Podcasts about Ruter

Anine er redd for å bli exposed og har krenket en nær venn av podden, Fetisha har beef med både Helt Hjem og Ruter, og begge jentene har sterke meninger om aktiv dødshjelp. Pute er ikke veien å gå!Fetisha +1 finner du eksklusivt hos Podimo - med fulle videoepisoder!Prøv Podimo gratis i 30 dager: podimo.com/fetisha

Stavanger-headquartered Norled has been honoured as The Maritime CleanTech Partner of the Year 2024, highlighting the company's pioneering role in setting new standards for both innovation in the Norwegian maritime industry and sustainable maritime passenger transport worldwide. The award underscores the critical importance of collaboration and bold thinking in advancing maritime decarbonisation goals. As an industry front-runner, Norled has been prepared to shoulder significant risks in a new market, put investments in place and take concrete action to advance the maritime transition. The company has succeeded in achieving significant milestones including the world's first fully electric car ferry, the MS Ampere, which went into service in 2015, operating the world's first electric high-speed ferry in 2022, the MS Medstraum, and in 2023 introducing the MS Hydra, the world's first zero-emission ferry powered by hydrogen and state-of-the-art battery technology. These successes in winning public contracts with advanced vessels set an example for traditional passenger transport companies globally, as many countries look to electrify their maritime transport infrastructure. They also demonstrate the real-world feasibility of green technologies on different inshore vessel types, as well as providing a blueprint for scaling solutions to larger tonnage operating internationally. Vision for real change "It's an honour to receive this award and the timing is perfect, particularly as we grow our focus on the express boat side. It fuels our determination to deliver low- and zero-emission solutions, proving that collaboration and innovation are the key to a zero-emission future," said Norled CEO Heidi Wolden. "I extend my thanks to the jury, our partners within Maritime CleanTech, the authorities for their ambitious policies, Maritime CleanTech for their help coordinating funding, and of course all our dedicated employees. Together, we're creating real change and paving the way for a cleaner maritime industry." Revolutionary battery-swapping solution Norled continues to push the envelope with its upcoming SHIFTR system, a state-of-the-art battery-swapping solution set to debut on the fully electric fast ferry MV Baronessen, which was recently delivered to public transport provider Ruter for operations in the Oslo Fjord. Developed in a joint venture with maritime technology vendor SEAM and robotics company Aarbakke Innovation, SHIFTR exemplifies Norled's relentless pursuit of zero-emission solutions that benefit society at large. "Norled took this challenge seriously and has come up with solutions to all the challenges we gave them. Together with our partners, we are creating one of the first emission-free fjords in the world," said Ruter CEO Bernt Reitan. Beyond the capital, the Norwegian Public Roads Administration is pivotal to the ongoing transition, with over 80 electric ferries currently in operation, with more to come as specified in contract tenders. "We have high climate ambitions and demanding requirements in purchasing non-fossil solutions as part of Norway's transition to low- or zero-emission ships by 2030. Through synergistic public-private partnerships, Norled and other ferry operators continue to successfully deliver on these requirements together with suppliers," said agency Director, Ingrid Dahl Hovland. Building Green Value Chains Maritime CleanTech CEO Ada Jakobsen emphasizes Norled's influence both nationally and globally. "Norled's experiences are helping to transform the entire sector, proving that bold ideas combined with expert execution can drive real change. Working closely with suppliers, they have actively built new green maritime value chains that will foster market adoption of new solutions at scale." She adds that Norled is an excellent example of moving beyond industry debate over the lack of infrastructure for new fuels such as hydrogen, to taking concrete action. The company joins the ranks of past Par...

My guest today is Beth Stensen.Beth is a gem in the Design world in Norway.She was Head of Design at Ruter (the company responsible for the plan, coordination, order and market of public transport in Oslo & Akershus), she then became the CEO at Netlife (famous for their Y Oslo Conference), and now she's the Head of Design at Posten Bring - the leading post company in the Nordics.Beth has a lot of experience with transformations and this conversation is packed with insights and advice from her journey - as well as reflections on the Product Movement and how it's impacting Design, and its future.We covered:* The “Product” Movement and its impact to Design* Making room for the intangibles* Reflections on “tension” between Design and Product* Ruter's transformational journey* A practical example of what a great Product Vision looks like* Tips to navigate transformation as a Designer and Design leader* Insights from Beth's journey at Posten Bring so far* The Future of Design* And moreI really loved talking with Beth. There's so much wisdom here. I hope you enjoy this conversation as much as I did :) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit afonsofranco.substack.com

AVVIST FOR Å HA PUBLISERT PÅ NORSK / SVs REVIDERTE STATSBUDSJETT / REKTOR PÅ OSLOMET / NYE BUSSERPubliserer du forskningne din i norske tidsskrift kan du få avvist vurdering av doktorgraden din. SV vil øke stiduestøtten og knyte den mot 1G. Christen Krogh, rektor ved OsloMet har vært på besøk og Ruter har fått bedre elbusser!I studio: Ingrid Karoline Karlsen, Julian Sandum og David Megard GrønliTeknikk: David Megard Grønli

I've interviewed more than 30 Product leaders in Scandinavia, and this is one of those conversations.Subscribe for free so you don't miss out on future conversations and related contentToday I'm talking with Marius Røstad - CPO at Aidn - and Espen Sundve - former CPO at Oda, who's now a Senior Advisor at Schibsted.Marius used to head up product at Ruter before joining Aidn as Chief Product Officer.Aidn is one of the coolest healthcare scaleups in Norway, aiming to disrupt healthcare.Espen has also held product leadership roles before joining Oda as its CPO, where he thrived for 7 years.Oda is Norway's leading online grocery store.How does Oda build products and organize itself? What are some of the principles behind their success?And how is Aidn doing that today, one of the most interesting tech scaleups in Norway in the healthcare space?You'll find out soon, as well as learn both Marius and Espen's perspectives on being more strategic, their views and approach to product strategy, team topologies, the importance of speed, how to foster alignment when you're scaling fast - and so much more. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit afonsofranco.substack.com

USA's centralbank sænker renten betydeligt for første gang siden 2020. Nyt drama om DSV's opkøb. SAS går i offensiven og åbner 15 nye ruter ud af København. Jyske og Danske går sammen i stort finansslagsmål. Nye angreb i Libanon.  Vært: Lasse Ladefoged (lala@borsen.dk)

A Norway Trip Report...on today's Milenomics² Podcast 01:00 Scope: 2 weeks in Norway. Oslo, Tromso, Lofoten then back to Oslo for a few days. Wanted to get away from people. Love the coast, and Norway has a LOT of coastline Spent most of our time in the arctic Circle (but not considered the arctic) Map: 10:12 Outbound: Air France. LAX-CDG Plus a 4hr layover. Flight was smooth and the daytime departure was nice Got to experience the new LAX Air France lounge. Open 3 weeks ago. New is always better. 4hrs in CDG was perfect with kids. Got through immigration, train to the 2F terminal, settled into a lounge, everyone showered and then about 45 minutes later we were off to the gate Kids meal was pre-ordered and was great. CDG-OSL very basic, service by Amelia (by Air France) 20:10 Getting to Oslo from the airport Fly to vs Vy. Trains run every 10-20 minutes. Travel time is less than 30 minutes. Flytoget calls itself the 'fastest' airport train. This might be true, but only by a minute or two. Vy is a few minutes slower. Faster than driving even. Flytoget has Kids free vs VY so the prices start to converge when you take this into consideration approx $12 - 24 per person one way. Taxi was about $125. We had 4 of these one ways to do so we needed to get good at them. Vy app is not as good as the Ruter app for buying tickets with US credit cards. Stick to the Ruter app. Ruter and VY app cannot buy flytoget tickets, so Ruter + Flytoget app are the ideal combo. Tickets can also easily be bought at the ticket machines. 25:20 Clarion hotel the hub (a strawberry hotel) Location is great, just off Oslo central station 810(!) rooms. Norway's Largest hotel. Did not feel this big. Booked family size room for 16000 points With a Strata Premier this is 8000 TYP transferred to Choice. Included a pull out sofa which was already set up for us. Includes full buffet breakfast with omelette and crepe station. Nice, newish hotel. Certainly a great way to spend TYP and appreciate they book family rooms. Came back and worked to get connecting rooms. Seemed willing to even give some partial extra credit for the family room vs. 2 regular rooms. 30:58 Oslo: World city, really a great feel to the city, full of energy, parks and fantastic amounts of museums. 20+ Hours of daylight. People outdoors and a city that is alive. Paris and Prague feels. But English is a first or second language in most signs and interaction. Summer in Norway is Wildflower season. The landscaping in the cities is beautiful. Be Aware of your surroundings at night. There were some sketchy areas we stumbled into. Nothing too rough but still, be aware. Food was easy to find and diverse Interesting food halls: Oslo Street Food or Barcode Street Food Most world cuisine was easy to find and well done. Getting around is so easy. There are very few people driving cars. Taxis only really. Malls. So many malls. Beautiful they way they preserved the facade of the building and then you walk in and find a 3 story mall. NeoTokyo Store was stocked with Japanese toys/foods/snacks. Normal Store was a favorite of my two kids for candy/gum/interesting small dollar shopping for them. Gets rural quickly, leave city center and you're in the forest. Everything I saw ahead of visiting said to get out of Oslo -- I really, really enjoyed Oslo, and wish we spent more time there. SO much to explore. 35:24 Food in Norway Solid! Nothing like I was expecting Even in Tromso easy to find good options: Sushi, Thai, Fish & Chips, kid friendly food everywhere. Lofoten: had some meals out, touristy but to be expected. Our budget flex was that we had an airbnb in Tromso/Lofoten with a kitchen. Instead you could opt for prepared foods from the grocery. Reindeer: not bad. My 9 year old ordered it twice. Fruits and veggies are plentiful and easy to find in stores. Strawberry, raspberry, blueberry season. Fantastic berries that were easy to find. Had one meal that was Norwegian. It was 'ok.' Watermelon, passion fruit, grapes, nectarines, mangoes etc. 45:36 Travel to Tromso and Lofoten 1 quick 2hr flight on Norwegian Fine. Much better than southwest. Included 4 checked bags and overhead access. Incoming plane had everyone deplane and then boarded us and took off all in less than 35 minutes Pretty views from the plane on the right side as we approached Tromso. Tromso rental car: Hertz Months out cars were expensive. One way rentals to Lofoten were nearly $2000. Originally booked an Alamo rate about $700 for a week. Anything less than 7 days was over $1200. Was told this would be an automated kiosk. That's likely old info. All rental companies at the airport had full manned areas. Rented a VW ID.4 ev. Got a VW ID.4 $524 for a week. Tolls, ferries and parking meant a $300 pre-authorization. Ended up using about $80 in tolls with 1000 miles driven. Tolls are once per hour, regardless of how many you go through. Most tolls were under $2. Returned it late and nearly empty. I didn't want to bother charging it. Was quoted about $25 plus the cost of electricity if I returned it under “around 70%”. I decided to leave it as empty as possible and skip a charging stop on the return since I'm paying for the convenience. Tours: get your guide+ capital one shopping Commodity tours are a great use of capital one. Click through and don't buy, a few days later a good offer comes to email. Clicked through a common tour operator and didn't end up paying for the tour. Used some chase UR Received a 38.5% cash back offer from Capital One shopping Which….just worked! Took two tours down from 100 or so per person to 63 or so per person 51:29 Tromso: where to stay? The city is….well, a city. Has a few strawberry hotels and a Radisson Blu Parking is about $4/hr in the main tourists area. I don't know if any hotel has parking. You could certainly get around on public transit (hard with kids) even to far flung parts of the area. But being away from the city is quick and easy. 15 minutes puts you in an incredibly rural beautiful environment. If I had it to do over I'd stay on the island of Kvaløya near Esterboten or Sommory. You're close to Tromso but with incredible views: The best grocery store seemed to be the Eurospar on E862 No other store matched it for fresh fruits and veggies. Grocery prices are reasonable, stores are stocked with plenty of great fresh options and even some ethnic staples. Beer and Wine are expensive and wine is only sold at Vinmonopolat stores. 56:52 Low-ish season in Tromso / Lofoten Busy time is apparently northern lights and early spring for winter sports I thought summer in Tromso was fantastic Negatives, whale season is not summer. Did see some porpoise. Tours were 10-25% full. Small enough that you got to know the group. Slow pace in Northern Norway. Very Slow. 9-10 max 1:00:11 Tromso to Lofoten islands. This was the ultimate “what's the best way to get there” test Flying might have worked. Except cars were extremely pricey at Svolvaer, and the closet airport had a tiny runway. There are no direct flights from Tromso to Svolvaer. At some level it meant a full day of travel either by car or air. So we road tripped it. There are high speed Ferries that don't take cars, and drop you in Harstad (still not where we wanted to be). There are options that involve busses. But again with mobility issues (little kids) I wanted a car. Option 1: over land. 6hrs or so. About 500km. no views, and locals say not worth doing. Option 2: two ferries plus about 300km of driving. 8hrs. Option 3: Hurtigruten. Maybe 14 hrs but nearly direct. Not every day. Must prebook. Weird hours. If you're going to book this book it on the Norwegian language site (and maybe with a VPN) for the lowest pricing. Needed to decide which to do, booked nothing ahead of time. Originally decided on the south, direct drive. Was swayed by locals to take the ferries. Big mistake. Senja was a really beautiful place. Pivoted and made it work, thanks to my wife's quick Google searching and reassuring calming down. Just drive straight. Roads are easy and we did the return in just about 6hrs with a short break in the middle. I think a more standard trip is flying to Lofoten from either Oslo, Bergen or Bodo. Adding in Lofoten pushed the complexity up. I'm very glad we went to Lofoten I loved it, impossible to describe. My Final Route looked like this: 1:18:34 Ferries. Interesting for People, Terrible for Cars Cars line up early, fit very few cars. Tour Busses get to cut the line. Arrived about 50 minutes early and was #12 in line. For the second ferry in Gryllfjord I was an hour+ early and #65-70 in line (!) Scan license place and auto charge. People without a car are free EV pays half price Seems like a service to connect islands with last mile service, not as a method of reliable car transport Not worth doing. Long waits, no way to pre-book and no guarantee you can get on these ferries. 1:20:44 Lofoten: Need to get beyond Svolvaer for the best of the islands. Svolvaer is any other fishing village. Past Svolvaer is unlike anywhere I've ever been. Islands as far as the eye can see, some of the best driving I've ever done Harrowing roads in some places where you need to pass a bus or truck and there isn't enough room Peace and quiet. Weather was unusually warm. Anyone can take a good picture in Lofoten. Surprising numbers of beaches and swimmable areas. Tours: Oslo: brunch on the fjord, nice but nothing overly impressive about the brunch. Fram Museum (Fantastic, captivated my two kids for 90+ minutes) Tromso: fjord boat tour, arctic fishing. Incredible with the weather we had. Husky cafe tour and training Floating sauna and swim Lofoten: silent trollfjord tour, beaches Henningsvær, Lofoten: Extremely touristy. 1:33:20 Return to Oslo and Return home. By now we're pros getting to/from Oslo Airport Back to the hotel for connecting rooms....that were not ready for us Let it go a day, fixed it the next day. 3 days in Olso: Shopping, city exploration, parks and playgrounds for the kids. Could have spent more time and seen even more museums. Return home on Air France, overnight in Paris. It all just worked. 1:45:15 Overall impressions Such a laid back country. Almost too laid back (ferry story). Food was not an issue at all. A huge misconception is that the food here is not accessible. Cigarette smoking is everywhere unfortunately. Alcohol laws are not in line with the rest of Europe and can be pricey. Sunday is a big deal. Almost all stores close. Joker groceries are open Sunday. Tourist towns like Tromso are….touristy but people also live there. Fun to visit the malls and see their daily lives. Talking to people led us to some of the best surprises of the trip. Nice to be in a country where we could communicate easily. Midnight sun was more of a feature than a bug. We packed our days often going 8am to 10pm Driving 1000+miles was a mix of very easy and white knuckling. Speed limits make no sense. Lots of Amalfi style 1.5 lane roads in Senja and the Lofoten Islands.

En mann starter en privat trikk for å konkurrere med Ruter, men blir møtt med massiv kritikk. Med Mathias Haven. Hosted on Acast. See acast.com/privacy for more information.

Velkommen inn skal du være til dagens episode av Skumma Kultur! Vi gir deg updates på 17. mai og hva folk hadde på seg på den store dagen. Vi snakker om Oslosommeren og gir deg gode grille-, øy- og flørtetips.God fornøyelse.I studio:Isolde AlbriktsenElisabeth Vesterheim KnutsenThea Jonette Reinfjell

Kollektivselskapet Ruter hadde 5188 medieoppslag fra slutten av oktober ifjor til midten av mars i år. Og det var kun kjeft å få. Direktør for samfunnskontakt og kommunikasjon i Ruter, Elisabeth Skarsbø Moen, forteller her om hvordan selskapet organiserte kommunikasjonsenheten sin under vinterens krise. Hun gir også gode råd til hvordan man kan ta vare på medarbeiderne sine når adrenalinpumpene kjører for fullt. Hosted on Acast. See acast.com/privacy for more information.

I denne episoden snakker Einar Fygle med Per Egil Johansen fra Fagforbundet om årets Tariffoppgjør. 

Og vi vil ikke snakke mer om det faktisk. Du må lytte hvis du vil vite hvorfor. Vi svarer ikke på noen spørsmål. De beklagende er Stian, Sebastian og Sigurd, med en unnskyldende Malin på teknikk.

Jørgen har satt mobilen sin på svart/hvitt. Ole Petter har prøvd Threads.  Spider-programlederen er død. Ruter lager eget utviklerselskap. Årets kode24-priser er delt ut.  kode24-klubben sliter med RAM-brikker, og mye annet. Vi surrer til vitsespalta. See omnystudio.com/listener for privacy information.

Holly Ruter, LISW joins Pastor Jason for part 2 of a discussion on mental health and Christianity.

På mandag kom snøen for fullt i Oslo sentrum. Det førte til kaos i kollektivtrafikken. Vi har med oss kommunikasjonsdirektør i Ruter, Elisabeth Skarsbø Moen, i studio for å svare på hva som skjedde. Hosted on Acast. See acast.com/privacy for more information.

Holly Ruter, LISW joins Pastor Jason for part 1 of a discussion on mental health and Christianity.

CAS 10 - 5-2 - 2023 David Ruter, USF HOF running back by Calling All Sports

På en dag der Sveinung kom seg til kontoret ved en kombinasjon av jogging og el-sparkesykkel, tar vi en prat med Johan Gjærum, leder for strategi- og bærekraftsteamet til Ruter. Vi snakker om hvorfor Ruter snakker om bærekraftig bevegelsesfrihet heller enn bærekraftig mobilitet. Den mest bærekraftige reisen er jo den som ikke tas, men hvordan fungerer det i lys av forretningsmodellen til et selskap som Ruter, som tjener mer penger jo mer vi reiser? Vi dypdykker i teknologiske løsninger fra selvkjørende kjøretøy til AI-styrte rutesystemer, vi diskuterer hvorvidt det er individet eller systemet som er viktigst, og Sveinung spør om kompostering er en del av scopet til Ruter. Lars Jacob erklærer sin kjærlighet til trikken samtidig som han omtaler busser som "et sant lite helvete". Vi spør oss om Ruter burde drifte co-working-kontoret på Lørenskog, Johan foreslår at han kan få kjøpe seg nye joggesko på kollektivtransporten til jobb, Sveinung synes at Silicon Valley underleverer og vi snakker radikal innovasjon for mobilitetsløsninger og ikke-mobilitetsløsninger. Hosted on Acast. See acast.com/privacy for more information.

UnitedMasters and Translation CEO Steve Stoute returns to the show, fresh off a new deal with R&B star Brent Faiyaz for a reported $50 million. Brent had his pick at multiple major labels, but chose to stay independent with UnitedMasters.We talk about how independent companies can compete with majors on upfront money, competitive advantages in the music industry, and more.Steve and I also chat about the industry at-large: AI, entrepreneurship, subscription prices and more. Here's what we hit on:2:19 The ups and downs of entrepreneurship 06:11 Building two companies at once10:56 Positioning UnitedMasters in the music distribution space 13:16 Does anyone in music have a moat?15:56 Why Brent Faiyaz chose to sign with UnitedMasters27:33 Should the DSPs raise prices?30:07 Artists and creators becoming mini-media channels 36:58 How NIL (name, image, likeness) is like the independent music business37:19 Is Steve going to strike more NIL deals?45:52 Why every artists needs a Chief Technology Officer54:30 Separating real from hype: blockchain, to web3, to AIListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuest: Steve Stoute, @SteveStouteThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmTrapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPT[00:00:00] Steve Stoute: They used to have a moat, but no longer do they have a moat. And I don't think anybody independent music has a moat. I think Distro kid has a lane and TuneCore has a lane, and United masses have a lane. And, you know, others have, certain strengths about them. but, I think the only moat you have is the moat that is a true result of the success that you have. If people choose you and you build a strong business, and you're growing, that's the quote unquote moat. [00:00:27] Dan Runcie Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:55] Dan Runcie Guest Intro: Today's episode covered a wide range of topics, but the key thing that's central to it is artist independence, and we're able to sit down with none other than Steve Stoute, who is the founder and CEO of United Masters founder and c e o of translation, and has been working in music and entertainment.For decades now. This is actually his third time on the podcast, and we covered it all. We started the conversation talking about motivations and how you were able to stay consistent as an entrepreneur, given the ups and downs of that lifestyle. Then we talked about translation, United Masters, Artist Independence, a bunch of trends happening right now and how.A company stays through all of the waves of technology waves, whether it's blockchain from a couple years ago to web three to where things are with AI now. Really fun conversation. Steve always brings it in these talks too, so it's a really great listen, hope you enjoy it. Here's our conversation.[00:01:53] Dan Runcie: All right. We're back with the Trapital podcast. Yeah. We got the one and only Steve Stoute here. I think this is your third time on the pod. [00:02:00] Steve Stoute: Really? I thought. I guess I thought it was twice. Thought This was my second time. [00:02:04] Dan Runcie: We did one time. We was at Empire Studio there. Yeah. We did it virtual during the pandemic, and then we got this one.[00:02:11] Steve Stoute: Oh, well, I'm fan of it. very early. You were? Yeah, I was on it very, very early. I think you're a good job. [00:02:18] Dan Runcie: Appreciate that. [00:02:18] Steve Stoute: Thanks for having me back. [00:02:19] Dan Runcie: Thank you. Yeah. These conversations are always good. And I wanna start this one and a place we haven't started others. I feel like we normally dive into the business, but take it a step back.You've been building businesses as an entrepreneur for decades now. How do you stay even keeled? How do you stay consistent with it, just knowing the ups and downs that naturally happen with building businesses? [00:02:42] Steve Stoute: Well, the fact that I appear to be even keeled is a compliment because, I certainly am emotionally attached to the businesses I build.I know there's, you know, the saying, don't be emotional about business, but when I'm building something from an original idea that I have, it's, you birthed the idea. I'm emotionally attached to the success of it, and the organization around it and the perception of it. So, you've been through those tumultuous cycles, so you tend to not chase the highs or chase the lows.and that sounds good. but it is definitely harder to do that when you're emotionally attached than, you know, understanding the theory that you should do that. And I think experience helps a bit, takes the edge off. But yeah, I would say to you, you just, like, for me, I've been able to sustain the energy andsustain through the ups and downs, through, sort of expecting them and not, chasing the highs like that's where the big mistake is when something great happens or a series of great things happen, you know, respecting it, but not chasing it because I believe that that's still not, gonna prevent the tumultuous time from coming. Because [00:03:56] Dan Runcie: I think the tough part with that, and this is something I know I struggle with too, it's tying your own satisfaction, your own esteem at particular points with those highs when things are going well. Yeah. And it's great to say those things, but I know even myself, it's tough to be able to stay even keeled when things are going well. The phone starts ringing more, you start getting more opportunities, more looks for things. Yeah, yeah, [00:04:20] Steve Stoute: Yeah. And it becomes more hectic. And then you have to hire more people. And then that creates another set of problems and responsibilities. And look, building a business isn't easy. I said it, the shop, know that the biggest mistake that I see is the glorification of entrepreneurs like, almond entrepreneurs. So therefore, like, you know, the sacrifice that it requires, to be able to know that failure is imminent or success is imminent that you may have an idea and you can go years without realizing the opportunity and it may go to somebody else. people ask me, how do I do it? And, you know, I'm here in San Francisco, I was, You know, in LA the day before that I was in Miami, the day before that, the day before that I was in LA again, it's like, it just keeps going. And like, you know, not seeing your family an d sacrificing some of the comforts of home or the comforts that you have of a routine, it's also part of the sacrifice. So it's not easy, and you have to really be committed to it. It almost has to be your A plan, your B plan. Your C plan is that plan, like you won't find joy or fulfillment. in doing anything else. At least that's how I feel. [00:05:39] Dan Runcie: Yeah. I think a lot of it's accepting those trade-offs and knowing that you can't do it all. I think I've heard you talk about this on the shop as well, whether it's so-and-so as the birthday party, so-and-so as the this, and yeah, it's great if you can line up and do those things, but you've chosen this life to be able to be in LA, be in Miami, be in New York, and back to back days and Yeah, doing that requires this type of commitment to it and you can't do everything. [00:06:04] Steve Stoute: Yeah. and hiring great people, is part of it. but putting your own personal comfort is certainly not a priority. [00:06:12] Dan Runcie: Yeah, definitely. Interesting you brought up the hiring piece because I think you've definitely built up a reputation as someone that's always operating on 10. So you naturally wanna surround yourself with people that are at that level. What are some of the things that you look for to see, okay, does this person have the edge? Cuz you know you're gonna be running all the time. Can they run with you? [00:06:36] Steve Stoute: it's very hard to, you know, resumes or LinkedIn pages, whatever you use can tell you a lot, but they don't measure resourcefulness or effort, right? So those things do not appear in any aspect of looking at, a person's profile. So I've learned through failure, you know, I may have not, I may have, I have high, I have hired and fired. you know, 3000 plus people, you know, so you learn what are the qualities or what are the questions to ask, to try to help, mitigate that the kind of person you need for your company. It doesn't mean that person's bad. You could have made a bad hire, not because the person's not good, they just don't fit your team. I mean, you see it in the NBA all the time. Players on somebody that was on the Lakers or somewhere else goes to another team and then all of a sudden they do well cuz it's the system, it's the culture, it's the coach. And that's the same thing with employment. Like, you just may be good just not for this company. So understanding what you specifically need versus, oh, this person worked at, so tech high, or they worked at Google, they worked at Airbnb, we want that right? Pulling them into a startup or pulling them into that culture or pulling them into that product not made completely, is completely different, specifically in our case, than what they were doing over there. And not every single job transfers one to one, whether it's the music business, the tech industry, the marketing business. We hire people at translation all the time. They came from Ogilvy. It's like, well, that has nothing to do with us, right? Or they come from Goodbee and you're like, well, that ain't gonna work here, right? Why? Just because the way we are, set up, what they may be used to, the programming that they run versus what we run, they, you know, may not be a great culture fit. And so, knowing that helps mitigate that risk. So knowing who you are, knowing what kind of people respond well to your culture is an important aspect. Not only just the mission statement stuff. Yeah, great, But like really innately knowing it and feeling what works.What are the common attributes of the people that are successful at your company that are more nuanced based and knowing how to identify that in others and what other companies share those values so that people that come from those companies tend to do well at your company.[00:09:05] Dan Runcie: You mentioned how this is a tension point in music in this industry. I think we've seen it from time and time, whether it's the record label side and folks on the creative versus streaming and tech coming in and some of the pushback there. I think you've been able to have a good vantage point with both of these because you have a ad agency and you also have a music distribution service.The talents, the skills needed for one, may not make sense for the other, but they also have a bit of a unique identity there. How is it with that perspective?[00:09:38] Steve Stoute: Difficult, hard. at the onset of starting United Masses, I put translation in united masses under. United Masters, Inc. And understanding that in order to do that, to build a marketplace that has creative or brands on one side and creative and culture and cultural impact and creators on the other side, and building that marketplace takes hiring unique people because we sit at the convergence of culture, technology, and, storytelling. Mm-hmm. So you need people who are prolific at least two of those three things, every single person. And that's the only way you have a shot of getting that convergence to work as one and hiring for that and building organization structures around that probably is the most important thing. That I do every day is understanding where could we be more efficient in that model? What kind of people do we need in order to accelerate that model? How do we scale that model as a result of the talent we have and the talent we need? That is very difficult, and it is probably, it's definitely a top five priority, from the CEO. [00:10:56] Dan Runcie: And I assume as well, part of this is required with the nature of how you've positioned United Masters, right?If you don't have these differentiating factors, if you don't have this tie in to culture or trying to present sync opportunities or things like that, then it could easily be seen as another music distribution service. And that's not what Well,[00:11:17] Steve Stoute: Dan, you've been following the company very closely before you could be, just another distribution company before that became popular, I had this idea with that differentiating factor seven years ago, right?So I knew from the onset that distribution was table stakes. and the building of United Masters with translation and power powering the brand sync opportunities, the influence and type of opportunities, was something that I had the early vision on. So yeah, it's important, but it's not important in response to, oh, all of these, you know, distributors in the market now, so you need to X, Y, Z. I was doing the X, Y, Z before they even had the idea to be in music distribution, to be honest with you. And a lot of these music distribution companies that you see are coming out, are looking at United masses and honestly copying it. Some of it they can't copy. That's fine. some of it they can't copy. It's 20 years of experience in, you know, running record companies and building an advertising business to be able to do this. So you think you can replicate the outcome without replicating the process, which I've never seen actually happen, the theory is right? But to replicate it, to hire the people, to have the credibility in the marketplace to speak to brands and hire the type of people needed to pull us off. Good luck, I do believe, and I am supportive just to add to all of that, great distribution companies that support independent music, that have something to contribute to the independent music movement are welcome and everybody, you know, rises as a result of it. So I'm not necessarily, I don't look at. at these other, distributors as competitors, I look at us as contributing to an industry that's, changing the music business dramatically and if you have something to bring to the table, it's beneficial to all. [00:13:17] Dan Runcie: That makes sense. And I think for United Masters as well, you've been able to have your moat essentially as you've described it. You have the years of experience, you have the ability to connect dots in ways that others don't, and that's led you to land some of the artists you have.You have a recent deal that's been announced with Brent Faz and a long-term partnership there. Can you talk a bit about that deal and how things came together? [00:13:43] Steve Stoute: Well, a moat is a bit of a stretch. I don't know if we have a moat. We have a great business model that certain artists, labels can find use of.[00:13:56] Dan Runcie: Do you think anyone has a moat in this space?[00:13:59] Steve Stoute: No. No. The record companies, the traditional record companies had a moat, when physical distribution was a barrier of entry, right? It's very hard to press up 500,000 CDs or vinyls or whatever it is. and distribute it to 7,000 points of distribution. That's not easy to do for a small, a single individual or a very small business. So that was their mode. They also had a monopoly on radio and, MTV, you know, MTV doesn't matter at all and, for music per se. And, radio matters much less than it used to. for discovery, right? So they used to have a moat but no longer do they have a moat And I don't think anybody independent music has a moat. I think Distro kid has a lane and TuneCore has a lane, and United masses have a lane. And, you know, others have, certain strengths about them. but, I think the only moat you have is the moat that is a true result of the success that you have. If people choose you and you build a strong business, and you're growing, that's the quote unquote moat. but other than that, I don't think anyone has, a clear defining advantage that no one else can replicate, right? A nd just because we have the brand stuff doesn't mean that that's the, you know, I wanna believe that's very important to the artists. But somebody else may have another thing that is if marketed well and that's what they think their advantages. I don't have the ultimate advantage cuz you know, brands and brand partnerships in sync may not necessarily be what you find most valuable. It could be a distribution company that creates and manufacturer's merch and you're like, oh shit, that's the one I want. Mm-hmm. Right. So I don't, wanna say that specifically. We have that. [00:15:56] Dan Runcie: That's fair. I do think that that mentality is part of the differentiating that I think is lost in music overall to some extent, because I think that you have few record labels that truly have unique brands. I think you have few music streaming services that have unique brands, and when you have something, it's clearer to be able to say, who is this for? Who is this not for, right? And clearly, I assume you were able to do some of that with Brent Faz and that partnership. He saw something with how you all do business and said, okay, this is for me.[00:16:32] Steve Stoute: Yeah, Well, Brent is a very, very unique talent. I obviously he wants to be with something that. A company, distributor, or partner that represents values that are there to him. So creativity is extremely important to him. The fact that we do have translation really matters in that instance cuz brand partnerships is something that he holds near and dear to him. He also was very respectful of, my, you know, reputation and what I've accomplished and chose that over others who, you know, was offering more money but didn't have the, same values that he had or shared values he didn't share their values. He was very particular about that everyone who knows him knows that, he's high taste. So he wanted to be with, you know, a brand, a distributor, a partner that was, had a sense of premiumness to it. That was important to him. So I think the combination of those three things and, you know, just our chemistry, his manager Ty, is also a fantastic, really intelligent, guy who I've developed a great relationship and a lot of respect for, also played a very significant role in this partnership. And we're gonna do great things together. I knew this day would come, I knew where so much respect for guys, like maybe maybe for Toby, right? Toby Nii, who, I keep screwing up his name and he keeps making fun of me screwing up. His name is actually part of his name now. When I say it. But, I have so much respect for him and fat because we've done so well together and, they've committed to us and we've committed to them. And it was a proof point that an independent artist can be successful, can be, you know, a global brand. And I directly tie the work that we've done with Toby and, and others. And others. He just comes to mind. I spent a lot of time with him for why Brett chose us. Brett chose us. and now you got Brett who sold out his tour in three days around the world and shit. That kind of star deciding to stay independent, not go with a major label. And they offered him everything, all the money in the world. And I knew that trend is gonna happen. That's gonna happen, man. You're gonna start seeing this happen all the time, like, you know, the one moat, again, back to the legacy labels that they have, is that because they own your masters, when your contract is up, what they do, their, their thing is start to give you back the shit they took from you, right? So now you leave, you finish your 8, 5, 7 album commitment, whatever it is, right? And it's no longer can they give you any more money to stay. So they go, we'll give you back album one. And you're like, I'll stay on Sony because now Album one reverts I'll stay on Universal cause album one reverts. So they stay stuck in the system because all they do is now give you back what you shouldn't have never given actually, or they never should have taken. So they hold you cuz you're tethered to that, right? And no matter what, an independent distributor can't give you your first album that you wrote, because you never had in the first place. You never, you know, so you never had it in the first place, however. So that's the moat that they have with legacy acts that will stay. So it'll be hard for legacy acts to leave when they can give you back that kind of stuff. But the new artists who are building their careers are considering independent distributors such as myself or others, at the same consideration set as they're considering a label. If you can give 'em money and you can provide them services, look man, you know, people talk about like, oh, these labels have a service. We picked up our systems. We distributed a song, from a great, great young artist, good man, superstar Pride outta Mississippi has a song called painting Pictures. The song was released in October. The The song moves like this, my building, just, I don't know, 3000 streams a day or something like that. and then all of a sudden, on February 6th, it goes from 3000 to 9,000 or something like that. Our systems catch it, right? We're looking for the second derivative.We're measuring acceleration. Boom. We find it, Two or three days later, other labels. It goes from 9,000 to 27,000, and then five days later it's compounded to fucking 400,000 streams, something in a day. It's crazy. But we already have identified it. all the labels are offering the money, three and a half million, 4 million, this, that, and the third.He chose to stay with United Masters. Everybody said, well, they can't get you this. They can't do that. Songs gonna be number one at radio. It's not like they have an advantage anymore, you know what I'm saying? It's like, it's not even like a problem. It's Mm-hmm. nothmm. if it was like a heavy lift, the artist made a great song. We gotta work it at radio. There's a formula to that money is part of that formula, right? And we can do it. it. Somebody can't do it better than us. Universal can't do it better than us. They don't like for artists to think that, right? They would like the perception of that to be true, but it's not the real marketing is coming out of, you know, the artists themselves and your relationships with Apple and Spotify and other distributors and YouTube, and we have the same relationships they have. So the new artists know that. They don't see, the only thing the record company can really give them that they believe they can get, that they can't get an independent is money. And I hope the Brett Fires deal just shows that we have money too. It's like, [00:22:18] Dan Runcie: How big is that money difference? Because I think that's the one thing that people do. [00:22:21] Steve Stoute: It's getting smaller and smaller as the record companies are losing. They're letting people go. their margins are getting smaller and smaller. They're firing a lot of people. don't know if no one talks about this. this, but they're not running around writing those big ass checks like they used to anymore. They Hell no. no. No, no, no, no, no, no. [00:22:41] Dan Runcie: Because I think people will look at a deal like the one that Drake did last year. Yeah. For instance. And they're, say the Ruter mal is somewhere 300, 400 [00:22:50] Steve Stoute: It was more than that. Much more than that. But that's different. They have Drake's, remember what I told you, they got Drake's masters, right? That's different than an artist starting from Drake releasing the first. song with Trey songs. All right, whatever. When he started his career, like if Drake released a song today that Drake considers an independent music company, at the same rate that he, looks at a major label cuz the major label can't say anything to him today that will make him believe outside of money that they have an advantage. [00:23:25] Dan Runcie: This topic too, reminds me of something similar because we're talking about the record labels and the streaming service as well, who's bringing in money, and there's all this debate right now around pricing for these services. The record labels want those prices higher. The streaming for songs? Oh no, for the monthly subscription that customers pay.[00:23:45] Steve Stoute: Oh, oh, okay. [00:23:46] Dan Runcie: Yeah, yeah. So they want the hire, the streaming services, well, a few of them still want to keep them as low as possible, but we're seeing things trending in that direction. You owning a music distribution service, relying on that streaming revenue as well, where do you take, what's your take right now on pricing on the consumer side and Yeah, [00:24:08] Steve Stoute: A few things there. Number one, the record companies had the opportunity when they held all of the leverage. To control pricing, to control pricing for the customer, as well as the price per stream. All these things were set up at a time when the record companies, you know, got big advances from Apple, you know, got ownership in Spotify, so they were cool with whatever was going on. As they're starting to lose market share now they need to go find growth, and the only way to find growth is go to the streaming services and say, charge more money so we can make more money. But the problem is that if the artist got the lion share the money, rather than the label getting the lion share the money, the current pricing model will work really well. The artists, if they were independent and they were receiving 80% of the money that came from streaming, and it went to each individual artist, they'd be fine with it. They'd be making a lot more money than they're making right now. The independent artists are making a fortune of money. Go ask russ. Go ask Toby. Go ask Brent what he's done for so many years. Why he stays independent, because they've really received the lion share the money. The record companies have bloated overhead, whether it be office space, employees and salaries of their CEOs and shit like that, and whether they're public or or not. In the case of universal, it's public. They need to show growth, and they're losing margin on how much money they're making per album or release, And the only way to find growth, real growth is the diversify of their business, which they haven't been so good at. There's not that many entrepreneurs insider, a record companies. Jimmy Iovine was one. Dr., Jay-Z was another, but there's not that many. You don't see that many. I'm not making this up. So you're talking about CEOs who were fat and happy, now all of a sudden have to innovate and they don't have a person that can make beats by Drake. They don't have a person who's gonna create the next thing.So now they gotta go to apple and Spotify and squeeze more. The problem is their leverage with Apple and Spotify have sort of, gone in the other direction. They don't have as much leverage as they had seven years ago, eight years ago, 10 years ago. ago. So that's the landscape. I the artists should get paid more money. That's we built our model to do, make sure the artists get paid more money and have great partnerships with, the platforms. And that's how I see it right now. yeah. So to answer your question on pricing, whether or not Spotify or Apple should charge more, I mean yeah. If they're gonna continue to grow so that you don't wanna price it so that people start canceling subscriptions, right? You gotta price it right so that it keeps growing. Cuz the more they grow, the more the pot of money grows. But before I get to even worrying about what they're charging, I need to worry about the artists are getting the lion share of revenue, and that's what we, stand for United Masses, and that's what we've been able to accomplish today. Okay. [00:27:33] Dan Runcie: And at least for the artists that are part of United Masters, they don't have the rights holder relationships that the signed artists do on the record label. So that side doesn't necessarily affect them as much. I think you definitely addressed that piece of it. I think the other side of it is looking at streaming prices on all the video services and how Netflix and all these other services have definitely expanded beyond their 9 99 price point.And then for you all as a business, knowing that a company like Spotify, which does have lower churn than a lot of those other companies as well, if prices were to increase 10%, that's 10% more revenue, at least for the streaming revenue side of the business. For a company like United Masters given the cut you have [00:28:16] Steve Stoute: Again, yes. and at some point you can raise the price to the point where somebody says, you know what? I'd rather not do that. I'd rather have an not that service. I'd rather listen to it free on YouTube, or I'd rather deal with ads. It costs too much. I don't know what that price is, but there's absolutely a point of diminishing return and setting any price. You gotta just know what that price is. So rather than me sit here and go, yeah, they should raise prices, which I could easily say, cuz it's beneficial to me. I want them to raise prices and continue to grow. Cuz as that pot grows, there's more money to be distributed. If they price it wrong, it hurts us. That's my only point. [00:28:59] Dan Runcie: That's fair. I get that. This topic as well, reminds me of another thing that I wanted to chat with you about. [00:29:07] Steve Stoute: We're talking about, reminds you of something else. That's great. That's how you write, you write like that, you find all these, comparisons, to different business models. in fact, you know, that's why I'm a fan of what you guys do of what you do. but it's funny when you say it, actually, reminds me of[00:29:22] Dan Runcie: That's funny. That's funny. I was actually gonna say, this isn't a random reminding, this is actually something you had said in that episode of the shop. I think it was the last one you did. You were, I think Drusky was on there. A fewer folks were on there. Yeah. You were talking about dollars that were moving from traditional tv Yeah. And going towards creators. Yeah. And how much of an opportunity that is. And I know you, with the business you have with translation, a lot of your work has been focused on doing these traditional TV partnerships, whether it's with a State Farm or some of the other clients you have.I'm curious to hear how this type of transition impacts your work and what opportunities you see and how you may have be thinking about the future on that side. [00:30:07] Steve Stoute: So the media buying companies, people who buy media for brands are seeing and advising that television ratings outside of sports are going in the wronging direction and advising to put that money more into digital channels that are primarily driven by creators. The creators have deep connections with their fans. The creators can create a network effect. So you can hire, you know, 50 creators who who have deep impact in different regions, communities, and you can buy against it. and sort of create marketplace momentum around a movement, a brand, a product, whatever it may be. My question toski is, this thing is shifting in your direction or what are you doing to prepare for it? I said something so long ago on, on my man Swae. I said that that artists are going to become mini media channels. I said this six years ago, mini media channels. If you look at the artists and you look at them like what cable channels were, you watch ESPN, they have an audience, you watch Turner, they have an audience, you watch Discovery, they have an audience. The artists, the influencers are gonna be exactly like those with obviously much smaller audiences, but the relationship between the artists and the audience or the influence in the audience is where the media money is going. ESP N, Turner and Discovery are prepared for that. that. Their organizations are set up for it. They stay on brand so that when the money comes their way, the brand knows, whoever's spending money against it knows exactly what they're getting and the kind of audience that they have. What What are the creators doing to be prepared for that movement of revenue coming to them? How are they set up for that? Because in the beginning it starts to look like, oh shit, this is all found money. But I'm saying, this is not just found money. This is the new industry. [00:32:23] Dan Runcie: Is there anyone that you see that's doing a good job of this right now? Or any creators that are ready for this moment [00:32:29] Steve Stoute: there's so There's so many of them. A lot of YouTube creators are doing it. You know, mr. Beast disguise, I mean, you know, the names. They all, you know, have created, you know, products that create lines around the block. I mean, you know, you don't look at it this way anymore because, she's transcended what you first seen her as. But Kim Kardashian is that she's the ultimate influencer. She's the influencer's influencer, right? Right. And she's built billions of dollars of business as a result of using her culture, her influence. that started with Instagram and social media. So like yeah, we've seen a lot of people do it, right? The musicians are now starting to do it right, because they're starting to realize Rihanna and Fenty. And others are copying or copying or seeing that, look, the streaming business is great and touring is great, but my impact, my movement, because of my digital footprint can allow me the opportunity to sell other higher margin items, like beauty products like lingerie, like footwear. So understanding your influence, whether you're a musician or personality and who your audience is creating opportunities for a lot of money to be made. [00:33:50] Dan Runcie: And how does that shape the type of work that translation will continue to do in the future working with creators? [00:33:58] Steve Stoute: Well, our number one responsibility at translation is to be lockstep with culture and lockstep in real lockstep. So as we help provide solutions for brands, creative, strategic solutions, We understand that what I just said about where this business is going and the influences and their impact that they have, we're very fluent at that. So it doesn't impact us in a way that says, oh, now we have to change our business as a result of this. We just create in these new landscapes, right? Like, it doesn't impact us at all. In fact, it hinders. The more bigger traditional agencies who have not even wrapped their brain around diversity culture, they're still running an old playbook. This new thing, they hope goes away, but we've seen this over and over again, right? It's the dilemma that happens, the innovation dilemma that takes place and whether you do it yourself or you get disrupted by somebody else. if you hold on to what you've done, you'll be disrupted. When we built translation, we built it under the manifesto of translating culture for Fortune 500 companies. And translating always needs to happen. It's why I came up with the name, everything needs to be translated, right? So the fact that tr culture needs to be translated and because it's translated and it changes, you have to be clear and understanding of it. I talk about that all of a sudden, the speed of culture, the speed in which, you know, someone can become an overnight success. Like there's a tape, a footage. You should run it, in this spot and I'll send it to you. Where Lil Nas X, goes on, he eats a piece of pizza January, 2019. He's eating a piece of pizza on Instagram. And He's like, yo, this is Nas X I got 1000 plus followers on spotify. I got 3000 on Instagram, you know, a couple, you know, thousand views on YouTube, but I think Old town Road is gonna be a hit. and I'll see you guys a year from now, literally a year to the day he has on a white fucking mink eating pizza. And he is like, you know, it's little Nas x 30 million on spotify, da da, da. And that's no different than skims disrupting spanks in a year. Like that's no different than other. Everybody is ready for the, that's the speed of culture and it's fast. It'll never be this slow again. Like that's a fact. So being a brand of an agency, a creative company, a influencer or whatever you are, if you are not aware, prepared, built for that speed, you will get left.[00:36:59] Dan Runcie: The other area that's move in just as fast, probably even faster is NIL and everything happening there with [00:37:06] Steve Stoute: This you of NIL? You were gonna say that, that reminds me of NIL deals. Oh shit. How the fuck did he do that? That reminds me of a great piece of pizza. I just had Steve again, NIL deals. Go ahead. Yeah. Yeah. [00:37:19] Dan Runcie: And I think we've seen a lot of fast movement there. Yes, we have. You've definitely probably see plenty of opportunities cuz I think the space is very unregulated. There's random things happening. [00:37:32] Steve Stoute: Yeah. And yeah, you should go look at, just so that you properly, as you definitely, know my work and have been, very much appreciative of my contribution. I did a documentary at LeBron James called student athlete that came out five years ago. You should look at that. You should play clips of it. We followed four athletes over a year that were high school, that were college athletes. One of 'em got injured and fucking, like, had to sleep in his car because you know, you are a D one athlete, you get injured, you don't make it to the pros. You don't get any fucking health insurance anymore. They fucking cut you. That's the end of it. Right. So you're playing for this lottery ticket and you don't get shit. And the fact that these student athletes don't get a chance to actually get a great education because they have fucking practice every day or games on Friday or traveling to get to a game all over the place. But the school benefits from all of the advertising dollars. And all of the conference dollars was something that we put a highlight on and it was really, making it and seeing these stories. You felt like this is of modern day slavery. Mm-hmm. So NIL deals the Wild, wild west, the transfer portal as well. So you had NIL deals and the transfer portal happening at the same time. What is this doing? This reminds me of the independent music business, because now these student athletes really now are independent business people. They can change schools with less friction than they could have five years ago, 10 years ago. Forget it. you change schools, you had to sit outta here. You couldn't do this, you couldn't do that. By the time you could play, you know, you lost a step or you weren't the same, or you were too far removed from the game, whatever it may be. So the hindrance of that made you stay at the school and not go through that problem. That was the way they kept you. Well, it's certainly not fair that the football in which you have to stay three years, right? And basketball pay for 90% of all of the other scholarships That the fucking sports program had. And yet these guys don't get any money. It is not right, you know, think about players getting thrown out of bowl games because they got tattoos, free. It's crazy. So I'm all for NIL deals and I'm happy, it's the wild, wild west. And I like the fact that there's a guy or girl on campus make making $2 million a year balling in a fucking Porsche Bentley or investing his or her money, whatever they're doing, helping their family. I'm happy for the fact that they are getting a chance to monetize their impact beyond a scholarship, that is fantastic, but definitely a education that is not the same because they're practicing the amount of time they're practicing and traveling. The way they're traveling, this is the least that they can do is get paid for their services. And the NCAA got away with a lot for a very very long time. You should look at that. Look, when the student athlete, it's a bylaw, right? that actually became a thing and why it was set up that way and what it means and the implications of it. It was a way to hog, tie or build a moat so that these kids would never leave. As college sports grew and the money grew, all of a sudden it became, these assets, right? Became really lucrative. These conferences became very lucrative, you know, hundreds of millions of dollars in TV deals. I'm happy for it. In fact, we represent the Big 12 and, shout out to my man, Brett, who now runs the Big 12. He came from running the Brooklyn Nets. He, I worked with him when he moved the Nets from New Jersey to Brooklyn. Then he went over to run a aspect of Roc Nation and now he runs the Big 12. He's the future of collegiate sports cuz he understands the music industry and the brand building industry. He understands the business of running sports team, the nets, the arena, the Barclays, bringing in talent to fill that arena pricing, dynamic pricing, media deals. He did it all. And now he's taken that combination of skills to Big 12 and he's once NIL deals. In fact, that's his competitive advantage because none of those guys who run all those other conferences, they're all like, shit, we gotta give these NIL deals. The students are gonna do X, Y, Z in this transfer portal. What are we gonna do? Brett's? Like, this is what I've been doing my whole career. I can't wait to set up NIL programs, bring brands in, you know, treat these students athletes like the same way we treated artists in my previous career. it's dope and, it's way, way, overdue. This reminds you of, [00:42:46] Dan Runcie: Didn't remind me of something, but I was gonna ask you, is this an area that you would work more directly in through translation, through the agency, working with the [00:42:54] Steve Stoute: Yeah. I mean, yes. Look, it's not like, again, we represent the Big 12, so our contribution to that, is adjacent to a lot of that kind of stuff, you know, there is an opportunity to set up a. a division that works specifically on NIL deals. I think it's much more, urgent that the CAAs do and the UTAs and the WMEs have that because their brokers of that kind of stuff. Where they have talent and they brands and they put 'em together, we do that for our clients. We don't do that as a industry trade. We don't just like connect random brands with, you know, artists unless we are, or athletes, unless we are doing much more immersive experiences and creative for those brands. But, you know, I'm happy we represent Beats. We did the, Beats deal with Bronny, then we did the commercial with Bronny and his dad with LeBron and like I love that. I love it. Not only for that story, but the fact that again, this 17 year old kid signed a deal with Beats. And we can actually market that and advertise that as, without him losing eligibility or whatever the fuck these guys were coming up with is dope.[00:44:07] Dan Runcie: Right. Especially given that everyone was gonna make money off of his name. So I'm glad he can do it himself. [00:44:12] Steve Stoute: Of course, like, you speak to Jalen Rose about this like when they're at Michigan man, the Fab 5 and these guys, [00:44:18] Dan Runcie: Oh, that was bad. [00:44:19] Steve Stoute: That's terrible man. Selling jerseys with their name on it and these guys. like, everybody's looking at investigating the, what they did and what did Webber do and what he did to try to feed his family. You can't even afford to get your family to come see you play. Mm-hmm mm-hmm. Well of course corruption's gonna be in it. You mean, I can't eat? I have a scholarship though. And my parents can't even come see me play cuz we can't afford it. You don't think that's gonna lead to corruption? What are you crazy?[00:44:47] Dan Runcie: It's this weird juxtaposition where I think either, Webber or Rose talked about this in that documentary [00:44:52] Steve Stoute: It's the coach by the way.Yeah. Gets paid $10 million, in most, towns or cities in America, the highest paid employee of that city, or town is the coach of the football team. Yep. Or the basketball team. They're the highest earning person in the entire city. [00:45:09] Dan Runcie: Yeah. They save at the state level too for the Colleges [00:45:12] Steve Stoute: Then they get deals with Nike and the coach makes the player wear Nikes or Reebok or whatever it is, the coach makes that decision. Everyone's making money except the student themselves, but they're getting a scholarship. [00:45:27] Dan Runcie: Right, it's crazy [00:45:28] Steve Stoute: And definitely an education with an asterisk next to it.Isn't that fair? Are you fucking outta your mind? [00:45:35] Dan Runcie: It's crazy. It's crazy. I'm glad this is happening and I'm glad we're seeing this shift. [00:45:41] Steve Stoute: Yo, pull up student athlete. When you do this, I'm you the edit right now. I'm gonna send you the Lil NAS thing and the student athlete thing. Oh yeah. We'll throw it in there. Put it in. That's why we're doing video. video. [00:45:52] Dan Runcie: Yeah, no. That's why we, no, this will be good. And then we have the clips and everything. Yeah. Shifting gears, last time you were on, you talked about chief technology officers and why artists need to have tech side folks on their platform. Yeah, [00:46:06] Steve Stoute: Yeah, brother. [00:46:07] Dan Runcie: Yeah, How have you seen this develop the past couple years since? [00:46:10] Steve Stoute: I haven't, the artists that obviously have the foundational truth is as technology is becoming much more important in content and video services, every artist needs a chief technology officer. That's the foundational truth. The practical reality is that that's not gonna be the case, which is the opportunity for platforms like ours to be extremely useful in providing tools, intelligence, information that is allows the artist, the influencer to take action in a very user-friendly way to help grow their career. So essentially, we wanna be the Chief Technology Officer as a platform for all of these artists. I believe that to be true. In fact, in building our platform, the remit to my engineers is that, that we have to anticipate what the artist's needs are. And build that for them. We're it for a community of artists. We're not building it to best interface with Apple or Spotify or YouTube. That's one part of it. 80% of it is what do you, I say all the time, man, I'm about to put my name in the system. I'm about to upload my first song. That experience. If I nail this, I'm gonna change the life for me and my mama. I'm gonna become my dreams. I'm gonna be able to quit this bullshit job and really live out what my talents are when I hit this button and upload this song. That's how they feel. to build a technology that's empathetic to that, and then as they continue to grow, make sure that they have the tools and they need information in order to do their thing. That's what I tell each and every engineer that comes into my company. [00:48:17] Dan Runcie: That trajectory makes sense because if you're starting out, you're a dependent, you're not gonna have the resources to hire someone to pay them 1 50, 200 a year, whatever it is to be a CTO on staff. Yeah. How could you leverage the partnerships you have? Maybe if you get to a certain point, you could have someone internally. [00:48:35] Steve Stoute: Of course. Of course, you know drake and, you know Beyonce and Pharrell and they have a version of a chief technology officer, somebody who, their interaction with technology is seamless and smooth and they understand it and they have relationships and, you know, they could speak with the tech leaders and be able to find the value and where the integration and partnerships can best take form. Up until you get to that point, we should be the platform to provide that for you at scale[00:49:08] Dan Runcie: Artists as well. This is also valuable because there's so many new things that are always coming. Obviously I talk about them often in capital. You're evaluating themself for your own business, whether it's a couple years ago, whether or not we should be building something on the blockchain.A couple years after that, should we be involved with Web 3? Should we have NFTs and 2023? AI is the big thing. [00:49:33] Steve Stoute: Can I talk to you about that? [00:49:34] Dan Runcie: Yeah, [00:49:35] Steve Stoute: But go ahead, ask the question. I'll get into it.[00:49:37] Dan Runcie: Yeah, so I was gonna ask twofold how you look at it for yourself with the businesses and then also the value add and advice you give to artists that are considering this.[00:49:46] Steve Stoute: Yeah, So let's, I take a step back for a second. Whether 20 years ago as technology, you know, sort of more consumer facing technology 30 years ago has been, is taking shape into, is taking shape. The popularity of code or the popularity of, you know, technology outside of just the internet itself. It wasn't immediate frenzy around it. It didn't, like, it was just happening. It wasn't like front and set of the media. And I think part of it is like there weren't that many day traders like Uber drivers are traders and school teachers trade everybody's trading stocks. So now that you've built applications that allow people to day trade and everybody could be a stock analyst themselves, the technology has gotten a lot of media attention and a lot of that media attention I do believe has escalated the fact that it becomes top of mind. But yet the application of that technology may be premature. Agreed. So every with the metaverse, oh my God, everybody are you doing in the Metaverse? We're in the Metaverse. We're in the Metaverse. You in the Metaverse. What is the Metaverse? Is Fortnite the Metaverse? That's not the Metaverse, the Oculus is the Metaverse. No, that's not the Metaverse is gaming in general. The Metaverse. Well, whatever. But before we could even get to that, NFTs come, well fuck the Metaverse. It's the NFTs. Well, the NFT, you got a NFT. You got a What's your character? What's your character? Who you got a character? What's your character? What's your vetas? don't have a character. Let me see your crypto wallet. What's in your crypto wallet? What's in your crypto wallet? What's in your crypto? Okay, now we just went to the Oh shit. Fucking AI. you use chatGPT. How we gonna, it's like, yo, bro, could we just chill out? Stop. and the media writes it and then everybody just runs around. Thinking that they need to be prolific and like force themselves to find the application. cuz they don't wanna be left out like, let these things find, use cases that stick and therefore the products and the applications that come out of it will then take hold. But like for you to just run to crypto wallets and metaverses and ai and the, it's like, it is so overblown. And what I was telling my team about is what happens is like take crypto, like the media is incentivized to write it all the way up, right? write it all way. You gotta get this, you gotta get this, you gotta get this. They write it all the way up and then as soon as the shit melts, they fucking write it all the way down. So they still win because they fucking made everybody feel like it was important. And then, They start shitting on it and everybody has to read that because they wanna know why they're shitting on it. And then while they're shitting on it, they fix the next thing. Metaverse da da da it's like, it's funny to me cuz I could it's obvious actually. It's funny because it's obvious, but yet people sort of work themselves up, like, you know, I deal with CMOs all the time. They're like, you know, what are we gonna do in the metaverse 18 months ago? They don't even fucking bring it up anymore. Right? Why were you bringing it up 18 months ago? Cause you read it in the New York Times because it was on some news channel and you don't even bring it up anymore. [00:53:08] Dan Runcie: The dialogue around this heightened into the fomo. Everyone has the fear of missing out on all this.[00:53:14] Steve Stoute: Not me. I think I don't have any FOMO on shit that's not real. And I'm not saying it's not real, I'm saying until it has practical applications that affect my life or my business really.[00:53:29] Dan Runcie: How do you determine what that is?[00:53:32] Steve Stoute: I don't know, Talent? testing, I don't know, like that kind of thing. [00:53:39] Dan Runcie: It's interesting, right? Because I feel like we could go back to two years ago, and I remember, I think that was around the time that NFTs were having their craze and artists could've been like, oh, well, what if we could release a N F T on United Masters or something like that?Yeah. Or what if we could do this? And it's one of those things, in hindsight, of course the right answer is, yeah, that I don't think we need to do that. [00:54:01] Steve Stoute: Let's stay the you ask anybody who worked with me, I never, ever bought that that bullshit. I'm like, look, until that young kid, that 17 year old kid, 16 year old kid in Atlanta, Fort Lauderdale, los Angeles, is me that they're willing or want to buy an album as an NFT. I am not gonna allow Discord chatter to say that's where my business is doing.[00:54:30] Dan Runcie: I think that's a good example here, because so much of the chatter around this stuff is hyped up by people that are in it. People that were buying NFTs or music related NFTs or things like that were people that were talking about this on the regular, on Discord and Twitter, but it's not the 14 year old [00:54:48] Steve Stoute: guy, you know?and he's my man. But, he owns, Royal. [00:54:51] Dan Runcie: Oh, BLA? [00:54:52] Steve Stoute: BLA, you know, right? You know he put out an album, right. right. You know? Mm-hmm. Oh [00:54:55] Dan Runcie: yeah, I remember that [00:54:56] Steve Stoute: Remember 11 Million in that, right? DJ [00:54:59] Dan Runcie: and then Naz had done something on Royal a couple months later. [00:55:02] Steve Stoute: Right. But you so very smart, very, very smart. Made $11 million on an album. Everybody was like, that's the example. NFTs the whole thing. When you ask people, like regular fans who are fans of DJs that listen to EDM music and you say, you know that album blah da da da, they don't even know what you're talking about. That album that did that was purchased primarily by people that was in that business, the Discord community. It wasn't the general music community that bought it or even was aware of it. It was the people in that community. That's fine, that's fine. That's good for him. It's good for that community. Perfect. But to try to say that that applies to every, the industry at large now, and now the 16 year old kid in Atlanta, Miami, Chicago, whatever, is gonna now want that. That's not the right idea. And you know, it didn't require testing and learning for that. You could just do the work on it, do the math on it. Now there's aspects of the NFT, the blockchain technology, I think is very important, for payments. Yeah. So, I see that application, everything has an application. It's like AI is gonna, is fantastic. NFTs and crypto, and all of its fan the metaverse Fantastic. I just think this accelerated frenzy and FOMO sometimes get you to lose focus on what about it is really important to your business. And what I learned in the frenzy of the NFT marketplace or Web 3 was. The value of blockchain to payments. Payments in the music industry are very difficult because you have many people contributing to a song and, the rights holders need to have something that bound them right on these digital forever. Right. Until they decide to change it. And the blockchain does really good with those agreements in being able to put, you know, 17 people writing one song, whether it be a sample or just original writers, whatever it may be, and allow them to have these digital contracts that make sure everybody gets paid fairly precisely automatically. That part of it I like, I mean, for my, business, I like all of it. Mm-hmm. But specifically, for our business, [00:57:23] Dan Runcie: Does anything about AI spark interest or application in the same way? [00:57:28] Steve Stoute: Well, with AI, I'm trying to figure out, I'd really like it for education. So, you know, if I'm giving you tools, look at Uber, right? And They tell a driver, you know, peak times 4:00 PM this area, the town, the driver know where to go. The driver could be of any education level, but the tools that are provided to that driver, apply to, you know, whether you speak perfect English, you know, your learning English, your education level varies. The simplicity of what they provide you to be a small business is absolutely brilliant. You should look at the backend of Uber. You should see what an Uber driver sees. it'll amaze you. For our artists, I look at them like that. So, where I think AI can be really good is an understanding like when you post during this time, this is when the best time you get results.This is the type of content that works best for you. the, you know, release of songs when you should release them. The timing of it. I think utilizing AI to provide education around building your business can be very helpful for us, because of the fact that it can pull all that information and then provide a very easy way of understanding the best way to move forward based off the intelligence that it gleams.[00:58:47] Dan Runcie: There's so many applications of it, I think both internally for companies like you mentioned, but also how you deal with your stakeholders, how they then deal with their fan bases. It'll also be interesting to see just the bigger picture, what that next big thing is, how people are gonna react to it. A lot of it is accelerated by, How people live in bubbles themselves in a lot of ways.If you're only spending your time on Twitter, on Discord, you're just seeing the frenzy. You think everyone is there with you. Yeah. I remember a year ago I was at a dinner and this was right at the height of web 3. It was a lot of industry professional folks in there, and I remember being the person saying, you're all saying that we're gonna be on web 6 a year from now.There's people, the average person really isn't tapped into this. I don't think we're moving that fast. And a lot of 'em looked at me like I was crazy then. Yeah. And I'm like, it's my job to follow this stuff. I'm not a Luddite here telling you this. This is just the reality. So, [00:59:42] Steve Stoute: Well people, a lot of times people fight, try to solve problems that don't exist. Yeah. Right. Like it's like, you are saying web 6 and all that, we haven't even gotten to, you know, look, we still don't even know what the fuck 5G does yet, right? It's like, let's be really analog about this topic, yeah, we're fixing that, with AT & T but just in general, the regular con general consumer, you ask 'em about 5g, they see it on their thing. They're like, my text didn't go through any faster and my videos are still, you know, it's, Yeah. It's still like cycling. So I thought I had 5g. So sometimes things create more media momentum than the practical consumer experiences and a lot of times, spend a lot of time trying to solve problems that actually don't exist.[01:00:35] Dan Runcie: Agreed on that. Agreed on that. Well, Steve, before we close things out, the first interview we did, we talked about where United Masters was, where the future was, and I believe you told me, [01:00:45] Steve Stoute: but I did pretty good when I look, I haven't seen the interview, since, but I don't know if I did pretty good in my prediction. Do you remember? [01:00:52] Dan Runcie: You said we are in the first inning of this cause I think I asked you, what does the future look like with exits and future? You said we're in the first inning, we're early in this perspective. What inning do you feel like we're at now and what do you see for the future of the business.[01:01:07] Steve Stoute: I believe that we're still in the the first third of the innings. I think we're in inning to bottom of the second, you know, top of the third kind of thing. and the reason why is because now money is back into music. When I first sat with you, There was no vC money in music businesses anymore. They'd fucking ran. They lost all that money with all those other, you know, versions of this idea for reasons that make perfect sense, that the money had up, the money was going to social media and, you know, FinTech and a bunch of the other things like why me? Why music. And in the last five years, whether it be catalog sales or, independent music now being discovered by financial systems, Goldman Sachs and the others investors more, mainstream investors have realized that there's growth there and there's globalization of music and all of the things that bring energy back to the industry and that the record labels don't have this. Choke hold on it like they used to have. And it's not as difficult and to understand, which was another thing that people didn't understand about the music was They made it so difficult. People thought it was like a business that was so hard to figure out and all that other kind of stuff. Cuz over the rights. But because it's now become clear where I used to have to explain it to every single person. They're like, so you're competing with Spotify, like, no, you'd have to explain. it. They understand it now, which is cool. So now money's in, which means more entrepreneurs are gonna come in and build services like ours and other alternative services tools. The fastest growing segment of the music business is independent music. The fastest growing aspect of the music business is global music. Global music, the record companies never dominated because English speaking music was the only thing that really mattered. I mean, you just about it, Bad Bunny headline Coachella, right? How many people don't even know what the fuck he's saying? I mean, if there's 80,000 people there with maybe 65,000, don't know what the fuck he's saying. Yet they're dancing, all this great music coming outta Africa. Mm-hmm. That people are just going crazy over. That never happened. At the rate this has happened. Now, all of that independence rising globalization and music rising and money coming in. Is now you're about to see the acceleration of what can happen as a result of the momentum. It was always headwinds. And now I would say in the last year, it's been tailwinds. It's an exciting time. It's a very exciting time. it's an extremely exciting time. it's no longer in the dark. It's no longer something that, you know, big business. it wasn't paying attention to. Everybody sees it now. and when everybody sees opportunity and money and. Value creation and the fact that you can disrupt this, you know, a hundred billion dollar business of the music business, it can be disrupted because the barriers of entry has completely been removed like every other industry where the barriers of entry has removed, money goes into it, entrepreneurs come into it and new value is created. and I think that's being recognized as we spe

Come analyze and walkthrough an investment property with Garrett, the CEO of Max It Out. Garrett shares his business plan for a property he has under contract and tells us his plans to split a single-family house into two units and add an ADU to get an extra unit for a return. He plans to add a new three-story structure to connect with the house and add eight more units. The estimated cost of the renovation is around $2.5 million and the expected value of the 11 units is around $6 million. Garrett also discusses the rules for adding ADUs and the benefits of attaching structures.

I første av fire deler i Masterclass om I pose og sekk: Dette er DevOps møter Silvija, Marley Kristin Singarajah. Marley har fått på seg rykte som en av Norges beste praktikere av DevOps, og vi har lenge sett frem til en Masterclass med henne. I denne episoden skal hun vise oss hvordan dette kan anvendes i ulike firmaer, hva «ende til ende» betyr og hvordan Marley har bygget opp all sin erfaring. Hør samtalen for å finne ut av hvordan hun og teamet hennes hjelper både Sparebank 1, Ruter og NRK med DevOps.-“For meg handler DevOps om en kulturendring”Dette LØRNER du:KundeforventningerÅ praktisere DevOpsUtviklingsmetoderCALMSKulturendringerAutomatiseringLEANMåling, deling og sikkerhetAnbefalt litteratur:The phoenix project – Levin Behr, Gene Kim Hosted on Acast. See acast.com/privacy for more information.

I andre del av Masterclass i I pose og sekk: Dette er DevOps med Marley Kristin Singarajah, legger hun frem eksempler av DevOps og eksempler på suksess. Vi får også høre mer om hva Gnist er, og hva de driver med. Hvem kan egentlig benytte DevOps og hvordan kan det brukes for alle utenfor IT verden? Hør episoden for å høre erfaringene Marley har med DevOps i Ruter, Sparebank 1 og NAV. -Det finnes ikke et fasitsvar på hvordan du begynner med DevOpsDette LØRNER du:Grunnlaget til GnistSmidig arkitekturÅ faileTillit i prosesserBalansere prioriteringerOKR og DevOpsFirst moversVisualiseringAnbefalt litteratur:The Phoenix Project – Levin Behr, Gene Kim Hosted on Acast. See acast.com/privacy for more information.

Verste jobb kidden din kunne valgt? Onlyfans & realitystjerne? Vi snakker om Ruter & kaos på kollektiv transport. Happyness rapporten for 2023 er ute og Norge er på 7. plass. Jorda spinner fortere? Er dette tegn på dommedag? Driver Gosh med vodoo? Er det mange Pimps i Kongsberg? MERCH: https://www.looknorthstudio.com | IG: @_looknorth

Beth er daglig leder Netlife. Før det ledet hun arbeidet med å utvikle nye tjenester i Ruter. Beth er like opptatt av kloden og kundene, og hun er kjent for å være brutalt ærlig. Design og brukersentrerering er et område hun også brenner for. Podkasten er ledet av Ann-Kristin Hansen, daglig leder i Kvesst og Fredrik Matheson, kreativ leder i BEKK.🔸 Lytt og abonner på podkasten i Spotify: https://open.spotify.com/show/6gtBZTh8ummtqYTK5k7Q0O🔸 Lytt og abonner på podkasten i Apple: https://podcasts.apple.com/us/podcast/knepp/id1674141932

Det blir spicy stemning i studio i dag, når Stian, inspirert av Exit, frir til Tobias. Thea og Tobias mimrer tilbake til serien Heia Tufte, og det blir også mimret tilbake til barnehagen.Kino kulturen har snudd og superheltfilmer mister populæritetehn sin. Hva tror vi blir den neste store tingen?Alt dette og mer, får du høre om i dagens sending av Skumma Kultur.Tusen takk til Malin for god teknikk. 

Erling Braut Haaland har slått rekorder, men det mest påfallende er at vi fant hans skjulte søskenbarn med et mildt sagt overraskende navn. Øyvind er bortreist på jobb, så Maciek stepper inn og får ansvaret for Christoffers boblere. Han leverer elleve kruttsterke boblere der det blant annet snakkes om en død person funnet i Bergen, en ubrukelig streik hos Ruter og domfellelsen av kunstneren (eller svindleren) Werner Jensen. En stappfull nyhetsuke oppsummert med singelaktuelle Lotte Sollie. Hosted on Acast. See acast.com/privacy for more information.

Stian og Maria inntar studio i dagens sending av Skumma Kultur! Stian har fått hat på bussen, har amerika entret norden? Maria tar på seg detektivhatten i det hun forsøker å komme til bunns i Norges største krimsak!!!Kermit og Cookie monster har tatt turen til Wall Street, og i sterk kontrast til de så har DreamWorks valgt å gi til offentligheten. Alt dette og mer faktoider får du høre om i dagens episode.Stor takk til Maria på teknikk.

Dette er del én av LØRN Masterclass i Ny normal og fremtidens arbeidsliv. I denne episoden møter Silvija, Bernt Reitan Jenssen. Han er administrerende direktør i Ruter, som er en av de mest interessante og fremtidsrettede bedrifter vi kan finne i Norge. Hvordan møter Ruter den nye normalen, og hva har funket for dem? Hvordan kan man møte den hybride arbeidssettingen mest mulig forberedt og hva er det mulig å forberede seg godt på?-Hos Ruter ligger det ganske gammeldags teknologi i bunn, men her har vi lært å tilpasse oss det moderne og bygge digitale og brukerorienterte hjelpemidlerDette LØRNER du:Reisen til Ruter ASAktører i transportEndring i etterspørselBærekraftig bevegelsesfrihetNye forventninger og ressursbrukBærekraft i arbeidslivetEksperimentering av hybride modellerSelvvalgt vs. PålagtAnbefalt litteratur:Bedriftsinformasjon:Ruter AS er et offentlig eid selskap og står i dag for over halvparten av landets kollektivtransport. I 2019 ble det foretatt 398 millioner kollektivreiser i Oslo og deler av Viken (tidligere Akershus fylke). Hosted on Acast. See acast.com/privacy for more information.

I andre del av LØRN Masterclass i Ny normal og fremtidens arbeidsliv får vi ferske og relevante eksempler på goder og utfordringer ved det hybride fra gjest Bernt Reitan Jenssen. Hvordan var Ruter sitt første møte med Teams og hvilken smart oppdagelse og tommelfingerregel har Bernt fanget opp på hjemmekontor?- Jeg ønsker jo å være tilgjengelig, men selv om det er lett å få tak i meg betyr det ikke at alle kan forvente å få alt av svar med en gangDette LØRNER du:Teams og sosiale kanalerUtfordringer ved det digitaleSpilleregler for kommunikasjonForventningsavklaringerVerdiskapning med digitalt utgangspunktProgram for trivsel og velværeForbedringspotensialer i det hybride arbeidslivAnbefalt litteratur:Bedriftsinformasjon:Ruter AS er et offentlig eid selskap og står i dag for over halvparten av landets kollektivtransport. I 2019 ble det foretatt 398 millioner kollektivreiser i Oslo og deler av Viken (tidligere Akershus fylke). Hosted on Acast. See acast.com/privacy for more information.

Dette er tredje del av LØRN Masterclass i Ny normal og fremtidens arbeidsliv med administrerende direktør i Ruter, Bernt Reitan Jenssen. Denne samtalen tar opp verktøyene til stede under suksess og bygger videre på konseptene diskutert i del en og to. Silvija og Bernt går stegvis gjennom to sjekklister og diskuterer læringspunkter man kan ta med seg videre inn i pandemien og det hybride arbeidsliv.-Du og bedriften din vil klare seg bedre i en hybrid arbeidshverdag om dere lener dere på tillitsbasert ledelseDette LØRNER du:FjernledelseHvordan skape gode videomøterMålsetting og ledelseNorsk kultur og næringslivgrep for å ivareta sosiale forholdLæring og fornyelseSenskaderAnbefalt litteratur:Bedriftsinformasjon:Ruter AS er et offentlig eid selskap og står i dag for over halvparten av landets kollektivtransport. I 2019 ble det foretatt 398 millioner kollektivreiser i Oslo og deler av Viken (tidligere Akershus fylke). Hosted on Acast. See acast.com/privacy for more information.

I fjerde og siste del av LØRN Masterclass i Ny normal og fremtidens arbeidsliv blir det tid for rollespill og Workshop med administrerende direktør i Ruter, Bernt Reitan Jenssen. Pandemien er enda ikke over og det hybride arbeidslivet er nok kommet for å bli. Hvordan skal man tilrettelegge for de utfordringene man vil møte på i fremtidens arbeidsliv? Hvordan tenke nytt rundt det hybride etter snart 2 år, hva nå?-Det er lett for meg å si, men kriser er faktisk en åpning for muligheter og man må være mulighetsorientertDette LØRNER du:Kontoret og tilhørighetKontorets nye rollerNødvendige endringerHjemmekontor vs. Kontor?Hybride tilpasningerAnbefalt litteratur:Bedriftsinformasjon:Ruter AS er et offentlig eid selskap og står i dag for over halvparten av landets kollektivtransport. I 2019 ble det foretatt 398 millioner kollektivreiser i Oslo og deler av Viken (tidligere Akershus fylke). Hosted on Acast. See acast.com/privacy for more information.

Where Are They Now: Luke Ruter (originally aired 2017-20)

Where Are They Now: Kelsie Ruter (originally aired 2017-20)

«How can you use AI algorithms to make your city more sustainable?»How can we use AI to work more sustainable and optimize our operations for less pollution and more efficiency? I talked with Umair, Head of Data Science, Data Warehouse and Artificial Intelligence at Ruter AS, the public transport authority in the Oslo region, the Norwegian capital. Umair is also a associate professor at OsloMet, teaching AI to bachelor level student, as well as founder and CTO of Bineric Crowdsourcing and founder of the volunteer organization Offentlig AI.Public Transportation;:«Public transportation is complex, because data is not coming in from many different internal and external sources.«A bus can have minimum 20 sensors.» All theses sensors are sending realtime data.A huge amount of data is collected through external sources.Ruter is going away from centralized Data Management teams to more of a mesh approach.Data Mesh will give you a more complex data function, with need for more people and more organization and coordination.One team cannot have the full ownership for the entire data-driven prerogative of a company.2 factors that helped Ruter succeed with Data and AI:E2E responsibility for the whole AI algorithmCreate in Production and don't overdue PoCsSustainability & AICapacity predictionPredict capacity 3 days in advance, but possible up to 1 month in advanceThis gives passages the possibility to plan their trips betterAn operations team that sees a pick in traffic realtime, send additional busses to ensure enough capacityThrough the prediction algorithm, fleet capacity can be reduced and it is easy to plan for balancing the load beforehandFleet managementThe long term vision for Ruter is to work more with Order services. In the future you shouldn't have to walk to a bus stop, but can order a bus to your home.The existing solution is for seniors (67+) and is tested in the Viken areaBut how can you ensure that the busses are close to an eventual future order?Ruter is training an algorithm to predict where orders might come from to ensure a bus is parked close by. This results in less driving and less emissions.To train the algorithm Ruter uses mainly historical information, but combined with e.g. weather informationAnalysis of customer feedbackSentiment analysis to see how happy/unsatisfied a customer isExplainable AI«AI is just statistics on steroids!»Its hard to explain how a probability output is achievedThat makes an AI algorithm a black boxDevelopers create a set of tools and applications which can give insight on different factors how a decision was achieved by an AI algorithmQuantum ComputingTraditional computing is expensive and needs more time and resources to reach a specific outputVolumes of data are constantly increasingThis was a research project together with OsloMetQuantum computing was cheaper to work with then traditional computingQuantum Computers are more sustainable and energy efficient

I denne sendingen får du høre om hva Skeiv Ungdom mener om kjønnsdelte toaletter, SAIH/NSO sin ordning "Students at risk", hva studenter tenker om Ruter sine priser for månedskort og hva Venstre legger frem i sitt alternative statsbudsjett. I studio: Selma Bull og Ingrid Karoline Karlsen Teknikk: Selma Bull

Dagens frokostgjest Arthur Berning forteller om filmen «Thomas mot Thomas» der han selv spiller over fem av rollene. Samantha har fått kjeft på mail og Michael irriterer seg over kommunikasjon fra Ruter. Episoden kan inneholde målrettet reklame, basert på din IP-adresse, enhet og posisjon. Se smartpod.no/personvern for informasjon og dine valg om deling av data.

I denne episoden får vi svar på alle de store spørsmålene: Hva er greia med Ruter sine siste omkjøringer? Hva er egentlig Magnus sin morgenrutine? Og hvem i torsdagsgjengen er egentlig er Anne B. Ragde?

Jørgen gleder seg til NDC Ole Petter skal få nye briller Er Safari 16 fortsatt den nye IE6? Er daglige standups bortkastet? Meta gjør MemLab open source Adobe har kjøpt Figma, bør vi være bekymra? Utviklere må slutte å kalle seg ingeniører Google stenger ned halvparten av oppstartene sine kode24-klubben diskuterer politiets jobbannonser (?), forvirrende Ruter-app, Coops BankID-innlogging Jørgen liker Norsk Beefer på NRK Ole Petter liker Royalteen og andre norske tenåringsfilmer Vi gjør et dypdykk i spørsmålet; hvem er egentlig vitsespaltisten Yrjar? See omnystudio.com/listener for privacy information.

Skipsfart og tungtransport står for en stor andel av våre klimagassutslipp og utviklingen for å avkarbonisere disse sektorene går altfor sakte.  I denne episoden kan du høre hvorfor det haster med å fase inn grønn infrastruktur, både for transport til havs og på land. Klimaoptimistene Jens Ulltveit-Moe og Erik Solheim møter Tone Wille, konsernsjef, Posten Norge, Bernt Reitan Jenssen, administrerende direktør, Ruter og Marianne Bergmann Røren, konsernsjef, Mesta.

Det er fredag! Adelina og Karsten lærer endelig hva Ruter og DDE betyr. Tete, Karsten og Frida Homlung er med i sesong 2 av Gym på NRK TV. Henning bryter loven på direkten. Hør episoden i appen NRK Radio

In this podcast we interview Chris Ruter where we talk about the motivation of writing children books, what inspires his everyday and how does he keep pushing on. Catch this and more on Smartway Podcast on all streaming platforms.

Lige om lidt kigger hele verdens øjne mod Danmark, når mægtige Tour de France starter i vores lille land. Det bliver til i alt tre etaper, som hver især bliver en fantastisk oplevelse.Det gør det ikke mindst på grund af Jesper Worre, som om nogen er manden bag Tour-etaperne. Her fortæller han om, hvorfor han kreerede etaperne, som han gjorde.Hvorfor ruten går op over Nordvestsjælland, og hvorfor smalle Langelinje er blevet en del af enkeltstarten. Han fortæller også, hvad der venter rytterne i Sydøstjylland og hvorfor legendariske Kiddesvej er blevet udeladt.Support the show

I denne episoden av LØRN møter Silvija Seres fagsjef for byutvikling i Ruter, Ola Skar. Sammen med medvert Johannes Goa Ludvigsen fra Sweco lærer vi om hvordan reisemønstret vårt kan holde byen sammen. Her får du også innsikt i hvordan kollektivtransporten bringer folk sammen og er viktig for bykulturen. Vi stiller også spørsmålet; hva endres med autonomi?-«Hastighet skaper mer avstand»You will learn about:• Ombruk og sirkulære modeller i byggebransjen• Tverrfaglig samarbeid om det digitale i en bransje med mye siloinformasjon• Hvorfor det er behov for nye digitalte verktøy på ombruksmaterialerLiterature:«En nasjon på fire hjul» – Ullrik Eriksen«Forhandle med virkeligheten – ett år på ett hjul» – Erlend Loe See acast.com/privacy for privacy and opt-out information.

En små kjølig dag i april fant våre to pønkere hverandre i Tigerstaden. Det blåste kaldt inn fra Oslofjorden. Fjorårets falne blader danset over brostenen og vårens spirer skjøt opp mens våre to pønkere trasket mot Grønland. Etter litt tjafs fant de fram til et smått legendarisk studio i en bakgate, nemlig Endless Tinnitus. Der fant de også Stig Sætevik og Kenneth Storkås fra Knuste Ruter. Bli med oss på en reise både fram og tilbake i tid der vi prater blant annet om 80 talls hardcore, Endless Tinnitus, låtskriving og hvordan vi alle er narrer. Vi dypper også nesa litt inn i bandets tekster, blir forklart hva brilleband er og får noen mixings tips!

I dag har vi besøk av artisten Juell som nettopp har gitt ut sin første EP It Might Be About Time, og den er knallsterk! Hun forteller om hvordan hun lagde alle låtene alene hjemme på rommet sitt under en global pandemi. Vi snakker om Killing Eve og Harry Potter. Og ikke minst kjefter på pensjonister og barn. God fredag!

Flight 194 spilles inn 1. mars, 2022 og det er vanskelig å komme unna krigen i Ukraina. Men, det har skjedd mye annet også i verden: Flyr flyr til nye steder, både Flyr og Norwegian får 737MAX, nytt irsk flyselskap er på vingene og Espen er i ferd med å skifte mening om Icelandairs nye farger. Velkommen ombord! FREE UKRAINE AKTUELT: Krig i UkrainaAntonov An-225 skal være ødelagt Europa stenger luftrommet for russiske fly ... ...og Russland stenger sitt luftrom for europeiske fly SAS og Finnair legger om Asia-ruter Avinortall uke 8 Flyr lanserer 5 nye sommerdestinasjoner:Faro, Ibiza, Madrid, Porto og Valencia Første 737MAX-8 til Flyr Norwegian skal lease 10 737MAX-8 Volotea med første Skandinavia-rute - Napoli-Aalborg Nytt irsk flyselskap: Emerald Airlines La Compagnie skal fly Milano-New York La Compagnies Airbus A3221neo - med 76 Business Class-seter i 2+2 UKENS OPPFORDRING:

Dieses Mal ist Karin Barthelmes-Wehr zu Gast bei Rudolf X. Ruter. Thema: Corporate Governance und Immobilienwirtschaft – ein Widerspruch? Karin Barthelmes-Wehr ist Geschäftsführerin des Instituts für Corporate Governance in der deutschen Immobilienwirtschaft, dem Think und Do Tank für nachhaltige Unternehmensführung in der Branche. Sie ist außerdem Vorsitzende der International Ethics Standards Coalition, einem von der UNO initiierten Zusammenschluss von fast 150 Immobilienorganisationen aus 46 Ländern.

George K. Gooding er samfunnsdebattant, mediekritiker og dataingeniør. Hør Wolfgang Wee Uncut i SpotifyHør Wolfgang Wee Uncut i Apple PodcastSe Wolfgang Wee Uncut på YoutubeUkentlig Nyhetsbrev (påmelding her) Wolfgang Wee Uncut HjemmesideInstagramFacebookTwitterFor podcast tips, podcast anbefalinger, podtoppen, podcast toppen, podkast og en oversikt over alle episodene med Wolfgang Wee Uncut, besøk https://www.pod-cast.no See acast.com/privacy for privacy and opt-out information.

In this Episode of the JavaScript for WordPress Show, educator Zac Gordon talks with Weston Ruter, a JavaScript for WordPress Pro. Weston works on the Customizer interface in WordPress and stays closely involved with JavaScript in WordPress in general. Weston is a very smart man and his story of learning JavaScript is pretty amazing.