? Were our government actively, not our government, but the Spain government, maybe they're a little freakier over there, but actively advocates for animal abuse. Now, of course, like almost every other country, bestiality was previously illegal in Spain with hefty penalties for anybody caught in engaging in this disgusting act. But the new welfare law reforms the penal code and deletes the sexual exploitation of animals language from the code. So imagine that they had a vote on this. They sat down as a group and decided that they wanted to be able to have sex with animals . So they actively removed exploitation. It deleted the sexual exploitation language from the code. Right. In the year 2023, we are actively having to fight for the basic rights of animals, not to be raped by its owners, not even its owners. You could probably, I mean, I wonder if we're gonna see a very large uptake in uptick in Spain, farmers, . Like all of a sudden people are just having a tremendous amount of livestock and donkeys, . Now, um, this a, you know, it, it's so crazy. A animal cannot consent to a sexual act. I don't know why I have to say that. Right? But an animal cannot consent, right? They don't speak English right now. How, how, how soon until we start seeing brothels full of horses and dogs and whatever else is good dolphins aren't dolphins like supposed to be? I'm pretty sure there's like, Some accounts were dolphins were like raping people in, in the ocean where they would like, that's a highly reported thing where like women are in the ocean and, uh, dolphins, like, I'm pretty sure there was a woman who actually like, had a dolphin boyfriend that was like a trainer or something that got fired for having sex with this dolphin so often So maybe there's something to this. Maybe we're gonna find that Spain just is such a happier country. Maybe we'll find that, I don't know hu human rape statistics go down, but that I highly doubt it. Right? We're gonna see a whole market that's surrounding which, which horses? The prettiest. They're gonna start putting lipstick on horses at, at auctions. Right. How, how, how, how weird that we're even having this discussion right now. And here's the better answer to this, is there's absolutely nobody who's going to have something happen to the animal that they did this to, and then actively go seek out a vet to correct the issue. Like, Hey, sorry, I was. Having sex with my cat now it has this weird kink in its neck and it only meow is backwards. Uh, , I don't know. Right? And you're gonna have some weirdo sicko specifically just having a farm in the back of his house so he can have his way with all of these animals in Spain. Now you don't think that that's gonna be a thing, but this somebody somewhere in Spain is gonna, he's gonna be that guy Okay? Now I don't know what else to talk about on that, other than the fact that I am utterly shocked. Utterly, get it. didn't even have that one written down, folks. All right. Now the last and final topic for the day is going to be.  probably one of the darker things that we've talked about here, right? This is dark Disney is grooming our children, and the is far worse than you could have ever imagined. We're not talking about Baymax and tampons. We're not talking about like Luna Moon, the superhero and pronouns. We're not talking about the pride family pushing critical race theory. All right. Are you, are you ready to have your childhood ruined? Because this doesn't just encompass the new and up and coming shows. This isn't the new liberal woke Disney. This is a theme that has woven through the fabric of almost every TV show and movie that has come out of Disney since we were kids and even before that. All right, are you ready? Now my wife came to me with this realization on one of our children's shows that they were watching, which they will never watch again. All right. My wife came to me and she said something weird that I didn't realize before is it seems like Disney has an overwhelming amount of TV shows where the child keeps a secret from their parent and confides in their uncle. All right? So I took that information and ran with it. After running a comprehensive analysis of all Disney shows, popular AI Chatbot chat, G P t concluded, concluded that 40. Of TV shows on Disney feature, a storyline where the child keeps a secret from their parents and tells it to their uncle. Let me be clear. This is not just some lame plot theme. This is a sinister grooming tactic that every single parent and human should be outraged about. This is absolutely disgusting. Okay, I have 28 examples of this in front of me, and I will read them all off for you. Okay. I'll read them quickly and then I'll go into the details. Lizzie McGuire, Kim. Possible Austin and Allie. Shake it up. Good luck, Charlie. The sweet life of Zach and Cody. Wizards of Waverly Place, gravity Falls, Finns and Ferb Big City Gardens, the proud family, the Emperor's New School. Lilo and Stitch. The series Tangled. The series, Casey Undercover, stuck in the middle. Sydnee to the Max Bunked, the Sweet Life of Zach and Cody. Girl Meets World. Raven's Home Live in Madie. Jesse, good luck, Charlie, Austin and Allian. Those are just some of the shows that were pointed out by chat, G B T, just some of them. There was almost a hundred TV shows that I got to point this common theme out for, and it equaled, according to this AI technology, 30 to 40% of the TV shows had a theme to it, including this. Now, I'll walk you through this. I'll just give you some really, really brief overviews of these TV shows. Um, It's quite alarming. All right, here's Lizzie McGuire. Lizzie McGuire confides in her uncle David Gordon about her struggles in school and her crush on the classmate Ethan. Instead of her parents, Kim possible keeps her secret life as a teenage spy, a secret from her parents and confides in her uncle, who is also a former spy Austin thee. Allie Dawson confides in her uncle Barry about her stage fright and her dreams of becoming a songwriter. Rocky Blue from Shake It Up Confides in her uncle Louis about her dance career. Good luck Charlie. Um, Teddy Duncan confides in her uncle Mel about her desire to become a writer and a secret video diary project, the Sweet Life of Zach and Cody. Cody Martin confides in his uncle Aristotle about his fear of performing despite being an aspiring magician, wizards of Waverly place. Alex often confides in her uncle, who is a wizard and often own. Erin owns a magic shop. Finns and Ferb keep their invention secret from their parents, but occasionally confide in their Uncle Lawrence. Big city Greens. Cricket green often keeps secrets from his parents and confides in his laid back and adventurous. Uncle Bill, the Proud Family, proud Penny Proud keeps secrets from her parents and confides in her uncle, her uncle Bobby, the Emperor's New School. Cusco keeps his status as an emperor secret from his parents and confides in his cool and adventurous Uncle Pacha. Lilo and Stitch keep their experiment secret from her older sister and confide in their alien Uncle Jamba Rapunzel from Tangled. The series often keeps her secrets from her parents and confides in their adventurers and supportive father-in-law. The captain of the Guards, Casey Undercover Teenage Spy, who keeps her secrets from other parent or from her parents, and confides in her uncle, who of also happens to be her handle. Uh, stuck in the middle, Sidney to the max. All of these are the same story. All of them. They keep something from their parents and they tell their uncle, right? Jesse, Emma Ross keeps a secret from her parents and confides in her uncle Caleb. Good luck. Charlie Teddy Duncan keeps a secret from her parents and confides in her uncle Mel Austin and Allie. Allie Dawson keeps a secret from her parents and confides in her uncle Barry. All of these shows are grooming your child to hold a secret from you and to confide in a male figure in your family. Now, I wish this was a world where this wasn't a problem. I wish this was a world we're statistically speaking that those individuals, that they're grooming your child to confide in, to hold secrets actively from you isn't the individual who's most likely to assault your child sexually. I wish that was not the case. I wish Disney could have shows about confiding in your uncle and holding secrets from your parents. Make it not a bad thing, but I also want to highlight the fact that there is virtually zero shows where the same exact scenario is happening with ant. You cannot 0.1 out, cannot find one. What kind of message does this send young girls? What kind of message does this tell young boys? Right? Does it, it tells them that it's okay to have a secret with your uncle and to keep it from your parents. It tells them that being groomed is a normal part of growing up. Now, this isn't to take away from the agenda of pushing transgenderism onto your children. This isn't to take away from the agenda of sexualizing, hyper sexualizing your children. This isn't going to take away from the agenda where there was a show recently that I haven't heard anybody talk about this one from Disney. Haven't heard this yet. There's a show called like Luna Moon or something like that, some moon TV show where this girl is sitting in front of a chess, uh, chess robot on the floor, like doing this cool scene where she's playing chess with this robot. And the robot goes, my name is something robot, and my pronouns are she, her pronouns like, no bitch, you're a robot. You don't get pronouns, but they're grooming your child to believe that these things are okay. You go back to the, the, the head of Disney in their internal meetings who came out on a Zoom call and said, I am pushing this LGBTQ qia a plus element o p agenda on an every single PO way that I can, right? You see it in Turning Red. You see it in the Baymax series. You see it in like this Luna show. You see it all across the new Disney movies, almost every single one of 'em, stranger Worlds. You see it in all of them and she's gloating about it, gloating about it. Now these are not mistakes, right? This is not a fun little plot twist, right? This is a concerted effort to groom our children concerted effort. This is intentional programming that leads to extremely dangerous positions for your child to find themselves in, to believe that it's normalized, to believe that it's okay to keep a secret from you because they didn't think of that before, until they get programmed by Disney. To think that it's cool to keep a secret from your parents, and it gets even darker when we get into the statistics of this one in nine young girls, one in nine girls experience sexual abuse at the hands of an adult. One in 53 boys experienced sexual abuse at the hands of an adult, more than 10. Of the young girls who watch these Disney shows will have been sexually assaulted in their lifetime, more than 10%. One out of every 10 girls who watches this Disney show where they make it seem okay to keep a secret from your parents and confide in your cool uncle will have been groomed to believe that that's acceptable, groomed to believe that it's acceptable to hide something from your parents and confide in your uncle more than 10%. In more than 40% of the show. 30 to 40% of the shows has a similar theme. The N S V R C reports that 93% of child sexual abuse victims know their abuser. 93% of abuse, abuse children know their abuser. Almost a hundred percent, 34% of the perpetrators being family members and 60% being acquaintances or other trusted individuals. 34% out of the one out of nine girls are assaulted by their family member, and Disney thinks it's cute to groom them to keep secrets from their parents and confide in their uncle. Now, here's my question to you. Do we really want to give these predators a helping hand by normalizing secrets, keeping secrets from your parents, confiding in your uncle, right? This is a global issue. This is not just in the United States, right? And, and, and there's been calls for boycotts and I even, I am guilty. Of keeping Disney Plus for my children, even through Turning Red, even through Baymax, all the shit that I talked about, that even I am guilty of maintaining my Disney plus subscription. Until today, I will never in my house have a Disney plus subscription again. Now that I know that my children were actively being groomed by Disney to hold a secret from me as her dad and to confide in some other random male counterpart as a result, and I ask you to join me, I hope that hashtag boycott Disney goes like wildfire around the internet. Once this is found out, I cannot imagine that it. How else if, if this is not where you draw the line, where do you draw it? If it's not where they groom your child into believing that being assaulted and holding a secret from you is the norm, then what is it? What the fuck is it? If it's not that, what is it? How does that not cause you to cancel your subscription? Right? I don't care. Stream it. I'll give you five websites to do it with. Stream it, but don't give 'em your money. We need to send a clear, clear picture to corporations like Disney that we are absolutely not going to continue to allow you to program our children. For your disgustingly dark purposes. Protect your children. Get them away from these programs that are actively grooming them, right? It is your job as a parent to mitigate risk if nothing else, right? Protect them, house them, feed them. Mitigate risk. If you have children and you decide to maintain a Disney plus subscription after finding this out, you got some soul search and to do, or you're just a complete optimist who, who does not live in a real world where more than 10% of young girls, 10% of girls in their lifetime will be assaulted. And 94% of the time they will know the person that did it. That is a disgusting reality, and again, I wish they could have this theme and I wish they could push this all they want and not have it have a negative outcome and not have it be based in the fact that there's a very high like.  that your child will go through something and now think that it is acceptable to maintain that secrecy from you. Right? And that's what you have to understand about programming, right? That's what you have to understand about the, the, the way that you, if it is nothing else, you take a young baby and that baby goes from having a blank slate, right? Just think of it like a, if you think of it from like a programming perspective, I don't know how to program, so maybe I'm talking outta my ass, but, but if you look at it from that perspective, you have to teach that child how to operate in this world, right? You gotta put all of the, all of the zeros and the ones in there so that they know not to touch a hot fire, right? And some of that programming's built in, but some of it can be manipulated.  and it's not the ones that are completely built in that they're trying to manipulate. It's the ones that are susceptible to impression. It's the ones that are like, Hey, they're family. Right? They're cool, they're hip. It's your uncle, not your dad or your mom. Right? Tell them your secrets about the boy you like. Tell them the secrets about the, the clothes your parents don't like you to wear. Tell them like, and again, this is not with the aunts, it's not even even playing field, it's not even like this was stumbled upon, and that's how you know that is how you know that this was intentional, is that it's not a consistent theme for men and women. It is specifically uncles, specifically male mentor type figures that are being called out and utilized as a way to groom your children within these TV shows. Right? And I can look at, uh, several of those and know that some of them were something that my daughter was consuming and something that I consumed when I was growing up. right? Something that probably you consumed when you were growing up. And this is not even getting into the movies. Not even getting into the movies, right? And we already have a very long list, right? And when you continue that out, you find more and more and more, right, like chat, G P T said 32, 40% of them. So what are you gonna do with that information? Are you gonna leave here? Forget about it. Allow your child to watch some stupid ass show that's going to program them. Program them to keep secrets from you to believe that pronouns are a real thing. To think that men can have periods as long as they're wearing a trans shirt. Like in Baymax. Is that what you want for your child? Or are you gonna take the, I don't know, three steps right now? To do so. Right? And let's see. Maybe I can do it right here. Let's, let's see if I can do it. Um, I'm going to log into Disney right now. It's gonna take me a sec. Gimme a sec here. Let's get this computer over here. My daughter's gonna be happy about this. Let's log into Disney right now. I'll walk you through the steps. We're gonna go to disney plus.com, all right, Disney plus.com. All you gotta do, may I follow me along here? Disney plus.com if you have children, let's make this fun. Log in. I'm gonna put in my username. Let's see how we do it. How hard do they make it? We're gonna go to, I assume, Go and click on your profile. Go to account, and at the very bottom there is a delete account button. Two steps log into Disney Press account. Third step press delete account. If you wanna delete your Disney Plus account, you must cancel your subscription first, or you will continue to be charged. Deleting your Disney Plus account will delete your email address, first and last name and profile. It will also anonymize all other Disney plus account information so it is no longer associated with your email. You'll also be unsubscribed from all marketing campaigns. Uh, if your Disney Plus subscription is bill by a third party, you proceed through the requested Disney plus account deletion. Then you immediately lose access. Look at this. They sent something to my email. They will give me a three digit. Go log into my email. Let's get that one time code. There it is, 6 0 5 16, and then some other number. Not sure why. I wouldn't care to tell you that. I'm not sure. You're trying to get into my Disney Plus subscription. And even if you are, have fun. Um, 6 0 5, 1 6 and delete. Just like that folks, three steps. Log into your account, click account, press delete. That's it, and you're done. I hope you followed me along there. All right. Now, on that note, do what's right for you. Do what's right for your family and damn it, do what is right for your children because nobody else is going to, in fact, almost everybody who is on the other side of that has your best, the best interest of your child, not in mind. Whether it's a corporation, whether it's the government, whether it's a corporate entity, a, whatever it is, you are the only person who's gonna take that seriously, and your child's gonna either grow from it or suffer from it. So on that note, Whew, man. I gotta take a breath after that one. That pisses me off. Thank you guys for listening. I appreciate it so much. I hope, I hope, hope, hope that you got something from that today. Going to be starting our first round of interviews over the next couple weeks and I am excited if you know somebody, uh, that should be interviewed, be happy to hear from him. Um, please connect us if it is you, yourself, you have a great story. Whatever it is, reach out, , reach out on social media. , it's the Austin J. Adams basically everywhere on Instagram, on truth social, on my, just started new Twitter, which I got like nobody that follows me on yet. . So add over to Twitter, follow me. The Austin J. Adams, um, backup account and the podcast account is the Adams. Uh, go head over to Austin adams.ck.com, sign up for the ck you'll get all of the articles, links, videos, podcast, video, podcast, all of it to your email, along with weekly emails about the topics that we're discussing in full length detail. And that's what I got. All right, hit subscribe. Leave a five star review and to love you. Have a great week.    

#245  William Whitecloud discussed how creativity and genius is the result of self-reflection and not having to rely on external influences. He used the example of Jimmy Hendrix, a renowned guitarist who created music that sounded like nothing heard before and was not copied from anyone else. He stated that the more self-referential one is, the closer they are to achieving genius, which will also lead to success in any field. William also mentioned his book, Secrets of Natural Success, which further demonstrated this point. The conversation was about creativity and how it can be used to achieve success in life. William talked about how creativity is not the same thing as an IQ genius and how it is more of a self-referential type of genius. He is helping people become more creative in themselves so they can be more successful in their lives. By using creativity as a mode of operation, one is able to derive their own sense of reality and connect dots that have not been connected before. People need to formulate their own vision from their inner sense of vision, have a sense of orientation, and then connect the dots effectively. Creativity is accessible to everyone, not just those in creative professions. About William: William Whitecloud is a creative development trainer, and his job is to teach people how to be creative. He is the author of Secrets Of Natural Success and founded and teaches the Living from Greatness program, through which he coaches clients to realize their dreams by connecting with their authentic, creative spirit. William explained that creativity can be broken down into levels, such as unskilled imitation, skilled imitation, low level derivative, high level derivative, innovative inventive, and genius. He said that at the level of imitation, you are copying and learning from outside of you, whereas at higher levels of creativity, you become more self-referenced. Key Points Discussed:  (00:00) - The Secrets of Natural Success: Uncovering the Human Journey and Unleashing Your Genius (02:39) - Exploring Creative Development Training (04:41) - Exploring the Relationship Between Creativity and Success (07:21) - Exploring the Benefits of Creative Development for Success (12:12) - Exploring the Nature of Creativity and Genius (15:03) - Exploring the Journey of Self-Discovery and Transformation (17:54) - The Power of Focus: How My Focus Created My Reality (24:12) - Alchemical Reality Creation: Dispelling the Myth of Rock Bottom (26:54) - "The Power of Coaching: Transforming Lives Through Consciousness and Focus" (30:31) - Exploring the Fascination of Transformation and the Creative Condition of Human Beings (35:22) - The Power of Positive Vision: Moving Beyond Pain to Find Lasting Fulfillment (40:53) - The Benefits of Focusing on Positive Outcomes Rather than Pain (42:52) - Exploring the Power of Creative Development to Overcome Fear and Doubt (45:42) - The Purpose of the Ego and the Power of Oneness (48:58) - "How One Entrepreneur Used Creative Thinking to Thrive During the Pandemic" (51:27) - Connecting to the Super Conscious Place (53:49) - "The Power of Taking Responsibility: A Tip for Long-Term Gratification" (56:54) - Natural Success Academy and the Power of Intuition How to Contact William Whitecloud: www.naturalsuccessacademy.com   About me:My Instagram: www.instagram.com/guyhlawrence/?hl=en Guy's websites:www.guylawrence.com.au www.liveinflow.co

Yes, Jimmy Hendrix, but with a bike, not a guitar! David and Jimmy have crafted a 30, 60 & 100+ mile gravel race through the power-producing (wind and oil) west Texas hill country - and don't worry, the Rattlesnake Round-up is the week prior to this weekend-long celebration, so the likelyhood of seeing this race's namesake is very low! The Rattlesnake Gravel Grind is an entire weekend of activities, with music, food (breakfast every day!), , beer, camping and riding is planned for March 24-26. 25-30 mile Shakedown rides on Friday and Sunday with the main event on Saturday. Join pros Emily Newsom, Laurens ten Dam and more on this beautiful west Texas groadio.Please consider supporting Bike Talk with Dave by rating, reviewing and sharing on your favorite podcast platform. We'd invite you to support the show financially at www.buymeacoffee.com or on Venmo @David-Mable. You'll receive a Bike Talk with Dave sticker!Bike Talk with Dave is supported by Chain and Spoke Coffee. Order your favorite flavor at www.chainandspoke.com. The Chain and Spoke retail location will be opening in Des Moines, Iowa soon featuring great coffee, bikes and the new Bike Talk with Dave Studio! Bikeiowa.com is the online host of Bike Talk with Dave. Get your event listed on the extensive ride and race calendar for free! Create an account and add and edit your event to reach thousands of cyclists.AND if you want your event featured on Bike Talk with Dave, reach out on the Bike Talk with Dave instagram or facebook page for details how to highlight your ride on one of these bonus episodes!Join Dave and the Iowa Gravel Gang on April 29 for the Driftless 100, a beautiful ride through the scenic Driftless region of Northeast Iowa. Starting in Elkader, a 100, 6o and 30 mile options are available. Register today at www.driftlessgravel.com. And a month before that, Dave and his wife, Dee, will be eating fried rattlesnake and riding gravel at the Rattlesnake Gravel Grind in Sweetwater, Texas.We hope you tune in every week - we've got a great slate of guests ahead of us - Heather Poskevich who is preparing to tackle the RAAM this summer, a throwback with Steve Cannon about the Iditarod Trail Invitational and Matt Phipen Director of the annual ride across Iowa, RAGBRAI. Subscribe to Bike Talk with Dave and follow on facebook and instagram so you don't miss a thing!

Hannah Kern aka Hannah Happiness, has ridden her bike across Asia, Europe, Africa and now in Central and South America spreading happiness and joy through her Happiness Project."I believe that everyone has the right to be happy and it is my mission to make happiness accessible and sustainable for everyone." =Hannah KernTraveling by bicycle, she spreads her happiness mission through social work, motivational speaking (Watch her TEDx Talk HERE), workshops, 1/1 coaching and activism. Follow her journey on Instagram @hanshappinessproject and join her mission at www.hannahshappinessproject.com.Hannah was kind to spend an hour talking about her journey across the world helping to ignite a spark of happiness wherever she goes.Please consider supporting Bike Talk with Dave by rating, reviewing and sharing on your favorite podcast platform. We'd invite you to support the show financially at www.buymeacoffee.com or on Venmo @David-Mable. You'll receive a Bike Talk with Dave sticker!Bike Talk with Dave is supported by Chain and Spoke Coffee. Order your favorite flavor at www.chainandspoke.com.Bikeiowa.com is the online host of Bike Talk with Dave. Get your event listed on the extensive ride and race calendar for free! Create an account and add and edit your event to reach thousands of cyclists.Join Dave and the Iowa Gravel Gang on April 29 for the Driftless 100, a beautiful ride through the scenic Driftless region of Northeast Iowa. Starting in Elkader, a 100, 6o and 30 mile options are available. Register today at www.driftlessgravel.com. And a month before that, Dave and his wife, Dee, son Ryan and daughter in law Morgan, will be eating fried rattlesnake and riding gravel at the Rattlesnake Gravel Grind in Sweetwater, Texas.We hope you tune in every week - we've got a great slate of guests ahead of us - David King and Jimmy Hendrix (not kidding) from the Rattlesnake Gravel Grind and Matt Phipen Director of the annual ride across Iowa, RAGBRAI. Subscribe to Bike Talk with Dave and follow on facebook and instagram so you don't miss a thing!

Mark West has been fixing bikes for nearly 20 years and has been working in the trenches for some of the best domestic cyclocross teams and riders: Raleigh/Clement, Donnely, Cannondale/Cyclocross World and in 2022/2023, the Steve Tilford Foundation Cyclocross Team. He's worked with some of the best in the nation and world: Ben Berden, Jamey Driscoll, Gage Hecht, Lance Haidet, Clara Honsinger, Lizzy Gonsalus, Raylin Nuss and Curtis White. He was handing off bikes to both Gage Hecht and Curtis White when they won the U.S. National Cyclocross Championships. Most recently he spent a month in Belgian, supporting the Steve Tilford Foundation team during the Kerstperiod, two weeks of intense cyclocross racing in Europe. We caught up with West at the Des Moines' German Bier Haus - Hessen Haus - for a beer and to dive deep into West's experience wrenching in the mud for the best in the world. Find West the rest of the year in the shop at Bike World in West Des Moines. Steve Tilford Foundation Racing TeamSupport Bike Talk with Dave by rating, reviewing and sharing on your favorite podcast platform. Support the show financially at www.buymeacoffee.com or on Venmo @David-Mable. You'll receive a Bike Talk with Dave sticker!Bike Talk with Dave is supported by Chain and Spoke Coffee. Order your favorite flavor at www.chainandspoke.com.Bikeiowa.com is the online host of Bike Talk with Dave. Get your event listed on the extensive ride and race calendar by following the guide listed here.Join Dave and the Iowa Gravel Gang on April 29 for the Driftless 100, a beautiful ride through the scenic Driftless region of Northeast Iowa. Starting in Elkader, a 100, 6o and 30 mile options are available. Register today at www.driftlessgravel.com. And a month before that, Dave will be eating fried rattlesnake and riding gravel at the Rattlesnake Gravel Grind in Sweetwater, Texas. We hope you tune in every week - we've got a great slate of guests ahead of us - David King and Jimmy Hendrix (not kidding) from the Rattlesnake Gravel Grind, Hannah Happiness (yes, that too), a world traveler and spreader of joy and Matt Phipen Director of the annual ride across Iowa, RAGBRAI. Subscribe to Bike Talk with Dave and follow on facebook and instagram so you don't miss a thing!

Join us on a supernatural journey as we tour the rock and roll history of Jimmy Hendrix and talk about his mysterious death with Brad Schreiber, co-author of "Becoming Jimmy Hendrix." The book is now featured in the library of the Rock and Roll Hall of Fame. It's a fascinating discussion about the life and death of the legendary Jimi Hendrix.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the Making Bank podcast, Jesse Krieger takes us through his journey of how he went from playing music on the streets of Europe to writing his book and starting a publishing company that publishes around 30 books a year.    Jesse Krieger has been passionate about music since the age of 13. When he was only 19, he skipped his ticket home to stay in Vienna, playing music on the streets and backpacking through Europe for a living. After that, he returned to the US, where he started his first business with his bandmate, which was a record label for their band.    He would go on to start several businesses, from an SEO business to dropshipping products. His experiences starting and running these businesses spawned the idea of documenting his process for creating business and making it successful. Eventually, that idea would lead to the inception of his first book. Going through being an author and writing his book, Jesse took his knowledge and decided to make it lucrative. He would start his own publishing company, Lifestyle Entrepreneurs Press, and has currently published over 150 books.   In this episode you'll learn more about Jesse and his process of writing a book of your own.   Listen to Josh and Jesse talk about Jesse's Journey and what makes a great book:   (3:50) Jesse's Backstory Jesse grew up loving music, at 13, Jesse would ditch school to practice Jimmy Hendrix songs. Jesse played in bands and even attended music school in LA for a year. However, he wouldn't stay in LA, instead, he went on a backpacking trip to Europe for a couple of months but then extended his stay to a year, and that's where he started making money playing music on the streets of Vienna, Austria.   (7:35) Jesse On Starting His First Business Jesse explains how he realized his options were to go home and move back in with his parents or continue his adventure with music. This eventually gave birth to Jesse's first business. He moved back to the US and started a record label with his bandmate and now business partner. They thought, why get a manager to sign them with a record label when they could create a label of their own and produce their music. They raised capital and eventually started their label and toured America twice.   (13:51) Why Publishing? Jesse traveled to Asia and started studying languages. In Asia, he would start an SEO business as well as a dropshipping business selling flash drives in bulk out of South China. He sold the company 18 months later, and this sparked the idea to document how he went from zero to a six-figure business — that would then become his first book known as Lifestyle Entrepreneur.    (17:16) Creating Opportunities With Your Book Jesse talks about creating business opportunities with your book. He explains how if you have a brand or business and you've written a great book, don't just sell the book as the book itself but sell it with a bonus that compliments what you're offering with the book.    (22:33) Shortcut To Writing Your Own Book Writing a book from scratch takes effort, but Jesse explains his shortcut to writing. Take five questions that encapsulate what your book is about and get someone to ask you those questions and let you answer them. Use those questions to create the chapters of your book — record your answers and later get it transcribed or edited and clean it up after.    (26:32) Can You Make Money With Your Book? Jesse talks about the types of relationships and deals you can make with your publisher — if your publisher is giving you an advance on the promise that you will sell x number of books or if your publisher is partnering with you to set up your business for future success as well.   (28:52) Biggest Mistake When Writing Books According to Jesse, an author's biggest mistake is announcing your book too late. He talks about what you should be doing while making your book and when it's the best time to reveal your book's existence.   Links mentioned:  https://www.jessekrieger.com

In this episode of the Making Bank podcast, Jesse Krieger takes us through his journey of how he went from playing music on the streets of Europe to writing his book and starting a publishing company that publishes around 30 books a year.  Jesse Krieger has been passionate about music since the age of 13. When he was only 19, he skipped his ticket home to stay in Vienna, playing music on the streets and backpacking through Europe for a living. After that, he returned to the US, where he started his first business with his bandmate, which was a record label for their band.  He would go on to start several businesses, from an SEO business to dropshipping products. His experiences starting and running these businesses spawned the idea of documenting his process for creating business and making it successful. Eventually, that idea would lead to the inception of his first book. Going through being an author and writing his book, Jesse took his knowledge and decided to make it lucrative. He would start his own publishing company, Lifestyle Entrepreneurs Press, and has currently published over 150 books. In this episode, you'll learn more about Jesse and his process of writing a book of your own.   Listen to Josh and Jesse talk about Jesse's Journey and what makes a great book: (3:50) Jesse's Backstory Jesse grew up loving music, at 13, Jesse would ditch school to practice Jimmy Hendrix songs. Jesse played in bands and even attended music school in LA for a year. However, he wouldn't stay in LA, instead, he went on a backpacking trip to Europe for a couple of months but then extended his stay to a year, and that's where he started making money playing music on the streets of Vienna, Austria.   (7:35) Jesse On Starting His First Business Jesse explains how he realized his options were to go home and move back in with his parents or continue his adventure with music. This eventually gave birth to Jesse's first business. He moved back to the US and started a record label with his bandmate and now business partner. They thought, why get a manager to sign them with a record label when they could create a label of their own and produce their music. They raised capital and eventually started their label and toured America twice.   (13:51) Why Publishing? Jesse traveled to Asia and started studying languages. In Asia, he would start an SEO business as well as a dropshipping business selling flash drives in bulk out of South China. He sold the company 18 months later, and this sparked the idea to document how he went from zero to a six-figure business — that would then become his first book known as Lifestyle Entrepreneur.    (17:16) Creating Opportunities With Your Book Jesse talks about creating business opportunities with your book. He explains how if you have a brand or business and you've written a great book, don't just sell the book as the book itself but sell it with a bonus that compliments what you're offering with the book.    (22:33) Shortcut To Writing Your Own Book Writing a book from scratch takes effort, but Jesse explains his shortcut to writing. Take five questions that encapsulate what your book is about and get someone to ask you those questions and let you answer them. Use those questions to create the chapters of your book — record your answers and later get it transcribed or edited and clean it up after.    (26:32) Can You Make Money With Your Book? Jesse talks about the types of relationships and deals you can make with your publisher — if your publisher is giving you an advance on the promise that you will sell x number of books or if your publisher is partnering with you to set up your business for future success as well.   (28:52) Biggest Mistake When Writing Books According to Jesse, an author's biggest mistake is announcing your book too late. He talks about what you should be doing while making your book and when it's the best time to reveal your book's existence.   Links mentioned:  https://www.jessekrieger.com  

GUEST HOST, MANHOOD HOUR: Hassan interviews Ted Nugent and his son Rocco. Nugent thinks Zelensky and the U.S. gov't are worse than Putin. Rocco talks about spiritual emptiness from how people live. China, Bill Gates, and others are buying American farms and housing. Nugent talks about Foo Fighters drummer Taylor Hawkins, Jimmy Hendrix, and others dying prematurely, poisoning their sacred temple with drugs and alcohol. // BOTTOM OF HOUR: Nugent talks about the invasion of our country, orchestrated by our government! Rocco talks about protecting ourselves in our personal lives, in how we live. Nugent has a new album, and promotes a book by one Andy Andrews: How to Kill 11 Million People. // AFTER GUEST: Jeremiah from Louisiana talks to Chris about blacks' mess.