Podcasts about rationalize

In this Concepts Edition episode Uriel and Devin discuss:- Rationalize you're production- Process vs operations- Kanban- QC circlesPlease join our patreon! https://patreon.com/IncrementalCI And follow us on Instagram and share your improvements and tag us. www.instagram.com/incrementalci In this podcast we discuss concepts from Lean Manufacturing, the Toyota Production System, and general business management to improve our businesses. Thanks for listening! Please drop us a note with any and all feedback! If you have parts you need machined, reach out to Devin@lichenprecision.com and follow on Instagram www.instagram.com/lichen_mfg If you need CNCed Buckles, check out www.austeremfg.com and follow at on Instagram www.instagram.com/austere_manufacturingTo reach out to the podcast directly please email fixsomethingtoday@gmail.com

Show LinksDaily Email: https://yourlevelfitness.com/daily-emailThe YLF Blog: https://yourlevelfitness.com/blogJoin The YLF Experience: https://app.moonclerk.com/pay/5t93iox9udm3Start Here: https://yourlevelfitness.com/ylf30YLF Overview: https://yourlevelfitness.com/blog/ylf-self-paced-resourcesEpisode DescriptionIf you know what you want out of life but have been holding back because of fear, responsibility, or a need for certainty, this episode is for you. I talk about what it means to be an outlier, someone who decides to take action despite all the reasons not to. You don't need permission, you don't need a perfect plan, and you don't need everyone's approval. You just need to decide to start. In this episode, I share how follow through comes from simply showing up over and over, and how most people rationalize themselves into a life they don't want. You don't have to be one of them.Please share this episode with anyone you think would be interested in listening to it.Visit darylperrypodcast.com for links to the show page on each of the major podcast directories. From there, you can subscribe and share this pod.For comments, questions, topic ideas, possible collaborations please email daryl@yourlevelfitness.com

How often have you heard someone say, “Your divorce will show your kids you can be happy and powerful without a man”? Is that really what children want and need out of their moms? Children raised in single parent households may thrive, but they may also suffer at the same time. Adam B. Coleman was one of those kids. He joins Michele to talk about his book, “The Children We Left Behind: How Western Culture Rationalizes Family Separation & Ignores The Pain of Child Neglect.” Michele Tafoya is a four-time Emmy award-winning sportscaster turned political and cultural commentator. Record-setting, four-time Sports Emmy Award winner Michele Tafoya worked her final NBC Sunday Night Football game at Super Bowl LVI on February 13, 2022, her fifth Super Bowl. She retired from sportscasting the following day. In total, she covered 327 games — the most national primetime TV games (regular + postseason) for an NFL sideline reporter. Learn More about “The Michele Tafoya Podcast” here: https://linktr.ee/micheletafoya Subscribe to “The Michele Tafoya Podcast” here: https://apple.co/3nPW221 Follow Michele on twitter: https://twitter.com/Michele_Tafoya Follow Michele on Instagram: https://www.instagram.com/realmicheletafoya/ Learn more about the Salem Podcast network: https://salempodcastnetwork.com/See omnystudio.com/listener for privacy information.

How often have you heard someone say, “Your divorce will show your kids you can be happy and powerful without a man”? Is that really what children want and need out of their moms? Children raised in single parent households may thrive, but they may also suffer at the same time. Adam B. Coleman was one of those kids. He joins Michele to talk about his book, “The Children We Left Behind: How Western Culture Rationalizes Family Separation & Ignores The Pain of Child Neglect.” Michele Tafoya is a four-time Emmy award-winning sportscaster turned political and cultural commentator. Record-setting, four-time Sports Emmy Award winner Michele Tafoya worked her final NBC Sunday Night Football game at Super Bowl LVI on February 13, 2022, her fifth Super Bowl. She retired from sportscasting the following day. In total, she covered 327 games — the most national primetime TV games (regular + postseason) for an NFL sideline reporter. Learn More about “The Michele Tafoya Podcast” here: https://linktr.ee/micheletafoya Subscribe to “The Michele Tafoya Podcast” here: https://apple.co/3nPW221 Follow Michele on twitter: https://twitter.com/Michele_Tafoya Follow Michele on Instagram: https://www.instagram.com/realmicheletafoya/ Learn more about the Salem Podcast network: https://salempodcastnetwork.com/See omnystudio.com/listener for privacy information.

QOTD: When things don't go your way, how do you rationalize?

If your attachment style is so anxious and insecure that when your partner pushes you away, and says “I don't want to be with you anymore,” – YOU hold on tighter than ever – you are stuck in distorted thinking. If you've ever done this – and I have – you know on some level that you're wrong. It's your fear of abandonment driving you to beg and humiliate yourself. And then what do you do? Rationalize it, right? You tell yourself, "I'm not clinging to someone who doesn't me --I'm trying to HELP them!" In this video, I respond to a letter from a man who THINKS he's being nice by trying to help a partner who isn't into him. How to Tell if Someone is Partner Material?: FREE PDF Download: https://bit.ly/3YBwKkj

Kelly Kinghorn is Senior Partner and Digital Technology Practice Lead at ReVisionz, Inc. where he is passionate about guiding clients through their journey with expertise in digital transformation of physical assets. Mike Petrusky asks Kelly about his perspectives on asset management, the challenges of managing data and the role of new technologies in overcoming them. They explore why organizational change management (OCM) is a key part of this journey and how early involvement of operations and maintenance teams during a project is essential for setting data standards and requirements. Kelly believes that AI and machine learning can significantly aid in data cleanup and rationalization for existing assets, reducing the need for manual processes and he shares whey successful digital transformation programs require strong leadership support and a clear communication of benefits to stakeholders. Mike and Kelly offer practical advice for FM and asset managers while providing the inspiration needed to be an Asset Champion in your organization! Connect with Kelly on LinkedIn: https://www.linkedin.com/in/kelly-kinghorn-digital-technology-practice-lead-67132512/ Learn more about ReVisionz, Inc.: https://revisionz.com/ Learn more about Eptura™: https://eptura.com/ Discover free resources and explore past interviews at: https://eptura.com/discover-more/podcasts/asset-champion/ Connect with Mike on LinkedIn: https://www.linkedin.com/in/mikepetrusky/  

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Katie's attempts to have discussions with her mentally ill and drug-addicted sister aren't going well.Call 1-800-DR-LAURA / 1-800-375-2872 or make an appointment at DrLaura.comFollow me on social media:Facebook.com/DrLauraInstagram.com/DrLauraProgramYouTube.com/DrLaura

Are you sacrificing your insecurities to the Lord, or are you only bringing sins of insecurity to him? Welcome to the Daily Devo. I am Vince Miller. This week, we are in 1 Samuel 15. I've titled this chapter "The Consequences of Disobedience." Today, I am going to read a moment where Samuel is going to call King Saul out. Let's dive into 17-23: And Samuel said, “Though you are little in your own eyes, are you not the head of the tribes of Israel? The Lord anointed you king over Israel. And the Lord sent you on a mission and said, ‘Go, devote to destruction the sinners, the Amalekites, and fight against them until they are consumed.' Why then did you not obey the voice of the Lord? Why did you pounce on the spoil and do what was evil in the sight of the Lord?” And Saul said to Samuel, “I have obeyed the voice of the Lord. I have gone on the mission on which the Lord sent me. I have brought Agag the king of Amalek, and I have devoted the Amalekites to destruction. But the people took of the spoil, sheep and oxen, the best of the things devoted to destruction, to sacrifice to the Lord your God in Gilgal.” — 1 Samuel 15:17-21 Saul perceives his voice and leadership as small, but his role is not small. Saul was God's anointed and appointed, and his voice and leadership mattered. God wanted to use them to lead the kingdom. Based on what we have learned about Saul, there are two internal forces within him—deep insecurity combined with opportunistic self-interest. Both come into play right here, and they are exposed when he is confronted by Samuel's "Why?" question. We all struggle with this because we all have insecurities. We have insecurities in our relationships, leadership, marriage, and career. Yet these insecurities, when unrealized and left unaddressed, can awaken devious forms of opportunistic self-interest. They result in us taking advantage because we feel we need the advantage to satisfy our insecurities. But what we think no one sees discerning people in our lives do see. In this situation, Samuel understands what Saul has done. Cattle are lowing and bleating that should have been slaughtered, but he has saved them for "sacrifice to the Lord." Then, when Saul is confronted with the "Why?" question, he does the same four things all insecure, guilty people do. Rationalize. Deflect. Blame. Explain. Instead of admitting and owning up to their deep insecurities and devious selfishness, they rationalize, deflect, blame, and explain. Here's some advice. It's something I have had to learn the hard way: Confess your insecurities before you have to confess your sin. Everyone has some deep insecurity. Most of the time, we don't take the time to understand them. But it's far better to acknowledge, understand, confess, and lead them before they lead you into sin. And because Saul doesn't confess his insecurities but rather rationalizes, deflects, blames, and explains, here is how Samuel responds in verses 22-23: And Samuel said, “Has the Lord as great delight in burnt offerings and sacrifices, as in obeying the voice of the Lord? Behold, to obey is better than sacrifice, and to listen than the fat of rams. For rebellion is as the sin of divination, and presumption is as iniquity and idolatry. Because you have rejected the word of the Lord, he has also rejected you from being king.” — 1 Samuel 15:22-23 Now, with this context, you see the point of our key text in the chapter. God does not care about Saul's sacrifices, mainly because they were selfish sacrifices contrived from insecurity, sin, and disobedience. God doesn't want someone else's best. He wants your best, derived from wholehearted obedience, because you find your security in him. God wants your full obedience, not your empty rituals. Half-hearted attempts don't cut it with God. God doesn't want what you think is best. He wants what he knows is best. This text calls you to examine your heart and to move beyond the rationalizing, deflecting, blaming, and explaining. Today, challenge yourself to address your insecurities. Instead of bringing the best of your presumptions or assumptions, sacrifice your insecurities to God, and then you will know what is to be wholeheartedly submitted to Him. #ObedienceOverSacrifice, #FaithfulLeadership, #ConfrontInsecurities

With Lydia in South Africa covering their election, Ross  out on parental leave and Michelle  reporting from a saloon in Colorado, Carlos  turns the mic over to his Times Opinion colleagues to respond to the news about Donald Trump's guilty verdict in the New York hush-money trial.The columnists Michelle Goldberg and David French — who calls himself “a recovering litigator” — join the deputy Opinion editor, Patrick Healy, to discuss Trump's 34 guilty counts and debate what they mean for the former president, whether he'll face jail time and how it will affect the 2024 presidential race.

Rationalization is a problem for most of us, and if we examine the action closely enough, we find that it distances us from God. When we rationalize, we go against ourselves. We have internal conflict, and that brings frustration and discouragement. In this podcast, we hit the topic head on and suggest ways to recognize rationalization and avoid it. __________________________Do you have questions or comments?Please contact me: rtosguthorpe@gmail.comWant more info about my books and talks?Go to my website: https://www.russelltosguthorpe.com/Want to order a book? Just go to Amazon and type in Russell T. Osguthorpe Want to access my YouTube channel:https://youtube.com/@russellt.osguthorpe497Want know more about the music on this podcast? We are blessed to have M. Diego Gonzalez as a regular contributor of songs he has arranged, performed, and recorded especially for this podcast. My wife and I became acquainted with Diego when he was serving a as missionary in the Puerto Rico San Juan Mission. We were so impressed with his talent, we asked if he would compose and perform songs for Filled With His Love. He thankfully agreed. Hope you enjoy his work!Want to boost your mood and make someone's day?Go to the App store on your iPhone, and download the app—Boonto.Want a good introduction to my book? Morgan Jones Pearson interviewed me on the All-In Podcast, and it was one of the top 10 episodes of 2022. Here's the link:https://www.ldsliving.com/2022-in-review-top-10-all-in-podcast-episod...

Today we are joined by Agent Brad Beeler. Assistant to the Special Agent in Charge Brad Beeler has been with the United States Secret Service for the past 25 years. He currently serves as instructor and Secret Service liaison at the National Center for Credibility Assessment (NCCA) at Fort Jackson, South Carolina. Over the past 8 years in this role, he has trained agents throughout the federal law enforcement and intelligence community in credibility assessment and elicitation techniques.   Prior to arriving at NCCA, he was a polygraph examiner in the Chicago and St. Louis Field Offices and served on the permanent protection detail of former President George HW Bush and numerous foreign heads of state. Over the past 17 years as a federal polygraph examiner Special Agent Beeler has secured hundreds of confessions on high-profile investigations, often leading to the identification of previously unknown victims of serial offenders of both child exploitation and homicide investigations. Agent Beeler holds a master's degree in criminology and was previously selected as the U.S. Secret Service - Special Agent of the Year for his involvement in combating crimes against children.   Widely considered a communications expert in the U.S. federal law enforcement community, Agent Beeler has provided countless domestic and international presentations to law enforcement and intelligence agencies seeking to enhance their interviewing programs. [March 11, 2024]   00:00 - Intro 00:21 - Intro Links -          Social-Engineer.com - http://www.social-engineer.com/ -          Managed Voice Phishing - https://www.social-engineer.com/services/vishing-service/ -          Managed Email Phishing - https://www.social-engineer.com/services/se-phishing-service/ -          Adversarial Simulations - https://www.social-engineer.com/services/social-engineering-penetration-test/ -          Social-Engineer channel on SLACK - https://social-engineering-hq.slack.com/ssb -          CLUTCH - http://www.pro-rock.com/ -          innocentlivesfoundation.org - http://www.innocentlivesfoundation.org/ 03:05 - Agent Brad Beeler Intro 05:05 - Part of a Team 07:58 - One of Lincoln's Final Acts 08:52 - Dual Mission 11:45 - The Broadband Effect 14:38 - Team Effort 17:35 - Worst of the Worst 21:13 - Common Ground 23:36 - Letting Them Be Heard 25:51 - Lyrics, Songs and Dance 28:49 - Mental Health Mandates 35:11 - Mentors -          Mrs. Bertran - Teacher -          Brian Leary - DHS Program Manager 37:21 - Book Recommendations -          The Interrogator - Hanns Scharff -          Spy the Lie - Philip Houston -          Captivate & Cues - Vanessa Van Edwards 39:24 - Find Agent Brad Beeler online -          Website: www.usajobs.gov -          Website: www.secretservice.gov -          LinkedIn: linkedin.com/in/bradbeeler1865/ 40:47 - Guest Wrap Up & Outro -          www.social-engineer.com -          www.innocentlivesfoundation.org

Today's episode topic came directly from February's Live Stream for Stacking Slabs Patreon members. After we had the conversation I couldn't quite shake it so dropped some additional thoughts on the main feed. Thanks to Drake McGruder (@drakes_pc) for bringing this topic to the table. Get exclusive content, promote your cards, and connect with other collectors who listen to the pod today by joining the Patreon:Join Stacking Slabs Podcast Patreon[Distributed on Sunday] Sign up for the Stacking Slabs Weekly Rip Newsletter using this linkCheck out Card Ladder the official data partner of Stacking SlabsFollow Stacking Slabs: | Twitter | Instagram | Facebook | Tiktok

Trump cult says conservatives should lower their standards and support him because conservatism is dead anyway.

Episode 44 of the Entre Nos Podcast! We talk about cheating, helping kids rationalize their choices, and people who choose Satan over God, and more! Hope you guys enjoy the episode! Studio 1017 https://instagram.com/Studio10.17 https://tiktok.com/@studio10.17 ----- Evelin Vogues https://instagram.com/EvelinVogues https://tiktok.com/@evelinvogues Ella Y Mas https://instagram.com/EllayMas https://www.EllayMas.com ----- Rollie Vogues https://instagram.com/RollieVogues https://tiktok.com/@RollieVogues Vogues Studios https://instagram.com/VoguesStudios https://VoguesStudios.com Essen Rugs https://instagram.com/EssenRugs Superior Style https://instagram.com/SuperiorHTX https://www.SuperiorHTX.com Marvelous Club Vintage https://instagram.com/MarvelousClubVintage https://depop.com/MarvelousClubVintage https://whatnot.com/MarvelousClubVintage ----- Alondra https://instagram.com/yunno.fades ----- Robbie Robs https://instagram.com/robbie_robs_ https://instagram.com/robbierobshow ----- Ronnie https://instagram.com/celrani_ ----- Subscribe, like, and comment. We appreciate all the support and love and can't wait to bring you this and much more content! Intro / Outro: https://instagram.com/knightyouafool --- Support this podcast: https://podcasters.spotify.com/pod/show/studio1017/support

It's utterly irrational to expect that making illegal immigration the only immigration would give US policymakers better options at the border. David Bier explains.What Biden Can Do After Another Failed Border Deal Hosted on Acast. See acast.com/privacy for more information.

In 2023, I released about 160 My Worst Investment Ever podcast episodes, and this is a list of some of my and my listeners' favorites. I have also created a free “Top 27 from 2023” playlist where you can listen to and view this curated list for free. Just go to My Worst Investment Ever dot com and click the button that says, “Top 27 from 2023.” Since starting this podcast, I have published 760 episodes and look forward to continuing this journey in 2024! I welcome you on my journey “to help 1,000,000 people reduce risk in their lives.”27. Ep738: Neil Johnson – Take the Profit When You CanBIO: Neil Johnson is a renowned finance expert with over 30 years of experience in investment banking, merchant banking, and research analysis in Canadian and UK capital markets. He is the Executive Director and CEO of Duke Royalty, a $300 million alternative finance investment company listed on the London Stock Exchange.STORY: Neil invested in an internet company building website templates when the internet started. The company filed to go public, but the financiers kept delaying the process and never went public. Six months later, the company went to zero. Neil lost his entire investment.LEARNING: Take the profit when you can. Take some money out and play with the rest. Do your due diligence. “Try not to be overly greedy. There's something about leaving a little on the table for someone else.” 26. Ep658: Jeroen Blokland – Know the Actual Business Outlook Before InvestingBIO: Jeroen Blokland is a multi-asset investor with a long-term track record. He worked at Dutch investment bank, Robeco for almost 20 and now runs his independent investment research company, True Insights. Find him on Twitter.STORY: Jeroen's first investment was in a Dutch company selling PCs. He barely did any research or due diligence. The company reported a loss of $27 million in the same year Jeroen invested. It later went bankrupt, leaving him with a massive loss.LEARNING: Know the actual outlook of a company before investing. Diversify your portfolio. “90% of the investing population doesn't know the actual outlook of a company.” 25. Ep674: Jesse Felder – Don't Rationalize a Lousy TradeBIO: Jesse Felder started his career at Bear Stearns and co-founded a multi-billion-dollar hedge fund firm. He left Wall Street to focus on The Felder Report and hosts the Superinvestors podcast. Find him on

Hour 3 - Steiny & Guru continue down Draymond's road because we HAVE to. He's given us no other choice, but to make it about him. So, if that's the case, what is the reason anyone (all of us) continue to defend him?

Israel has been surrounding by hostility and attacks fighting for their survival as the United Nations tries to justify terrorism. Learn more about your ad choices. Visit megaphone.fm/adchoices

We like to say, “Fees are what you pay, value is what you get.” Are you getting value for what you are paying your financial advisor? See omnystudio.com/listener for privacy information.

Cutting through the financial noise of CNBC and Fox Business. What everybody is asking about their 401(k). How has retirement planning “jump the shark?” We pay fees in many areas of our life. Does that make it ok with your retirement accounts? Home is where your dog lives, and your tax bill.  See omnystudio.com/listener for privacy information.

In this episode of Linda's Corner, Martin Salama shares secrets to live incredibly full every day.  Martin is an entrepreneur, business owner, author, professional business coach, radio host, and the architect of the warriors L.I.F.E code.  You can reach Martin at his website https://thewarriorslifecode.com or at https://connectwithmartin.com.Some of the highlights Martin shares:What is "toxic positivity"? (hint: it's about pretending that everything is okay, when it's really not)What do you do when you get "ANTs" in your head? (Automatic negative thoughts)How to not give up on yourselfFinding the balance between living a "happy" life and a "meaningful" lifeFinding the balance between caring for self and making a contribution to the worldDealing with situational depressionDealing with the childhood trauma of losing a little brother in a tragic accident - the decision, "Now it's my job to make sure that my parents are never sad again" and the resulting consequences.Being a people pleaser and pleasing no oneWhat is a mindset of lack?  What does it look like?  What does it feel like?What is a mindset of abundance?  How do I change from lack to abundance by the words I use?Rationalize really means "rational lies"  Self conscious vs. self awareHow to build emotional strength - acknowledge emotions and find out whyHow to transform from a worrier to a warriorHow to "Live Incredibly Full Everyday"And morePlease share, subscribe, leave a rating and review, visit the Linda's Corner website at lindascornerpodcast.com and/or follow on youtube, facebook, instagram, and pinterest @lindascornerpodcast. Thanks!Also please visit the Hope for Healing website at hopeforhealingfoundation.org for free resources to increase happiness, build confidence and self esteem, improve relationships, manage stress, and calm feelings of depression and anxiety.

Author, speaker and writer James Clear is back to teach us how to have enough time for the important things in our life.    Source: The Surprising Power of Small Habits | James Clear | SNAPS Leadership Conference   Connect with James Clear:    Website: James Clear https://jamesclear.com/   Instagram: jamesclear   Book: Atomic Habits: An Easy & Proven Way to Build Good Habits & Break Bad Ones   Previous Episodes:   333 | James Clear: "How Long Does It Take?"   198 | James Clear: "Things That You Do Once Or Twice Fade Away."   Hosted by Malikee Josephs (Pronounced Muh leek Jo seffs)   Give Me A Shout:   Follow Me On Instagram @DepressionDetoxShow.   Email me: mj@depressiondetoxshow.com   Support The Show: Donate

I get it. I made them, too. Until I stopped. Listen to today's small bite sound bite for more. —————— Support this podcast today at JoyfulVegan.com/Donate Visit my website: JoyfulVegan.com Join me on an all-inclusive vegan trip: JoyfulVeganTrips.com AFFILIATE PARTNERS: Nama Juicer — Use this link and coupon code COLLEEN10 and get 10% off my favorite juicer. Plaine Products — Use this link and coupon code "compassion" for 15% off my favorite zero waste bath and body products. Complement — Use this link and coupon code "joyfulvegan" and get 10% off my favorite supplements. Thank you for listening.  

A blog by Jason Cherry on six ways Christians often rationalize fornication.  Jason Cherry is an elder at Trinity Reformed Church, as well as a teacher and lecturer of literature, American history, and economics at Providence Classical School in Huntsville, Alabama. He graduated from Reformed Theological Seminary with an MA in Religion and is the author of the book The Culture of Conversionism and the History of the Altar Call, now available on Amazon. He is husband to Traci, who is proficient at blessing others, and father to Anily and Gaby, who are gifted in the art of laughter.   Trinity Reformed Church is a CREC mission church in Huntsville, AL. seeking to extend and unite the Kingdom in the Huntsville area. Check out our website, Facebook or YouTube!

What We Believe (and the difference it should make)Faith without foundation is a tree without roots. Whether you're exploring the faith or have been a believer for a long time, this series will teach us and remind us of what we believe, why we believe it and the difference it should make in our lives and the lives of those around us. 

BIO: After starting his career at Bear Stearns and then co-founding a multi-billion-dollar hedge fund firm, Jesse Felder left Wall Street to focus his energies on research and writing. Today he publishes The Felder Report and hosts the Superinvestors podcast.STORY: Jesse found a cigar butt stock that was cheap and performed extraordinarily well in just a few months after he took a pretty sizable position. A friend convinced him to hold the stock long-term instead of short-term as he had planned. Government legislation affected the business, and Jesse lost about 50% of his investment.LEARNING: Don't rationalize a bad trade; get out. Be very careful when you're in a situation that's being primed by the government. “When you're in a situation that's not working out as you would hope, rather than dig the hole deeper, move on and find something different.”Jesse Felder Guest profileAfter starting his career at Bear Stearns and then co-founding a multi-billion-dollar hedge fund firm, Jesse Felder left Wall Street to focus his energies on research and writing. Today he publishes The Felder Report and hosts the Superinvestors podcast.Worst investment everAbout 10 years ago, Jesse came across an idea that seemed to tick all the boxes for a cheap stock. It looked really compelling. The company was Corinthian College, a for-profit college in the US. The company was a reputable business and had excellent profit margins. The stock was trading about three times the cash flow.From a technical standpoint, the stock seemed like it would turn around positively, so Jesse took a pretty sizable position. The stock did nothing for the next couple of months. However, it took off the following year and doubled in a very short period. In fact, it went 150-200% up. All along, Jesse knew this was a cigar butt stock, and the plan was to hold it short-term.One of Jesse's friends, whom he was managing money for at the time, called him and said he'd never owned a stock that performed so well in such a short period. The friend asked Jesse to hold the stock for at least a year. Initially, Jesse wanted to take the profits. After his friend's call, he rationalized why he should keep it longer. Jesse held on to it and kept monitoring it.As time passed, it became clear that the Obama administration would limit for-profit colleges' ability to offer government-subsidized student loans. This was essentially a death knell for these companies. If their students couldn't get debt financing to pay tuition, they would go out of business because that was 90% of the people borrowing money to pay tuition. Jesse naively thought there was no way the government would put an entire industry segment out of business.Jesse kept holding on to the stock and reinvested all of the gains. The stock went down about 50% below Jesse's purchase price. He finally sold the stock before the company went out of business. This ended up being one of the worst losses that Jesse has taken as an investor.Lessons learnedDon't let your thesis migrate. You need to remember why you bought something and always ask yourself if it's working out how you anticipated it.Don't rationalize a lousy trade; get out.Never underestimate the government's willingness to put an entire industry out of business if it serves a political or economic purpose.Ego has no place in investing. It can be very...

This week, Tyson addresses a fear that every person deals with in their life. We pray you are challenged to move beyond this crippling fear in your life as you see what God is calling you to in His Word.

                                            Martin Salama is a CEO, Founder and Business Coach. He explains why we should “Reframe our meaning of L.I.F.E”, he discloses the “true meaning of Rationalize and how it's self-sabotaging you” and tells us how to “Lose the Worrier and find the W.A.R.R.I.O.R”. Hosted by Diana White. About Martin Salama Martin Salama is known as the Architect of The Warriors L.I.F.E. Code. He specializes in helping people frustrated in their life quickly shift their mindset to UNCOVER their greatness so they can live their true potential and enjoy LIFE! An example of what he's achieved is a client like Roberta, who lost her 6-figure job due to COVID and came to Martin depressed and felt very lost. Within a short time, she had, quote: “direction, focus, and a renewed energy around all the possibilities I could pursue… and getting back on track to enjoy LIFE!” The key to his success is, he's mastered the ability to Live Incredibly Full Everyday! Which he turned into the acronym L.I.F.E. and created the Warriors L.I.F.E. Code coaching program. Episode Notes Lesson 1: Start with Admission, Cleansing, and Celebration 02:22 Lesson 2: Use The Cycle Of A's 04:45 Lesson 3: Stop, Think, Respond 08:28 Lesson 4: Reframe Your Meaning Of L.I.F.E 15:03 Lesson 5: Lose The Worrier And Find The W.A.R.R.I.O.R In You 19:00 Lesson 6: Incorporate Your new mindset in your finances so you can live in Financial Abundance 21:31 Lesson 7: Use The Warrior Mindset Affirmations Everyday 25:55 Lesson 8: The true meaning of Rationalize and how it's self-sabotaging you. 30:55 Lesson 9: Be clear about Self-Conscious vs, Self-Aware. 35:58 Lesson 10: Build Your Emotional Strength to keep your feelings from ruling your actions. 38:00

Rationalize can sometimes be equal to “rational lies.” Rationalizing can be positive in some ways, but it also slows us down. Today's masterclass is about confronting your rational lies. We'll talk about how it slows down and hurts us on our journey to success. Identify the bullshit lies you feed your mind and address it. Listen now! Show notes: [04:31]#1 Rationalization means to attempt to explain or justify your behavior with logical, plausible reasons, even when they are not true, appropriate, and accurate. [11:07]#2 Rationalization works because it allows us to craft a justification for any action and circumstance that takes place in our lives. [17:04]#3 Write down all the lies you've been telling yourself to make yourself feel good about some things you know are unacceptable in your life. [21:44] Recap All Episodes + FULL Work On Your Game Podcast archive at: http://WorkOnYourGamePodcast.com Next Steps: #DailyMotivation Text: Text Dre at 1.305.384.6894 (or go to http://DreAllDay.com/Text) Work On Your Game LIVE: http://WorkOnYourGame.LIVE Training - Increasing Your Income With Strategy & Systems: http://www.WorkOnYourGame.net Facebook Group: https://www.facebook.com/groups/6figuresandgrowing/ Free Audiobooks: The Third Day: http://www.ThirdDayBook.com/audible The Mirror Of Motivation: http://www.MirrorOfMotivation.com/audible Get The Free Books: The Third Day: http://ThirdDayBook.com The Mirror Of Motivation: http://MirrorOfMotivation.com The Overseas Basketball Blueprint: http://BallOverseas.com Basketball: How To Play As Well As You Practice: http://HoopHandbook.com/Free 30 Days To Discipline Course: http://www.WorkOnYourGame.com/30 Donate: CashApp: http://Cash.app/$DreBaldwin PayPal: http://PayPal.me/DreAllDay Be sure to Subscribe to have each new episode sent directly to you daily! If you're enjoying Work On Your Game, please Review the show and let us know! Dre on social media: Instagram [http://instagram.com/DreBaldwin] Twitter [http://Twitter.com/DreAllDay] YouTube [http://youtube.com/dreupt]

Neil & Scott discuss a lot of listener feedback, some more interesting facts about toys, and Kelly stops by from the OCB Kitchens for an exotic flavored candy cane taste test - FUN!!!

In this episode, Mike sits down for a discussion with Ross Hick. In addition to his career supervising violent felons as a Probation Surveillance Officer, Ross works as a trainer with Citizens Defense Research. One of his specialties is the psychology of critical incidents. There's a lot of material out there on preparing for the fight, but Ross and Mike go on a deep dive about preparing for the aftermath.  Tactical skills and physical fitness can help survive the fight, but what about emotional fitness after the fight is over? In addition to common symptoms like sleep disruption and reliving the incident, high responders may find themselves in the uncomfortable position of feeling isolated and out of control afterward. In this episode Ross & Mike talk about therapy resources, the importance of finding meaning outside the job, and preventative care ahead of time for mental resilience in the wake of a critical incident. Links: Citizen Defense Research Sources of Power By Gary Klein The Inner Game of Tennis by W. Timothy Gallwey Like what we're doing? Head over to Patreon and give us a buck for each new episode. You can also make a one-time contribution at GoFundMe.  Intro music credit Bensound.com

Cooper Turley, better known as Coopahtroopa, is betting big on ushering a new generation of music. In September, he announced a first-of-its-kind investment fund focused squarely on web3 music projects and artists themselves. Coop Records raised $10 million and Coopah will be the sole general partner. He's hesitant to call it just an investment fund though. That's because Coop Records is also a record label and incubator. Coopah will invest directly into web3-native music artists in a “seed round” — turning emerging artists into venture-backed startups.Structuring an artist's company is what Coopah sees as web3's biggest opportunity: resetting ownership dynamics. NFTs are another vertical of the Coop Records fund, in addition to the seed-stage investing in both companies and artists.  Coopah joined me on the show to give us an in-depth look at how Coop Records is eying its investment opportunities. Here's everything we covered:[0:00] How Coop Records started[2:06] Focusing on emerging artists, not established ones [3:35] Coop Records' investment thesis[7:24] Investing in artists during “seed round”[9:50] Structuring artists as a holdings company[11:40] What does an exit look like for artists investors?[15:00] Artists as CEOs[20:11] What makes a music NFT historical [22:28] NFTs as a replacement for masters and publishing[27:18] Accredited investors vs. fan investors[29:30] Artist success stories with community building on web3[31:40] Focusing on story when marketing NFTs[34:25] Optimizing for engagement not reach on social [39:24] How tokenization changes the artist-fan relationship [47:00] Predicting the year that music NFTs go mainstream [48:25] Coop's big question for web3Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Cooper Turley, @Cooopahtroopa Download The Culture Report here: https://trapital.ck.page/a23b7a6a4a Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo.TRANSCRIPTION[00:00:00] Cooper Turley: And I think that gets to this artist development piece more broadly is that you're trying to start the process much earlier, much earlier than I think a lot of the major record labels are starting now. Because I think they often wanna see artists having some proven. Track record before they're willing to sign them.[00:00:24] Dan Runcie: Hey, welcome to the podcast. I'm your host and the founder of Dan Ruey. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level. [00:00:49] Dan Runcie: Today's guest is Cooper Turley, aka Coopa Troopa. He is the founder of Coop Records, which is a new venture fund, a 10 million fund that is focused on investing in the future of music, specifically in web three. He is someone that has made a name for himself as a thought leader in the space. He was involved with the Dow Friends with benefits and he's now started this fund to make economics better for artists and ultimately help them take more advantage of the opportunities that are around them. So we talked about a lot of it. We talked about how he views the space right now, why he started this fund, and what the fund's investing in. There are three main areas that we go into. We talk about investing in music startup. Investing in artist seed rounds and investing in NFTs themselves as an investible assets that him as a general partner and little Bited partners would wanna see returns from. So we talk about what the economics of that look like. I think that. Cooper stands out in a lot of ways because he has a much more nuanced understanding of how Web Three fits in with the broader ecosystem of what's happening right now in music, what some of the trade offs are with the financials, the relationship with fans, what services it offers versus the traditional record labels and more really insightful conversation, and I hope you enjoy it. Here's our chat.[00:02:07] Dan Runcie: All right. Today we're joined by Coopa Troopa who just launched Coup Records, which is his fund that is investing in the future of music and Web three specifically. And first off, congrats. I saw the announcement, it's really dope. So walk me through the process from thinking about you wanna start this fund to where you are now, today with it.[00:02:28] Cooper Turley: Absolutely. Well, first of all, thank you for having me. I'm really excited to be here. I've been in music for the last 10 years in crypto for the last five, and so I've seen everything from ICOs to Defi, to Dows, and not most recently NFTs. You know, throughout that time I've been active across public markets as a trader, behind the scenes, as an angel investor, as a community builder, and as an operator. And when I started to think about how to connect all the pieces together, I've always been a fan of music. I felt like there was never really a clear vehicle to help elevate and amplify the space. And so I found coop records to be the best way to really just zoom in on this niche that I'm so excited about and figure out how to really help the founders, artists, and builders that are supporting this space everyday.[00:03:05] Dan Runcie: Makes sense. What were the conversations like getting buy-in from LPs?[00:03:10] Cooper Turley: Basically helping to explain what music NFTs are, why this is a vertical that you'd wanna invest in at this time and day? You know, historically I think that music has gotten a bit of a bad rep, cuz it's very antiquated in a lot of ways. You know, there's a lot of systems that are very complicated and hopefully we can unpack some of those on this episode. But, I think we through presents a new opportunity for artists to monetize in creative ways. You know, as someone who's been a curator my whole life, it's very easy for me to understand the value of investing in songs, artists, et cetera. But for someone who's not music savvy and not passionate about this sector, you know, the majority of those conversations are why would anyone wanna collect a song? Why would someone wanna invest in an artist? And trying to help people understand why there's an opportunity here that I think is. Influential and paramount for the next chapter of music. But once people get over that line, you know, I've kind of been able to build a brand for myself that I think speaks very clearly to why I'm so excited about music. And so for investors that are looking to get exposure to the space, coop records is a great way to get that exposure without them having to get as deep in the trenches as I am.[00:04:07] Dan Runcie: Right. And I gotta imagine that that probably took a few conversations just given things that I'm hearing too, from folks. People, they understand the promise and the opportunity of what NFTs and what web three offer, but there's. Hesitation, there's still perception about what's going on and some of the headlines that people see. How did you communicate or address some of those concerns while still sharing the value add for what you have? [00:04:32] Cooper Turley: Yeah, I really focus on emerging artists. You know, I think that this is where the vast majority of value will accrue over the next couple years with Web three. And so when you think about investing in music, most people's mind goes to like, how do we get Drake to drop NFTs? I actually don't really focus on that at all. Instead, I think about how do we develop the next act that becomes Drake using Web three tools? And so for investors that are kind of hesitant about getting involved in the space, I point out early examples like X copier people, you know, crypto artists who really made a brand and a name for themselves on the back of selling their nfts. And obviously in the case of people, he had a major brand before, but it wasn't until the existence of NFTs and sort of these community based assets that they started to see monetization aspects with their fans and with their collectors. And so trying to highlight that there's an opportunity here to develop and support emerging artists new to Web three through music, I think it really made a clear case that. This isn't about trying to get your biggest celebrity to drop NFTs. I think that will happen at some point in time. But this is about investing in the infrastructure and the artists that are going to make this space very valuable over the next couple years.[00:05:31] Dan Runcie: And one of the things I like too about how your fund is structured or reminds me a bit of Matt Pinkus and how his music fund is structured. It's not just focused solely on startups that are trying to build the next tech platforms. You're also looking more broadly. The NFT space itself and what that opportunity looks like and it'd be great to break each of those down. So let's start first with the music tech companies, cuz I know that's 85% of your fund looking at preceded seed stage companies. What's your thesis for the type of company that is a coop records company that you're looking for? [00:06:04] Cooper Turley:  I'm a really big fan of composability. So in Defi there's this concept of money Legos or protocols and platforms that could plug into one another. I believe the same thesis will play out with music, where we're gonna have music legos, where there's different marketplaces, service providers, tooling, infrastructure that can help sort of amplify what an artist can do with Web three. And so when I think about investing in a music tech company, I think about culturally, is this company aware and active within the pocket that I'm spending a lot of my time in? And then beyond being aware of sort of the artists, the songs, the type of platforms that are doing well in this space, do they have the open mindedness to wanna work in collaboration with those other platforms? So in accurate, we can kind of create this toolkit in this stack where if I am an artist who's new to web three, it's not about choosing Spotify versus Apple, it's actually about trying to develop a presence across many platforms. And hopefully those platforms. The life of the artist easier by making everything connect together with one another.[00:06:56] Dan Runcie: And I feel like this speaks to one of the broader themes that I know you've talked about before, is. It can't be this approach of web three versus web two. These things need to be collaborative. No more zero sum games. How can you think more broadly about the opportunity there? How do you view that more broadly, not just with the fun, but also likely how you're seeing the space with any artist that you're working with too?[00:07:21] Cooper Turley: I'm really laser focused on web three platforms because I think there's a lot more room for change within those platforms. You know, I have nothing against legacy platforms like Spotify have done fantastic work for artists and I think there will be at a time and day when they're able to enable music, NFTs to be purchased, collected, listened to within their platform. But the reality is these companies are so sophisticated that trying to move the needle is very complicated. And so for someone like. I'm running this fund as a solo gp. It's a relatively small fund, and so when I think about where I can have impact and leverage, it's typically working with very early stage founders. You know, I can get in the trenches and help to develop the product. Think about how we're onboarding artists, think about new marketing strategies. And so for me, I think right now it's about cementing the cultural relevance and value of this emerging wave of Web three music. And once that's been clear and established, we can take those same values, ideas, songs, artists, and help to bring those into the traditional industry in a more clear way. Because right now I think that a lot of the bigger players, let's call it major labels, et cetera, they recognize that there's value to be captured in Web three, but I don't think that they have the same level. Boots on the ground cultural awareness that maybe someone like, um, myself or some of my colleagues have. And so I think the challenge here is a, making it very clear what that culture is so you can start to translate it to larger players. And then once that they agree there is something of value there, you know, being able to act as a connector where you can say, Hey, maybe instead of going and doing a 500,000 or a million dollar drop for the biggest act on your roster, let's go ahead and find an emerging artist who's curious about the space and develop them with the course. Five or $10,000 drops and instead really build that community and that collector base in a very organic way.[00:08:56] Dan Runcie:  And I think that gets to this artist development piece more broadly is that you're trying to start the process much earlier, much earlier than I think a lot of the major record labels are starting now. Because I think they often wanna see artists having some proven. Track record before they're willing to sign them. And in some ways your approach isn't too much different. Maybe it's just a bit of a different stage because one of the other areas that you're investing in is artist seed rounds. And can you describe. What stage an artist would have to be in order to be at the seed round, and what types of things you're looking for there from an artist?[00:09:33] Cooper Turley: I think it's very similar to what I look for in companies. You know, has this artist been able to prove a little bit of traction? You know, have they demonstrated that they're culturally aware of where this industry is headed? You know, different things that I feel like are interesting to kind of describe. Cause it's not very concrete. Like you can't point to like a specific amount of sales or a specific amount of volume and say, okay, this artist is ready to be invested in. But it's really just a development process of like, is this person making web three a focal point in their career? I believe that that's something really important for me personally, cuz that's where I had the most leverage. But once they've demonstrated that they've been able to release on some of the bigger web through platforms, you know, once they've been able to collaborate and onboard other artists to the space, you know, you start to see that these people have like a little bit. Leverage was sort of their career. And at that point in time, instead of signing a traditional record deal, co records can really be the one to say like, Hey, let's go ahead and set up a company for you. Let's think about how we wanna do a cap table. Let's bring on some partners to give you the capital that you need to go and hire a team around you. So instead of selling your next three albums to a major label, you can instead fund this through accredited investors. And then over time think about the ways you wanna bring other partners into the fold, but not need to be so reliant on the capital to do that in the first place.[00:10:38] Dan Runcie: And with the artists specifically, cuz I know that you've started the fund. Maybe for the people listening, is there a particular artist that you have made a seed investment in just so people can get a good idea for, okay, this is someone that we invested in, this is where they're at in their career, and this is what the opportunity is [00:10:56] Cooper Turley: Not publicly. I think by the time this comes out, we'll be right around there. You know, I can say that privately, behind the scenes we're working. The first round, you know, we've had some very serious progress on it. Investors are excited about it. We're going through the whole corporate structure, but for me, this is a very different lane because it's not as simple as just investing in the safe note of a precede company. You know, there's a lot more complexity around IP ownership, around revenue sharing around. Kind of how this artist thinks about their company and what kind of rights they're giving back to people. And so it's a slower process, but it's one that's currently in motion. I expect that we'll probably have the first one announced within the next one to two months, but I can definitely say there's one in motion that I'm really excited about. And I think, you know, by the end of this calendar year, we should have that one announced. [00:11:37] Dan Runcie: I think part of this too is also the structure of things. You mentioned this earlier, and I think for a lot of artists it's probably. Not necessarily a new way to think about it, because I think in general, artists do think of themselves as having multiple revenue streams, but in order for this to work, in order for you to be able to make an investment, there needs to be some type of, whether it's a holding company or some type of structure in place so that you can make an investment that would touch all of these things. Can you talk a little bit about what that looks like on the artist side? [00:12:05] Cooper Turley: Yeah, it's a fantastic question. I wanna start by saying, This is early days and so this is the first stab at it. I think that this model will evolve and change over time. The way we're thinking about it is there's one Hold Co, that represents the artist ownership across their various income streams, uh, that hold co owns subsidiary entities, one of them being a music entity, which owns the masters in publishing for that artist. One being a live entity, which owns touring and merchandising, and then one being a Web three entity, which owns NFTs and. And so all of that wraps up into the larger hold cow. But the reasons those subsidiaries exist is because we wanna limit liability to each of those different vertical. If there's an issue across web three, we don't want that to end up touching the masters. If an artist wants to go and sign a record deal, they shouldn't have to figure out what to do with their touring or what their NFTs to be able to enter into agreement with a different party. And so we've kind of split up the different verticals into buckets that make sense relative to the type of partners and the type of work that it is. But all of that rounds back up into this holding company and when it comes time to invest in the artist, quote unquote, that artist is selling anywhere from five to 10% of that hold cow to accredited investors so that they can have exposure and pass through to those underlying revenue streams. But there's not this sort of majority ownership, creative control, et cetera. It's really, here's capital and exchange for you to go do what you do best. In exchange for that, we have exposure to these underlying entities, which represent the artist brand in its entirety.[00:13:27] Dan Runcie: And for an investor like you, I think most people listening have a good idea of what an exit looks like for a startup, but what does an exit look like for you as an investor, for an artist, if you're going in at that seed round?[00:13:39] Cooper Turley: I think there's a couple ways it can pan out. You know, one I think would be IP acquisition. Let's say that there's a buyout of someone's masters or publishing, et cetera. You know, there's kind of larger capital inflections that can happen later down an artist's career. I'm more excited about this idea of taking artists public cuz it's something that hasn't really been done before, but I think will happen eventually. Where right now, if you're a fan, you can't really invest or bet on an artist. I think we're starting to see us at a very granular level with music NFTs, and it's something I would love to cover as the last bucket next, but to me, I think an exit here is helping an artist really take this company that we structure for themselves and explore what it means to go public. And so rather than only accredited investors being able to buy into that five or 10%, how do you invite fans to participate in that convers. I think that there's a lot of, uh, legal nuance there that needs to be figured out. And so I don't have that answer today, but I would say that more broadly, the two ways that this could happen is a, investors are seeing a return from the IP becoming more valuable, and they're being capital injected into the whole co. Or B, more optimistically the artist, quote unquote, going public by either, you know, listing on a traditional market or what I think is more likely is creating some form of a token, which represents exposure to this entity that's been set up to represent the artist brand in the first.[00:14:49] Dan Runcie: Got it. And then from a structure perspective, do you ever hear any type of pushback or comments from artists who feel like, oh, you're getting a slice of all these revenue deals. This feels similar to a 360 deal. Do you hear any of that at all?[00:15:04] Cooper Turley:  Yeah, I mean, it is a 360 deal, and I think that that's really important to like zoom in on, because 360 deals have gotten a really negative rep because of the percentage ownership that they typically encompass. So traditionally with 360 deals, it's anywhere from 50 to 80. When we talk about a 360 deal in this context, it's five or 10%. And if you start to look at the way that companies take on dilution and precede and seed stage rounds, it's kind of the same concept. You know, like that company is basically taking all of their revenue into this central entity and they're selling off dilution to investors. And so I think for artists, this is particularly scary because there's been such a history of people taking advantage of 360. But I don't think the structure with 360 deals incorrect. I just think the ownership targets that those deals are typically set at is what's really predatory. And so if we can zoom out a bit and instead say, Hey, five or 10% can give you a couple hundred grand, maybe a million dollars to go invest in a team around you, there's ways for that capital to be really value added where the dilution is actually necessary and valuable because it helps you advance your artist career in a way that you simply couldn't do without it.[00:16:04] Dan Runcie: I agree with that. I think that that's, Testament of some of the challenges with the broader major record label system as well, right? It's not that people shouldn't be willing to trade some level of ownership in exchange to get a boost from the company. It's how much ownership, it's what the terms that the actual economics look like, not the economic agreement itself.[00:16:28] Cooper Turley: Yeah, it's correct. And I think that it's something that is really important to help educate artists on. And this is the area that I'm actually most fascinated by is like artists really thinking about rights ownership, thinking about dilution, thinking about cap table management. And just with that in mind, I wanna highlight, it's a very specific type of artist that is willing to enter into this quote unquote, artists seed round. Because I think that most artists are not thinking about their brand as a ceo, but I think there are very selective artists who think about their entity as a business and for those specific artists being able to demonst. There's value in having employees. There's value in giving them long term options and equity, and having these ownership incentives be a little bit more aligned. I think traditionally music has existed in this weird ballpark where we've basically only ever sold masters in publishing. We haven't really experimented with equity or any of these other ownership vehicles that startups have been taking for the last couple generations, so I'm excited to explore it. You know, I by no means have all the answers, but I think. My time investing in precede and seed stage companies has given me a little bit of context on how things work behind the scenes, and I'm hoping that with a little time and effort, we can sort of mold those same practices and help apply them to artists more broadly.[00:17:34] Dan Runcie: That makes sense. And I have to imagine too, with artists as well, there's some artists that love the mentality of being the business person themself that can be the CEO and wear multiple hats. There's other artists who I. As much as they want the business to work for them, they just wanna focus on the art. So there's specific things that you're looking for to determine, okay, is this artist gonna be wanting to be the ceo? Or maybe making sure that they are partnered with someone that may wanna be in that role instead[00:18:05] Cooper Turley: Yeah, I mean, you just touched on it perfectly. I think that there's situations where artists have partners that are acting as their ceo, you know, and in many typical startups you have a ceo, a cto, a ceo, et cetera. Um, the artist isn't the only person that's responsible for their success. They're obviously the largest player in that. But it's less about, is this artist capable of being a ceo? It's more about is this artist capable of building a team around them that can. In tandem as a unit and as an organization. And if that artist is uncapable of operating as the CEO, because they're phenomenal at making music, it's very likely that there may be a manager, an agent, a business partner, et cetera, that could step into that role. And I think the biggest thing that I'm excited about is to realign incentives around the service providers around an artist. So whether that be a manager, an agent, a business manager, a lawyer, et cetera. Typically, all these actors are just operating on commission, you know, and they have five or 10 clients because there's no guarantee that they'll be with that artist in 10 years time. You know, these contracts aren't really a center aligned for those key players. But if we can instead start to create an instrument where a managers may be able to take a salary and then have equity that's vested over four years, I think there will be more situations where artists would be willing to enter into a full-time quote unquote agreement with their manager, because that a manager is now incentive aligned to actually spend all their time developing one. Instead of needing to commission off of five or 10 different artists just to be able to make a living.[00:19:24] Dan Runcie: It's a huge point because there's so many managers I've talked to that just talk about how thankless that job is, and that's purely just from how they're treated, not even getting to the economic aspect. You start thinking about the economics about how managers are treated and yeah, maybe you'll get 10 to 15 to 20%, but if that artist levels up and then they wanna level up their manager too, they can just be like, Hey, sorry, I wanna move on. And you, the person that brought them from zero to 40. Now you have nothing. Right?[00:19:54] Cooper Turley: Yeah. I mean, it happens time and time again from smaller artists to the biggest acts in the world. I mean, I don't have to name names here, but I think we all know examples of this happening time and time. And it's really just a game of incentive alignment. You know? And when I think about the term web three, to me that means ownership. And so for all of these different deals that I'm doing, it's about how do you create ownership incentives so that everyone who's contributing value to this entity is able to capture that in some way, shape, or form. And so I think it's a very difficult conversation to tell a manager, Hey, instead of taking a 15 or a 20% commission, you're gonna get a base salary and then have a couple equity percentage points that best over multiple years. But when you start to zoom out a bit, you start to see like, hey, maybe 1% of equity can actually be more valuable than 20% commission. Because if you're operating a multi-million or multi-billion dollar business, you know that's a life-changing amount of money. And so I don't expect this is something that's gonna happen in the short term. I think it's gonna take a very new class of partners, managers, agents, et cetera, that are willing to enter into these type of. Situations and these type of organizations. But I'm very excited to work with the emerging class of talent that's willing to try something out a little bit differently because I think that new class of talent is looking for an opportunity here. And I think that we've seen time and time again that the systems that exist today work, but I think that there's a lot of room for improvement and I'm excited to use some of the artists that we're working with help push the needle on what that could like. [00:21:11] Dan Runcie: Yeah, and I think the other point that you mentioned too, was aligned as well, just in terms of artists being able to have that team around them. We've seen so many examples where whether it's Jay-Z, having someone like a Dame Dash next to him, or you have Jay Cole and e Bama, they've been working together for years. Kate, uh, Kendrick Lamar, and the whole Top Dog team. These artists are doing it themselves, and oftentimes the ones that try to get stuck, so no different then. Yeah, a startup, if you're trying to raise money, they're gonna push back. If you have the technical co-founder being the same one that's trying to go raise money, right? Like you need to have some expansion there. So I think so much of that makes sense. I do wanna talk about the other piece that you mentioned though, the NFT piece of it, because the way that you're investing in these, I think could be eyeopening to some of the folks listening because you're looking. And I heard you referred to historic NFT opportunities and NFTs as collectables. Can you talk a little bit about what you're looking for if you're investing in NFTs through this fund and how that may separate from what a lot of people may assume when they think about an nft. [00:22:18] Cooper Turley: Yeah, so there's a really amazing market of songs that are being released as collectibles right now. You know, there's platforms like Sound xyz, where every day an artist is releasing a song with 25 editions as NFTs. And I've been really active across these markets for the course of the last two years. Personally, you know, biggest collector on Sound today, one of the biggest collectors on catalog. And I'm really excited about being able to collect these early songs from artists that are building in Web three. You know, the analog I'd make here. Music, rookie cards. You know, we have rookie cards for basketball players, for baseball players, et cetera. We don't really have rookie cards for artists, and I think in a lot of ways these early music NFTs are sort of the equivalent of an artist rookie card. And so personally, I've been doing this for the last couple years. I recently just put out a post called the Music NFT Collector Thesis. This is how we're thinking about collecting from the fund. But to really break it down, we're thinking about how do we sort of acquire early NFTs that represent historical relevance of this. Web three and Music NFTs have been around for maybe a year at this point. I think that there's a huge opportunity for fans to start getting involved by collecting the songs that they love and for the fund. I almost look at music NFTs as the new form of like masters and publishing. You know, it's not quite one to one, but there's almost this new market being formed of Tradeable assets that you can buy for something like 50 bucks when it drops, and then hopefully have the ability to resell at a later. And I think for the fund, you know, us being able to participate in these markets and say, Hey, we are aware of what's happening on the ground floor with the next generation of developing artists, we're actively collecting these songs that we can show that were there from them, beyond needing to set up a company and needing to do some crazy type of investment situation. And I'm really excited about the opportunity just to have. Ownership over some of these really early collectibles, cuz I think they're very historic in the development of these artists' careers and I believe they're extremely valuable and will continue to demonstrate. So in the years to come. [00:24:03] Dan Runcie: You brought up an interesting point just about how you feel like NFTs could replace what we are naturally thinking about masters in publishing. I guess in terms of how artists are monetizing and what their ownership looks like. Can you talk a little bit more about that and specifically how that could look or what that could look like? Years down the road.[00:24:23] Cooper Turley: I mean, I'll start by saying that, um, masters in publishing are extremely valuable. You know, I think that this is a system that has worked for generations. There's a huge trend around catalog acquisition. I think that will continue to exist for many, many years to come. I think for someone like myself, me trying to get in the catalog acquisition game is not a smart move. You know, there's a lot of players with a lot more experience. There's a lot of people with a lot more money. The one unique advantage that I do have though, is developing thesises within this small pocket of web three artists, and the best way to get exposure to them is to simply buy their nf. You know the way that this looks is if there's the first song an artist ever released their artist rookie card, and there's 25 additions of that being sold for 50 bucks. If you zoom out and one of these artists becomes the Weekend, Drake Post Malone, Jack Harla, whatever it might be, there's a very high likelihood that those early additions are gonna be worth a lot more than $50. And so instead of trying to invest in the masters in publishing rights, those songs can also go on Spotify. They can stream extremely well. You can have relationships with major label. But I believe those early collectibles have a market of their own. These markets are not tied to any sort of royalty rights because it's just collectibles. You know, there's 25 additions of this digital vinyl. I can buy it for $50 and then sell it for whatever price I want in the future. And I think this is a market that not many people are paying attention to right now. But I think when it comes to new and creative revenue streams for artists, I think that collectibles are gonna be a very, very big market in the years to come. I think it's the most clear way that fans can start to get involved with sort of, Collectible nature of getting involved with an artist and as a fun, I think we're really excited to be participating here to say, Hey, we're really excited about this. I think there's some really amazing plays out there right now, and we're gonna continue to support artists on the ground floor to help develop this thesis. [00:25:59] Dan Runcie: Why do you think that a lot of people aren't paying attention? Or what do you think some of the, if there's friction or if there is just in a bit of a natural adoption curve, like what do you think's going.[00:26:12] Cooper Turley: It's just new. I mean, this entire market has only been around for a little bit more than a year at this point. You know, in total, I think we have less than a thousand artists that have ever minted a music NFT before. There's probably less than 10,000 people ever collected one before, and so. Relatively speaking, it's just a very new and small market. And I think for a lot of players that have bigger fish to fry, it's probably not worth their time to invest buying records for $50 because they have multimillion dollar record deals in place. You know, and so for someone like myself, um, a lot of what I do is help educate artists that there's a lot of value to be captured in web through right now based on how early it is. You know, I think that there's a lot of unlearning that can be done with the way artists are releasing music in Web three. And so traditionally, when you're putting out a song on Spotify, most artists I know here in. They'll take eight weeks in advance to think about what distributor am I gonna put this out through? Am I gonna sign this to a label? What's my advance? What's my marketing rollout? What's my TikTok campaign? How am I getting pre saves? How am I making the music video? And what I've been preaching is like, Hey, if you have a song, you should put that out tomorrow. You know, like there's people out there that would probably wanna collect that record. And if you can 5 25 people to come and collect music in FT for 0.05 E, they're basically $75. That's the equivalent of half a million streams. And so I think trying to teach people that you don't need to have this giant rollout process to make this headline moment with music. We've gotten really conditioned to trying to shoot for the new Music Friday playlist. You know, all of these emerging editorial playlists. One of the beautiful things about the SoundCloud era was people were just uploading music in real time and if you had your finger on the trigger, you could go and just repost something and be part of a wider movement. And I think what's happening with music and FTS now is artists are gonna start to see that you don't need to have a six week rollout to put out a collection of 25 songs. If you make that song on Wednesday and put it out on Thursday, you can immediately get funding from your biggest fans and use that funding to go and market the rest of your career and instead be able to obviscate the need for a lot of those major capital advances that typically get artists caught up in a weird position in the first place.[00:29:05] Dan Runcie: Yeah, that makes sense. I feel like if the funding's in place and you can replace early on, because I think for a lot of artists, the economics don't really work out either. Unless A, you own the underlying masters in publishing to begin, so you're just bringing on a. You know, revenue per stream or just general from what you're getting from streaming or on the other side, you're just massive, like Drake or someone like that. And your billions of streams per year brings in plenty of money. But for a lot of other artists, it ends up being either A, a loss leader if you're focusing solely on streaming or a, or you're leaving money on the table some type of way. So I feel like that approach is something that makes sense for a bunch of. On the investing side though, I have a few questions on this, but the first one, on the investing side though, how do you feel like the appetite will be for, let's say an artist does have early investors, the likelihood for those investors to be folks who are accredited, folks that just wanna be able to get a return, versus people who are actual fans of that artist. Any thoughts on what that mix may look like for the average artist that's going through the web? Growth cycle and the rep do growth curve?[00:30:19] Cooper Turley: Yeah. I mean, I can speak on this from the artist seed round that we're doing right now. Every investor in that round has been an active collector of this artist for many, many months. Prior to that, they all have personal relationships with the artist. You know, they may be an accredited investor, but they're not just bringing capital. They've been active and supportive of this artist's career way before the seed round even started. And so I think if we zoom out, there will definitely be situations. Investors just want to put in a couple hundred grand and not really worry about getting involved on the ground floor. But given how early it is right now, most of the investors who are interested in participating in these capital markets are ones who want exposure to both NFTs and to the artist equity. And so I think that over time, collectors to me are a little bit closer to like early investors. Think about them like almost angels or sort of like seed round investors. Over time, collectors will start to mirror more fan behavior. But I think for right now, a lot of the collectors I know, they're just excited to get exposure to an artist's career and to go and support them more so than they are to really go to their show or to buy their merchandise, et cetera. And I think that's where a lot of the pushback comes for web through music is like, oh, these people aren't actually fans. They're just, you know, buying NFTs. But if you zoom into what that means, it's almost a different form of fandom where they're providing capital to be able to have exposure to an artist's career. And their expectations are a lot less on the fan side. I need you to collaborate with this artist. I want you to put out this type of music. It's more so like, Hey, we just wanna support you and your career however we can. Because the more that you're able to identify your vision and create a brand around it, the more valuable our NFTs are going to become. And so it's a very mutual relationship I think hasn't really existed in music in the past.[00:31:50] Dan Runcie: You're really getting at this aspect of community and how artists can foster that, how they can build around them. We've seen the power of that in the SoundCloud era, so we've seen a lot of these things happening and what streaming in general has enabled to happen. What are some of the success stories that stand out to you when you're thinking about artists to be like, oh yeah, they've nailed community, or they're nailing community, like that's how you do it.[00:32:13] Cooper Turley: Yeah. I would say a couple artists to check out. Daniel Allen, I think has done a fantastic job of this in the web three space. Latasha who started something called Zora Topia has done a fantastic job at this Early nft. Artists like Matt Cha os. Grady bloody white. I mean, the list goes on and on, but basically you see. The small pocket of artists that are really making web through a centerpiece for their career, and they're leveraging that into creating more community conversation. Where typically all these artists have a collector chat where once you've bought a music nft, you can get into a private chat with that artist. It's typically 20 people, 25 people, and that artist is in there every day saying like, Hey, what do you guys think about this demo? Hey, I'm thinking about dropping a song next week. Which one do you like more? What do you think I should do for the supply? Do you think we should do an airdrop? And that conversation is a lot more interactive. And I think in a lot of ways artists have typically maintained separation from their fans to kind of uphold this like form of mystery and this like storytelling aspect. But what I'm seeing now is that collectors are getting really close to the artists that they know and love, and those artists are realizing that for a very specific demographic of their audience, they can be very value added, asked the right questions. And so instead of just doing a meet and greet or doing like, you know, 50 people standing in line to say hi, back to back for an hour and a half, it's like, hey, if we wanna have a valuable conversation about the future of my career, These other people that I can turn to, cause I know they have exposure to my brand and they actually typically have experience That's very valuable and it's something that I think is gonna happen more and more with the next generation of collectors to come.[00:33:37] Dan Runcie: Yeah, I think that's a good way to just think about the framing of it, right? Meet and greets can be great, but it's so transactional. It is really isn't an opportunity. And it kind of has a bit of this like hierarchical thing. Like, oh, I paid $500 extra at this concert to like take a picture with you. Versus no, like if you've really been with this person, then how can you help shape that in the same way that someone that was really early on can? So I feel like there's so many principles there and there's so much that aligns with, especially on the financial side. I'd love to hear your thoughts on the marketing side of it, because I know that's a piece that a lot of artists have had questions about, but I also think that we've seen from. Project specifically with Web three projects like outside of music where whether it is the creator themselves who's been able to market or get the word out effectively, or they've been able to just find ways to build their distribution themselves. What are some of the ways that you've seen artists who've been successful on the Web three Path have been able to replicate, or at least make up for some of the marketing that they would get from a major record label, but otherwise they're recreating on their own.[00:34:47] Cooper Turley: I think it starts from the story, you know, like first of all, what is the music that you're releasing and what is the story behind that? But more importantly, like what is the narrative with how you're using the technology? And so almost fusing together like the creative side with the tech side, you know, whether this be something as simple as like creating your own artist website where people are mentioning s from, or it's something like, hey, we're using on chain splits to reward and compensate. 15 different contributors, five of which didn't touch the music, but were helpful in the development or the project management or the visual assets, et cetera. You know, I think there's new creative channels to help bring more people into the table, but I would say generally Twitter is kind of the main resource for all web three artists. You know, the ones that I see doing really well are typically putting out tweet storms, talking a lot about the drops that they're doing, why they're doing it, and how they're doing it. I see a lot of artists doing these sort of collector chats and more private investor relationships. If they have a bigger release coming out, it's not only about posting the tweetstorm, it's also about going and finding time to talk to some of your bigger collectors one on one and being like, Hey, what do you think about this? How can I get you involved? What are some feedback you would have on this drop? Are you excited or not excited? And I think typically with music, traditionally, how it's released, Artist makes a song, they have their internal team, and then they put it out to the world. And when it's out to the world, everyone forms an opinion on it. With Web three music, a lot of the time, there's a lot more happening behind the scenes before the release actually comes out, so that when it is time for one of these releases to happen, you start to see these things sell out because there was a lot of work put into the record before it came out, and that's not untraditional from typical music, but I think the difference there. Active conversations with your collectors is very new. You know, typically it's like people around a table at a major label that are talking about like, how are we gonna market on TikTok? But this is different because it's going and having very direct conversations with the people that are supporting you the most. And in aggregate that sort of. Neural net of all these different people talking about your drop in tandem. It creates this sort of network effect where when it does come out, there's almost a rippling effect that helps to make the drop become more successful. And I think that's something that I'm seeing being replicated time and time again.[00:36:44]  Dan Runcie: And I know that, as you mentioned, Twitter has been a great space for artists to be able to share things. There's so much. There's so many people in the one three community that are active there, and I think have added to a lot of the discussion and narrative around it. But as someone who's active on Twitter myself, I know how small sometimes those circles can feel. What other platforms or what other areas are you seeing some of these conversations happen, and how long do you think until we're starting to see it not just becoming necessarily a Twitter thing, but it is expanding to more platforms and it's becoming a bit more of. Early majority, at least being able to catch on.[00:37:22] Cooper Turley: I think it'll be Twitter for the foreseeable future. You know, I think that's just where the vast majority of Web three people live. And I think it's actually the one social platform where you can talk about Web three and not get ridiculed for it. You know, I think across nft, TikTok, et cetera, it's very taboo to talk about NFTs, and I don't think that those users are really as tapped into sort of like the valuable aspects of Web three. And so I think for the immediate future, let's call it the next one to two. Twitter, I think is gonna be the source for all of that. And to your point, some of these communities do feel very small, but I think that's actually one of the biggest differences with Web three. You know, I think with traditional marketing platforms, we optimize for impressions, we optimize for plays, for eyeballs, et cetera. On Twitter, if you have 50 people that are consistently showing up to each of your drop, you're doing an amazing job. You know, I think that this is the biggest thing that shows why Web three is valuable is you don't need to have a million monthly listeners to make a couple thousand bucks. If you have 25 people that are willing to come and support you, you can make the same amount of money and have a deeper relationships with those individuals. And so I always say to artists, Even if you're only getting three, five reactions on your tweets every single time, that's very impressive because the benchmark to move the needle and Web three is a lot lower because every individual person is much more active and the quality of those conversations is much higher than what you could expect from a TikTok, Instagram, et cetera.[00:38:36] Dan Runcie: And I think in general, like with those platforms, you're more likely to reach people who are just casually following or passively engaging versus whether if you're already in that audience that's Twitter, you're likely reaching a more active fan base to begin with. And it gets to this whole concept of where can you not just reach followers, but reach people who are actual fans of their music? And a lot of the platforms that have grown tremendously large in the past few. Are much more overindexed on followers and less overindexed or or under indexed rather on true fans.[00:39:08] Cooper Turley: Yeah. And so there's still a lot to be done there. You know, I do believe there's a world in which artists that are using Web three and music NFTs become viral acts that have fans in the traditional sense. I try not to like focus on that too much because there's a lot of work that needs to be done to get there. I think that will happen, but I don't think it's healthy to think. What that looks like today, because frankly, we're just far away from it, you know? And I think for me, helping an artist get a thousand collectors is much more important to me than how do they get 10 million streams on Spotify? You know, if the ladder happens, that's great. But I think the former's actually a lot harder to do because it's a much smaller design space. But, you know, I think there's something really exciting there. And a lot of the work that I do as a collector is really just educating fans on like, why would I wanna collect music? Like, why would I wanna participate on the other side of these? I think from the surface, a lot of bands got really bad experiences with NFTs because artists were just selling random drops that didn't really have any merit to them. They didn't actually care about the output. They were just kind of doing something to be cool at the time. But now what I'm starting to see is that these emerging artists, they really care about their NFTs. They care about them just as much, if not more, than their release strategy on Spotify. And for those demographic of artists. If you are a fan that's looking to sort of develop a brand for yourself around. I believe that this web through music space is a great opportunity to do so. And what we're now seeing is a very small group of music collectors who are building their entire Twitter brand around collecting drops on sound, or writing newsletters or writing mirror posts, et cetera. And I think those are the type of people that I want to try and amplify in Spotlight because it's a very much two-sided marketplace here. And in order for these artists to be successful, you also need to have collectors that are willing to be active in these markets and see success from the music they're collecting as well. [00:40:42] Dan Runcie: This is one thing that I keep in mind. More broad trends about like what's happening in music, but I also keep it in mind with artists and creators who are trying to expand beyond the folks that they're naturally reaching. Because if you're only going to try to focus on the people that you naturally reach on a regular basis, it, it can work. And I do think that it's kind of like shifting a bit of the psychology, because I think so much of us have been conditioned to just focus. Who is the next person you're gonna reach? What is your customer acquisition cost? It's not just artists, it's the whole industry that's thinking about it this way, but you can build a sustainable business if you are just focused on the pub shot reach. I know it's a bit of that thousand true fans mentality applied to web three, but I think that there's plenty of nuances there. And sometimes it could be less than that. Sometimes it could be more than that. But I think there's some really unique things. One thing. Interested to hear your thoughts on though is just with artists specifically and fans and just the nature of that relationship and whether or not the tokenization of their relationship changes anything. Right. Because I feel like with fans, there's a lot of this conception that because they don't feel like there's nothing that's like financially tying them to them, maybe that brings up, you know, a different relationship than they would if they do feel actually, you know, financially tied to the. Is there any downsides or is there anything that you think of in terms of how that broader tokenization of the relationship changes any of that dynamic or expectations?[00:42:21] Cooper Turley: I definitely think there's downsides, and I think there's a lot of pressure that comes with it. You know, I think for artists that are selling nfts, you need to think about new mechanisms. Like, what is my floor price? What is my volume? Is this asset trading above what I sold it for in the first place? That's a lot of pressure, you know, and that takes a lot of time to get right. I think that over time people are gonna recognize. Collector is getting mad about floor prices. The same as a fan being mad about the type of song that you're releasing, where that's just kind of the name of the game. You know, everyone's entitled to their opinion, but it's not like there needs to be a huge reliance on that. I think the one thing the artists need to focus on is actually being consistent with what they're putting out in releasing. If you're giving it your best effort and you're doing things to add value back to early collections, to be able to engage with your community and doing things that show that you're being intentional, that to me matters a lot more than like, what is the price of the tokens themselves, because I think over. We need to recognize that not all fans are the same, and it's not like all music is only gonna exist as NFTs. What's gonna happen is that all these songs are gonna be available on Spotify. If I'm a passive fan, I can go and just listen to that song. There's no expectation for me to ever have a financial relationship with that artist. But the new unlock here is if I wanna go deeper on that relationship. This is something that I've wanted to do for a long time, and I believe many others do. I can now collect something that represents a limited version of that song. And for other people that are excited about that artist's career. Not only can we share on our Instagram story, we can now go into a private collector's chat and say, Hey, I was able to pick up this sold out drop. I was able to pick up one of their early rookie cards, and I think what we start to see is that the fan base gets a little bit more. It's delineated across different verticals where there's some vans who are just showing up to a concert, you know, all the time. I go into GA at a show and I'm like, how do I get these people to buy music and FT use? And the reality is most of them probably never will because they just wanna go and have a good time. They wanna party and forget about their nine to five job. And that's perfectly fine. But I think for the small subset of people who are really passionate about music, those active listeners being able to answer into these more deeper relationships, it's really gonna empower curation in a very new way. And I think the analog I would make here, Sites like Height Machine really drove the success of SoundCloud in a very massive way. You know, there was a demographic of curators who were saying, Hey, we love this type of music. There was all these different blogs, like This song is sick, you know, all these EDM blogs, pigeons and planes, et cetera. They were adding cultural zeitgeist to these songs. And I think the financialization of these assets is not only gonna incentivize people to wanna curate and write about these different article. It's actually gonna give them the means to sustain themselves on the back of doing so. Or if I'm a curator who's really successful at identifying talent, I don't need to go work for a major label as an a and r because I can simply spin up a newsletter on sub stack, go and look at the drop calendar on sound, xyz, and then the event that I'm able to really identify. Successful drops, I can actually start to make a living on the back of my taste. I think that's something that hasn't really existed before and something that I'm personally really excited to see happen more and more in the industry at large.[00:45:08] Dan Runcie: That last piece is huge because it makes me think back to the blog era, especially at hip hop with just. How popular it was when, whether it was sites like Two Dope Boys or Now, right. And their influence on being able to have a mix tape that they're putting out. They're putting their stamp for approval. They're the media channel that's sharing the tape, that's being released from Dap Piff and being like, Hey, here is this new kid Cutty record that you need to listen to a kid named Cutty. You know, this is the mix tape. Check it out. Or the cool kids, or Charles Hamilton or whoever, one of these artists, The difference though, is that even though the artists in the blog era and the people who ran these websites in the blog era were so influential, and I think at a time they even had more influence than the major record labels did. They didn't capture the upside. They created the culture. They created the influence, but they didn't capture the upside. This allows that to happen in a way. The next version of Two Dope Boys could essentially be the one to, like you said, they could start up a newsletter, they could be able to release this and be like, Hey, I'm the one that is putting this investment in and then this is gonna stay there from here on out. That's something that's really special. And to be honest, I don't feel like there's enough discussion around that. So I'm glad you brought that point up.[00:46:26]  Cooper Turley: Absolutely. And I think the one, the one thing I wanna zoom in on there, That doesn't require the artists to sell any of their masters. You know, them putting out 25 editions of a collectible song that a curator can go and buy and then help spread the word about within their pockets. There's no conversation around like, what percentage master publishing does this curator now have? Do I need to bring them into my creative decision, et cetera. It's a new market that now exists on the back of taste and curation, and I think in a lot of ways, music NFTs get pushed back cause they say, oh, you don't actually own the rights. Why do these things have value in the first place? I'm a big believer that community has a lot of value to it. You know, I don't think that art needs utility or needs IP ownership or Masters or publishing to be valuable. I think these curators are able to tell very compelling stories about the impact that music has and being able to add a new market into the equation through music and fts, it really unlocks a new mechanism for artist fandom that I think is very simple to understand. I don't think the average fan will be able. Rationalize what a master or a publishing right looks like. But I think they can understand what a rookie card or what a limited edition of songs looks like. And so I'm very excited to watch these markets mature. And I think that ties back into why the fund is collecting music, NFTs, cuz we believe that. More people are going to be able to understand what it means to own a collectible than they are going to know what it means to own masters or publishing. And so you sort of have these two different sides of the equation. I think they can both work in T and in unison with one another to make the aggregate music market more valuable as a whole.[00:47:51] Dan Runcie: And I think your fun will be a, a test to see how well that works. So, It'll, it'll be, it'll be fascinating. I feel like the structures make sense. You have each day, each piece of it there. I'll be very interested to see what the returns end up being like for each of those categories. Right. Of course, you know, most of the fund is looking at your precede and seed stage music and web three startups, so I assume that it's naturally gonna be what the expectations would be for any young startup. But I'm very interested to see what those expected multiples or the exits will be for the NFTs and then, The artists seed round investments themselves. [00:48:26] Cooper Turley: Absolutely. I will say that the vast majority of the fund is going into web three companies, but time and time again, people get really excited about this idea of investing in artists. Again, do not have the answers whatsoever, but. I'm noticing people are really excited about that ballpark. So I'm excited to at least start that trend with this first fund here and in the future. I'm hoping that we can create playbooks for many artists who don't even use nft, use their web three to also start to enter in these agreements as well. But you know, I'm really excited about it. You know, like I said, I've been in music for 10 years, crypto for the last five. I feel like this fund is a great way for me to really fuse those two passions together. And it's a very small market right now, but if you made it this far in the episode, I hope that this is something of interest to you and I would love to keep the conversation going if you have more.[00:49:06] Dan Runcie: Definitely. Before we wrap things up and let you go, one of the quotes you had mentioned, you referenced this earlier, the conversation too, that we're not at the point in Music Web three, where Drake is gonna come thro

When it comes to obeying the Lord, get up and go – obedience always means blessing.

While not a panacea for all the challenges facing the grocery industry, one stakeholder argues a less is more approach in 2023 may help ease the ongoing burdens of inflation, supply chain woes, and labor shortages as well as rapidly shifting shopper preferences that are intensifying competition.

While not a panacea for all the challenges facing the grocery industry, one stakeholder argues a less is more approach in 2023 may help ease the ongoing burdens of inflation, supply chain woes, and labor shortages as well as rapidly shifting shopper preferences that are intensifying competition.

When it comes to sin, ask God to let your conscience always be tender.

Elizabeth Marie Chevalier ( IG: @marieechevx ) is a multiple time cover model including Maxim Australia, Playboy Denmark, Playboy Sweden, Maxim New Zealand, FHM United States, Playboy Australia and Playboy South Africa. ——————————————————— Michael's Men of Action program is a Master's course dedicated to helping people elevate their social lives by building elite social circles and becoming higher status. Click the link below to learn more: https://go.moamentoring.com/i/2 ———————————————————— Become an affiliate for MOA Mentoring: https://www.moamentoring.com/earn Subscribe on Youtube: https://www.youtube.com/user/MichaelSartain Listen on Apple Podcast: https://podcasts.apple.com/us/podcast/the-michael-sartain-podcast/id1579791157 Listen on Spotify: https://open.spotify.com/show/2faAYwvDD9Bvkpwv6umlPO?si=8Q3ak9HnSlKjuChsTXr6YQ&dl_branch=1 Filmed at Sticky Paws Studios: https://m.youtube.com/channel/UComrBVcqGLDs3Ue-yWAft8w 0:00 Intro 1:17 Terrifyingly tall 1:44 Like being private 3:30 First interview you've done 4:51 How you were in Highschool? 6:36 **LMU, US Revolutionary war 8:51 **Catholic school, degree in biology 9:45 ***Rationalize love 11:34 **San Diego, Anchorman 12:15 **Deadmau5 13:24 ***He hates his music 16:49 Snoop Dogg 17:54 **Meeting your fiancé 20:53 *Michael was right again 21:42 ***Beyoncé got cheated on, red flags 24:53 ***You will not cheat 27:07 **I am not my Instagram 28:02 ****Their options don't matter 30:23 ***Addicted to their narrative 31:11 ***Kennedy Summers 32:31 Misanthropy 32:59 ****You are offensive because you are attractive 36:03 ***Evolutionary phycology 37:58 ***Women say one thing and do another, narcissist 41:34 ***Manosphere, Red Pill 45:39 **Let it go and it will come 47:13 ***500 body count, neuro-chemical response 48:52 ***Men are taught to express themselves 51:08 *Gaydar 53:00 Fake teeth 54:15 ***Anal, dominatrix 56:58 **Don't want to live a long time 59:14 ****Emergency surgery 1:03:02 ***Look up to you 1:05:41 ***No other option 1:06:49 My bday 1:07:32 ***I love boob 1:09:05 ***Playboy 1:10:29 **FOMO 1:12:00 Marriage and divorce 1:12:30 Average guy, GSS survey 1:14:24 ***It's hard to date as a guy 1:16:19 ***No answer, Andrew Tate 1:17:53 ***Game theory dilemma 1:19:40 ****Stalk me 1:21:10 When stalking works 1:23:30 Entourage, 138 Water 1:26:33 Music Videos 1:29:20 ***Too beautiful to find a man 1:31:25 Close man friend 1:33:21 Dating as an influencer 1:35:31 Favorite people to work with 1:36:29 Monogamy 1:39:01 ***Questionnaire 1:42:45 ***Naked in the shower 1:45:03 ***Does this feel good? 1:46:54 Bali 1:48:38 Wait to have sex 1:51:06 Social Media 1:52:21 Outro

Save Meduza!https://support.meduza.io/enNow that Vladimir Putin is 70 years old, we're understandably getting less of his torso in official photographs, but the Kremlin nevertheless relies on tropes of masculinity to validate the regime and its actions abroad, particularly in Ukraine and when it comes to confrontation with the West. This gendered rhetoric resonates with Russians just as it does in societies and nations all over the world. The authorities and the public work together to manufacture consensus about who gets to be on top, who constitutes a threat, and what actions are legitimate. When it comes to the invasion of Ukraine, for example, the promotion and draw of various anti-feminism and anti-gay narratives in Russia have facilitated the idea itself that an independent, Western-leaning Ukraine poses an existential threat. This language has helped make plausible for Russians a war that was inconceivable until only recently. But what happens if you take away that rhetoric? Without gender's role in influencing Russia's securitization process, what's left of Moscow's justifications for war? These are questions inspired by a new article titled “Damsels in Distress: Fragile Masculinity in Digital War,” published in the academic journal Media, War & Conflict and written by Dr. Lisa Gaufman, an assistant professor of Russian Discourse and Politics at the University of Groningen. Also the author of “Security Threats and Public Perception: Digital Russia and the Ukraine Crisis” (2017) and the forthcoming “Everyday Foreign Policy: Performing and Consuming the Russian Nation after Crimea,” Dr. Gaufman joined The Naked Pravda to discuss her work.

Do you want to walk in the way of holiness? Ask the Lord to help you see your sins and throw them off. Ask his forgiveness, and be holy as he is holy.

It is so tempting to try and rationalize with our child's OCD. It's a knee jerk reaction that most of us do at some point. We might try to problem-solve their OCD issues away. We might try to bombard them with facts. We might try to convince them that their compulsive behavior won't do what OCD says it will do.But it is all a waste of breath. And worse than that, it can do some unintentional harm.In this week's AT Parenting Survival Podcast I talk about why we shouldn't rationalize with our child's OCD and what to do instead.***This podcast episode is sponsored by NOCD. NOCD provides online OCD therapy in the US, UK, Australia and Canada. To schedule your free 15 minute consultation to see if NOCD is a right fit for you and your child, go tohttps://go.treatmyocd.com/at_parentingThis podcast is for informational purposes only and should not be used to replace the guidance of a qualified professional.To join the AT Parenting Community go to: www.ATparentingcommunity.comVisit my website at www.ATparentingSurvival.comSign up for my weekly email newsletter:https://pages.convertkit.com/740ba8cd83/92109b7172Take one of my online classes:To view the entire online school library, go to:http://www.ATparentingSurvivalSchool.com See acast.com/privacy for privacy and opt-out information.

Have you ever been in a situation where you talk your self into justifying your actions or someone else's? This is what it means to rationalize. Chris leads the conversion from a point of understanding of what rationalization is and how you use it in your life. Some of the ways that we use rationalization is as a defense, justification, understanding and as protection. The goal you want to strive for is the balance between those uses and developing a destructive habit of over-rationalizing everything. Tune in to see Why Do We Rationalize Things So Much Through a Therapist's Eyes.

Hey First Things First listeners! Enjoy the most recent episode of Nick's brand new podcast, What's Wright? Click here to subscribe: https://listen.foxaud.io/0SGEaqsE?sid=ftfrss What's Wright? is back for a unique episode as trade rumors swirl around Tyreek Hill and we see Nick go through the different stages of grief. Nick goes on to give us his pick to come out of the Western Conference, explain why LeBron and KD are struggling despite having a large role in building their teams, break down the trade market for Jimmy G as more teams find their QBs, and talk about Chet Holmgren's potential (and metabolism). Nick circles back to try and rationalize why trading Tyreek might be beneficial for the Chiefs, talks about who means more to the Nets between Ben Simmons and Kyrie Irving, makes a prediction for how Coach K's final season will end, and talks about the viral video of Zion Williamson dunking.  Learn more about your ad choices. Visit megaphone.fm/adchoices

What's Wright? is back for a unique episode as trade rumors swirl around Tyreek Hill and we see Nick go through the different stages of grief. Nick goes on to give us his pick to come out of the Western Conference, explain why LeBron and KD are struggling despite having a large role in building their teams, break down the trade market for Jimmy G as more teams find their QBs, and talk about Chet Holmgren's potential (and metabolism). Nick circles back to try and rationalize why trading Tyreek might be beneficial for the Chiefs, talks about who means more to the Nets between Ben Simmons and Kyrie Irving, makes a prediction for how Coach K's final season will end, and talks about the viral video of Zion Williamson dunking.