Podcasts about Sony BMG

We discuss January anniversaries for some of our favorite Apple gear, and then a look at what new devices Apple may be planning to introduce during the year. Show Notes: Twenty years of the Mac mini, the little Mac that could Apple Focusing on These Eight New Low-Cost Devices in 2025 No, Siri's "Learn from this app" Setting Is Not Sending Data From Your Apps to Third Parties Apple's weird iPhone alarm problems are still happening macOS flaw that allowed attackers to bypass core system protections is now fixed Sony BMG copy protection rootkit scandal “Banshee Stealer” Mac malware resurfaced in new campaigns French TV show pulled after ridicule of woman who fell for AI Brad Pitt How to Delete Your Social Media Accounts: Facebook, X, Instagram, TikTok, and More Should you think twice about RedNote as a TikTok alternative? Microsoft January 2025 Patch Tuesday fixes 8 zero-days, 159 flaws Intego Mac Premium Bundle X9 is the ultimate protection and utility suite for your Mac. Download a free trial now at intego.com, and use this link for a special discount when you're ready to buy.

Matthew Schilt p/k/a Matt Fingaz has a long history in the hip-hop game. He was one of the pioneers of New York's late 90s underground indie rap boom with his label Guesswhyld Productions. He's credited with being 1 of the first people to work with Just Blaze, being a key factor in the start of his career. He did the same for Hi-Tek, Talib Kweli, Mos Def, 88-Keys, Sha Money XL and countless others. Matt was one of the producers of the 1st Hip Hop Show at Lincoln Center,NYC(The Roots, Talib Kweli, Large Professor & Jay-Z).  Throughout the years, Matt has been and still is a go to person for coordinating recording artists, music producers and various other resources in all genres of entertainment. His resume includes such notables as Kanye West (1st major label featured performance for Sony/BMG), Snoop Dogg, Swizz Beatz, T.I., Rakim, Fat Joe, Nelly, Kehinde Wiley, French Montana, Big Boi of Outkast, Ty Dolla $, The Game, Nas, Questlove, Sean Paul, R City, Austin Mahone, Cyhi The Prynce, Sean Kingston, Jason Derulo, Marsha Ambrosius, Mos Def, Talib Kweli, Busta Rhymes, Trina, G-Unit, Raekwon, ODB, Xzibit, Mobb Deep and many more.  Producers worked with: Kanye West, Just Blaze, Boi-1da, Organized Noize, DJ Marley Marl, JR Rotem, Scott Storch, DJ Khalil, Salaam Remi, Rockwilder, Erick Sermon, Havoc, Midi Mafia, The Fliptones, Terrace Martin, Focus, The Nasty Beatmakers, Seige Monstracity, Sndtrak, DJ Jazzy Jeff, Jake One, 88-Keys, Bink!, Cool + Dre  and many more. Recently, he has created his own multi-tiered company, B.O.C. (Business Of Coordination), which specializes in talent coordination, content development, project consultation, artist booking and many other services in the field of entertainment. 

Stephanie here! I have often found that, when I'm discouraged, or when I struggle to see things from the perspective that God might have on a situation, a relationship, maybe my own heart, I find it so useful to dig into Scripture and look at the stories of people in Scripture who may have experienced something similar. I also find that, beyond Scripture, it is useful to look at the lives of faithful men and women in history, saints who have really clung to God, and who have experienced so much of his goodness, his holiness, his beauty, his faithfulness, his kindness, his generosity. I love to spend time through biographies of these people of faith. I'm looking forward to meeting them in heaven and learning from them even more. Which means,  I love when a new book comes out that invites me to do just that. And the book Portrait of God by Jack Mooring does just that. I'm welcoming Jack today. And he experienced the same thing that I'm describing to you. His book is a bit of a guidebook. It uses the stories of influential Christian figures like C.S. Lewis, Saint Augustine, Fanny Crosby, and so many more, to help us, believers, find stability in our faith amidst the chaos of this world. He and I chat about the fact that this world is pretty chaotic right now. This book and this conversation hope to be one of the tools that equips us in this ever-changing turbulent world we live in. Now, to recognize God's goodness in the midst of chaos, well, I know it can be challenging. Our faith can so often seem like a roller coaster as a result of that. Jack says, “I've learned that the Christian life is less about learning and more about remembering. I wrote this book to remind myself and the rest of us, forgetful people, that this is God whom we love and he really is who he says he is.” MORE ABOUT THE BOOK “PORTRAIT OF GOD In an ever-changing, often turbulent world, recognizing God's goodness can be challenging. Many Christians describe their faith as a rollercoaster, with seasons of feeling close to God and having a clear sense of His presence, and others where He seems distant. Author Jack Mooring experienced this personally, and by reflecting on and learning from the lives of the faithful men and women in history, he uncovered powerful reminders of God's unchanging truths. Mooring's new book, Portrait of God: Rediscovering the Attributes of God through the Stories of His People (David C Cook, August 6, 2024) serves as a guidebook, using the stories of influential Christian figures like C.S. Lewis and St. Augustine to help modern-day believers find stability in their faith amidst the chaos of the world. In Portrait of God, Mooring provides thought-provoking questions and a list of further readings about each faith leader, allowing readers to dig even deeper into the truths about the unchanging character of God. “I've learned that the Christian life is less about learning and more about remembering,” writes Mooring. “I grew up in a rich tradition of truth, but life's lies have often buried those true ideas about God. So I wrote this book to remind myself and the rest of us forgetful people that this God we love is really who He says He is. This book is an attempt to rediscover our wonder about who He is. For each attribute of God, I chose a person in church history who actually experienced that part of God's nature. The goal is that, as we hear the stories of these people, we can get a glimpse of God through their eyes.” Each chapter explores an attribute of God through a person in church history who radically experienced His nature, applying it as a brushstroke to our portrait. Readers will uncover: ●           Faith: How an all-powerful God worked miracles in the life of Kathryn Kuhlman. ●           Holiness: What Augustine of Hippo's life in a secular world teaches us about God. ●           Compassion: How William and Catherine Booth's service to others radiated God's love. MORE ABOUT JACK MOORING Jack Mooring is a pastor, speaker, songwriter, and author. Beginning in ministry from an early age with his family, he and his brother went on to start the band LEELAND. Signing to Provident Music Group (A division of SONY BMG), the band released seven records, four of which received Grammy Nominations for “Best Contemporary Christian Music Album.” After touring full time and ministering around the world from 2005-2014, Jack left the band in order to pastor full time. For several years he served on the pastoral staff of two different churches before planting Celebration of Life Church: Nashville. Jack continues to make music as a songwriter signed with Integrity Music. As both a pastor and creative, Jack is passionate about communicating the gospel in a post-Christian culture. He resides in Franklin, TN with his wife Whitney and four children: Smith, Kate, Anthony, and Gabriel. We invite you to check out the first episode of each of our series, and decide which one you will want to start with. Go to gospelspice.com for more, and go especially to gospelspice.com/podcast to enjoy our guests! Interested in our blog? Click here: gospelspice.com/blog Identity in the battle | Ephesians https://www.podcastics.com/episode/74762/link/ Centering on Christ | The Tabernacle experience https://www.podcastics.com/episode/94182/link/ Shades of Red | Against human oppression https://www.podcastics.com/episode/115017/link/ God's glory, our delight  https://www.podcastics.com/episode/126051/link/   Support us on Gospel Spice, PayPal and Venmo!

Benson represents everything that your parents hate, He plays loud sub bass driven house music, drinks a dangerous amount of alcohol & stays out way past his bedtime. Benson resides in Melbourne these days but spends a lot of time blowing up expensive sound systems in clubs around Australia & abroad. His DJ sets are loud, fun & extremely offensives . Benson has worked with labels as Sweat It Out, Ministry Of Sound & Sony BMG while still finding time to manage his very own boutique label “Medium Rare Record​ings”. Benson has also “shredded” stages at the following music festivals: Splendour In The Grass, Falls Festival, Listen Out, Southbound, Stereosonic & Parklife. If you enjoy good music, having a laugh and high 5s then you and Benson will get along just fine

Timi Dakolo is a Nigerian singer, songwriter, and music producer. He emerged winner of the inaugural season of Idols West Africa in 2007. Accompanying his victory was a recording contract with Sony BMG, in addition to other prizes. A great vocalist his latest album is titled, "The Chorus Leader."

It's a bonus episode! Join Craig as he sits down to talk with Dale Robertson a 30-year veteran of the Canadian Music Industry.Transcript:Track 2:[1:06] Hey there listeners, this is Craig and today on Discovering Downey I am joined by Dale Robertson. Dale is a 30-year veteran of the Canadian music industry and he is here to share a few stories about Gord and the Hip. Welcome Dale, how's it going?Track 2:[1:22] Thank you Craig, it's going very well, I'm happy to be here. This is, you know what, my first podcast participation ever. Oh wow, Wow. Okay. Well, I'm pretty new to this too. So we'll just see how it goes. But I have you on today to talk a little hip because I know you're a big fan and that's how I met you is talking about the hip. And your name was a name that would come up over and over through our mutual friend, Matt Pinch. And I thought I'd just share a quick story about how I met Matt that you probably don't know. So it was grade seven for me and Matt was a year younger in grade six, but we were in a class together and my good friend had moved out of town that summer and so I was without a close friend at school and one day we were seated next to each other and Matt started talking to me about WWF wrestlers and he was very enthusiastic and I didn't know too much but I went home and made sure to watch that you know Saturday night and came back to school the next week with a little bit more knowledge about wrestling and and we would spend our days drawing wrestlers on on blank pieces of paper and then we would take our compass and one at a time drop the compass on each of the wrestlers and if it hit we would make a little tally and after 10.Track 2:[2:46] Hits that that wrestler would be eliminated from the the battle royale and so that's how that's how we met and then we ended up you know matt was the first person i ever met who played guitar he He got a guitar for his birthday, I believe, and I would pick it up and I just fell in love right away. And so I, you know, started playing shortly after that. And we ended up actually starting our first band together and, you know, started playing cover music. And within a year we were playing all original. And yeah, that was my first band experience with along with our buddy Blair, who you know, and our friend Bob on drums. And yeah, how about you? How did you get to know Matt?Track 2:[3:23] So i met matt when he joined bmg while i was working there um here in vancouver and he came on board as a street team member i think it was around 1998 or so um he then became our street team leader uh which you know the really cool thing about the street team pro programs that the labels were utilizing was that it was a great sort of starting ground for uh somebody getting into the music industry and to get hired from there because typically as a street team member you're volunteering you were out there you know putting stickers on bathroom walls or um putting posters up on either walls where you're allowed to or in street corner you've seen those you know uh let's say uh the new trouble charger album at that time coming soon blah blah blah so So Matt was part of that. And then he ended up moving into the radio promotions department within BMG until 2004 when he was an unfortunate victim of the Sony BMG merger. Right. And that was phase one. You know, it's very typical for these mergers where, you know.Track 2:[4:38] You become a victim to the downsizing you know it affected me eventually in 2007 where we had an office of 11 and the next day there were only two left i was one of the nine wow um but yeah it's just you know that's the nature of the beast and and uh the music industry is volatile it's just that crazy you know you love it and you can also kind of despise it at the same time because of some of the um debris that it can leave in its wake but uh you know you're in it for the music you know it's um i would have to say that the hip were probably a major catalyst for me in terms of my love for music and you know seeing them play live it's you know you've seen them it's the band that i saw the most in my live music experience i've never seen any musician more than or artists it's more than the hip i think i've seen spirit of the west maybe one or two times more um being out west my whole life and so they were just playing around this area a lot but yeah the hip burn number two for me and when i met you uh through matt it was actually at his wedding or the lead up to and i remember i had some some interesting stories so um so you actually met the hip way back i believe you said way back in the early days yeah it was it was really kind.Track 2:[6:01] Of a wild thing because um so in 1990 i started working for this company based in winnipeg who were basically the exclusive contract for catering through i think was periscope promotions at the time which became i believe house of blues it's now live nation never heard of them yeah this little company that you know might make it big one day um might even have a monopoly one day you never know but the um so yeah we were doing these uh we would cater these shows and then in winnipeg at the time there was this theater that had been renovated um it's now called the burton cummings theater at the time it's called the walker um and the hip were playing there they were i believe the first band to reopen that venue and um so as part of the catering you're there all day long. So it's a long hours, you know, it's, it's you're there from 6.00 AM until usually load out at 2.00 AM, 2.00 AM. Yeah. But anyway, got to meet the hip. The first time I got to actually meet Gord, I'm standing beside him as you're watching the sky diggers open up for the, for the hip that night. Yeah. So which is just surreal. It's a surreal experience.Track 2:[7:22] In itself because you know here's me this giant hip fan and there's gourd downy literally right beside me shaking and grooving away to the skydiggers yeah and he was known for that to um totally watch the opening bands i know i know he was uh you know the artists love him for that absolutely a passionate music guy you know he's he's um that was his his thing and and i think that respect that he showed the musicians followed him right throughout his entire career which is, it's pretty incredible to have, um, met him after the show. Uh, he signed my, um, backstage pass, which was stuck on my baseball hat. And it, uh, so, and he would sign something super unique to every single person that wanted an autograph. So, um, there was this one poster that, uh, it was a picture of Gord and it was one of the, the brand new posters for the, uh, road apples album and on the one of the posters it he just wrote i'm the motherfucker from around the way pardon my language and then there was another poster again he's got that you know he's.Track 2:[8:32] It's a picture of him singing and then the rest of the band are underneath him, and on that one he said i'm singing solely for you naive guy you know he just had these little quips right on mine he wrote because it was on my hat he wrote this the outer brim and then you you know, signed his name to it. So, and I still have it to this day, obviously. And it's one of those bizarre little prized possessions. Yeah, no, that's very cool. So when did you first get into the hip?Track 2:[8:59] I got into the hip in 89. So I, the first time I ever heard them, um, blow it high dough is being played on much music. And you hear that riff, I come ripping out of my bedroom and there's this amazing song. I just stood there. I couldn't remember it vividly me just kind of stopped in my tracks as this song came out um and then you've seen that video it's i to this day it's one of my favorite videos right um it's such a it's you know it's a great great song and that was my intro that was my um my intro to the hip and the the catalyst that basically started me off and then i never missed a tour nice and on you know every single tour that that band did, I was able to see, I was super lucky in a lot of times where, you know, they're playing Richards on Richards and I was able to get in there for, you know, a, um, those little sort of exclusive when to get in type things. So, yeah, but that's my very first vivid memory of becoming a hip fan. Okay. Yeah. That's around the same time as me. I think I told the story on the first episode of this podcast, but, but I heard, um.Track 2:[10:11] Uh, New Orleans and I, and I enjoyed it. And then it was actually 38 years old that I heard on the radio at Matt's house. And I can picture it like on the radio. And I actually told the guys this, that I thought it was Tracy Chapman. Cause I, she was, she was at the time and I just, and then they said it was the hip and I'm like, wow, that's, that's two songs I like. And so I, I, you know, got the album and just, yeah, I fell in love right away and I didn't get to see them until 93 so roadside attraction and um out here at seabird island it was was my first show yeah so were you out in how long were you in winnipeg for then so i moved to calgary in 92 because i started working at a record store i was around 1990 91 the same time i was working with that catering company uh in winnipeg there was a chain called the record baron and um i guess their equivalent would be a and B sound only in terms of the way they had their pricing, you know, how Andy would get their aggressive pricing and bringing people into, you know, buy the hardware.Track 2:[11:14] Um, but the record Baron just had these great prices on, you know, all their, their stock. So, um, I was a customer first and I was super loyal to that company. And um for whatever reason likely because the prices fit my uh pocketbook at the time and um so i started working with them and then uh they opened up a shop in calgary and um at that time there were seven major labels so in calgary the cool thing was all of the labels are coming through because we're a new store and you know they're bringing us posters they're bringing us play copies to play in store you know um i remember when the mca rep at the time claudia neff, brought in uh the advance for fully completely and then a bunch of artwork that we put up on the walls and uh um you know fully completely is probably my favorite hip album right but um.Track 2:[12:11] So fast forward to 93 where I started working with BMG because the labels are coming in and visiting us and I'm getting to know the reps and the branch managers and all that sort of thing. I started with BMG as a customer service rep which is an entry-level position, and then I was transferred to Vancouver in 95 in a sales capacity and at that time I had I had the Future Shop account, all the HMVs, Virgin Megastore. I had everything but A&B Sound, Stan the Record Man. So that was my way to get to Vancouver. I was essentially transferred here. I loved the city so much, I wasn't going to say no.Track 2:[12:59] It breaks my heart a bit to hear all those record stores you mentioned. Oh, yeah, totally. Not a lot around anymore. more although uh sunrise is starting to pop up quite a bit around here yeah yeah sunrise bought all of the hmv look not all the hmv locations but quite a few of those hmv locations so you know the only thing they don't have a downtown presence which is fine you know you've still got some great independent shops there are yeah yeah a few years later i believe you had the chance to meet gourd again um when he was uh doing some solo uh solo work and and that's you know what this podcast is really about. So I'm not sure if you even know the premise is that this is a show about some diehard hip fans, myself included, who have never really given Gord's solo work much of a chance. And so we are, as of this recording, we are about halfway through and, and all of us have just fallen in love with, with this music. I'd heard certain songs before I knew Secret Pathwell and I knew, you know, a single here and there, but I cannot believe how, how strong this work is. So So what was your experience with Gord as a solo artist?Track 2:[14:08] It was phenomenal. He, um, so I got to work with Gord on the Grand Bounce tour. Um, and, um, which is my favorite solo album of his only because I, I guess being able to work with him, but, uh, I just love a lot of the music on there as well. It is a great album. Yeah. The East wind is probably one of my favorite songs of his, but, um, so he came through for that tour i knew that i was going to be working with him he he um was such a huge part of my dna my music dna as a kid that you know i've got him on this massive pedestal yeah so i barely slept the night before um i go and pick both him and his manager up at uh at their hotel his manager at the time was Bernie Breen, who they were also working with the Sam Roberts band at the time. Bernie is a great, great guy. One of these managers that really gets it. So anyway, you know, I pick up Gordon and our first stop is that, sorry, Gordon and Bernie, and I picked them up and we, our first stop is at Seafox.Track 2:[15:17] And at their, where their building is, there's a great sort of private elevator. It's essentially the service elevator. So we get in there and We ended up stopping at one of the floors and this mother, new mother comes in the elevator with her newborn and the baby is crying and you can tell she's a little bit, you know, it's just rattling her for sure. Right. Gord kind of motions to her and asks, you know, can I pick up your baby? Which he does. And the baby immediately stops crying. and he's got this sort of rocking you know it's just gourd being a human in fact it really humanized him baby stops crying it's our turn to get off the elevator he hands the baby back to the mom i don't even know if she knew who actually held her baby but uh you know that was one of those really endearing things with gourd and you know me being so nervous and that actually helped cut a little bit of the tension for me not that there was tension it was just my nerves yeah um you know it's just you know not many people made me that nervous but he was definitely one of them only because they had him on the pedestal but he could not have been a nicer man he was just super casual we did talk a little bit of hockey i tried to find some sort of a.Track 2:[16:40] Um a commonality something that is not going to be just music music music to him you know we talk talk about the bruins um you know we can always talk about the weather but people do that all day long so um you know his favorite uh venues and all that sort of thing so it was just a great.Track 2:[17:00] Experience for me and then at the end of the day we finish up and i'm taking him and his manager um back to the venue they're playing the vogue so gordon's got to go and do sounds check and I finally get up the nerve to ask for a photo and he says yeah no problem and I passed my.Track 2:[17:18] I don't know if it was my stupid little iPhone at the time or if it was a it might have even been a digital camera somebody Bernie's got the camera and all of a sudden I feel this knuckle drag up the back of my spine and and I smile and it's it's kind of like makes makes somebody laugh. So apparently that's something that he did just to get a smile and a reaction out of somebody. Because I was asked by Neil Morrison, who had done the interview with Gord at CFOX, did he run his knuckle up the back of your spine?Track 2:[17:53] And, you know, he did the exact same thing to Neil. So, you know, it's just one of those really.Track 2:[17:59] Somewhat intimate in in a certain regard because yeah yeah here's somebody literally dragging their knuckle off your spine you know and it's no no one has ever done that other than my wife when i when i get my my back scratched you know that sort of thing so it seems like a very gourd gourd thing to do exactly so that um you mentioned you were at seafox that day so that must be the neil morrison interview i actually remember about a month or so ago that the gourd downey social media people put a clip of that up online so yeah so you were there for that yeah that's exactly what that would have been yeah yeah and being able to facilitate that that sort of thing and you know even see the behind the scenes thing it was a that's one of my favorite takeaways from you know having been a promotions rep for quite a while you mentioned your favorite hip album is fully completely yeah and your favorite gourd solo album is the grand bounce easily yeah so how about a couple of top tracks from the hip and from gourd solo yeah you know what that's it's so tough with the hip because they've got so much but locked in the truck of a car has always been one of my favorites because live it's such a special you know moment in the show or when they played it live. And the really cool thing about that song is if you know the live version of Highway Girl, so, you know, as well.Track 2:[19:28] So a lot of the bits and pieces from that song end up in lock.Track 2:[19:33] And that was very common for them where they would have that middle sort of stanza in certain songs where you'd be spewing lines and they would show up. You know, I remember that happening during, I can't remember what the live song would have been, but, uh nautical disaster which you know again is another one of my favorite hip songs um and then nautical disaster became one of those things where they would get into a little bit of a jam and i think during um the saturday night live performance when they did that song they, i believe if it's not on saturday night live it's on the on the um that first live record but they start doing some skydiggers you know things you know escape at hand for the traveling man is one of my favorite tunes by them because it's just a really cool story in that song.Track 2:[20:22] Yeah. That's one of the songs I actually remember him wood chopping. I believe in the middle of nautical and I think it was one of the roadside attraction tours and there's that idle conversations bit at the end and then the next album comes out and there it is. Exactly. And that also happened for Scared, where at the end it's not scared it's something off of day for night where you do the rolling, yeah thugs thugs that's right so they you know the one line where you do the rolling i do the detail or i think i've just messed that up so it might be so anyway um i would always look and listen for those during live sets and then i couldn't wait to hear what would happen for the the next record and how he would implement that stuff. So that was kind of like that thing you would chase for the next record once you experienced something and you knew it so well in the live setting. I would imagine they've got that song, Depression Suite, which is another amazing tune, which is their longest tune.Track 2:[21:33] I would like to think that some of those bits and pieces have come from jams as well. My favorite hip tracks are always changing daily, but nautical is always up there for me. And also the Depression Suite, which you mentioned. And I actually remember the first time I heard that was, if you remember the album release for that, they, George Strombolopoulos actually hosted a show, you know, that they put in theaters across the country. Yeah. And I remember walking in a couple minutes late and I think my son had just been born that year and it was, you know, I didn't get out that often and get to the theater and sit down and they just finished the first little bit. And, you know, of course that song is like basically three songs in one. Yeah. And I remember hearing that song and just being blown away and, and really actually got back into the hip big time because of that, because of that show. Do you remember seeing that? I did. In fact, I was, I helped, you know, with what I used to do with Universal.Track 2:[22:43] That was one of the things that we would do. we'd set up that kind of contesting and um and you know the additional exposure and that i think that, uh launch was really cool because you also got to see the bathhouse studios and their pool room upstairs and yeah they they played bob cajun while shooting a game of pool yeah exactly yeah yeah and they i remember they set up a drum kit in the kitchen for thompson girl and they're like yeah yeah, this is exactly where the drum kit was when we recorded this song. Yeah, and all that kind of stuff. I could watch that all day long. It's hard to find, too. You can find little snippets here and there online, but I would love to see a re-release of that one day.Track 2:[23:25] Like I said earlier, it really... Got me right back into the hip you know I was at a bit of a low point before that and just brought me back big time yeah and I think it kind of rejuvenated my love as well because now for plan a it's not something that I put on a lot there's a some great songs on that record but it's just not something that I that I listen to that often so um you know and I I ended up loving um um, their last record, um, only because of, you know, they got back into some tempo and some great rock stuff on there. And, uh, you know, the interesting thing about that album is that it was going to be originally called, um, I think it was going to be called Ziggy, uh, Dougie Stardust. And if you remember the little baby, uh, with, with that wig, it's a Bowie wig. So, um, yeah, I believe it was going to be called Dougie Stardust before they ended up, renaming it but anyway that's a tangent that I don't think I meant to go on but you know that happens with bands that you're you can be a huge fan of is that you know if you look at a band like Pearl Jam sometimes you have some.Track 2:[24:39] Ebb and flow in terms of the music that you'll gravitate more towards as opposed to some of the releases you know you can't love it all it's just kind of hard so you can say that about so many legacy acts that are out there now um and then on gore's last solo record that was released with bob rock there's some amazing music on there i think in the field is probably one of my favorite tunes off of that record and i like that one that album in particular because it was a sort of a return to the tempo as well there's some great mellow stuff on the solo records but this one felt like it really seems a bit more concise in fact compared to some of the other things that he had been doing in the solo side, Okay, well, thanks for taking the time to talk with me today. Yeah, thanks for having me a part of this. I'm really quite honored to be a part of this. So it's very cool you to reach out to me, Craig, and I hope everything goes really well with this. Yeah, thanks. And maybe I'll give a quick shout out too, since Matt was the one who brought us together. So I should mention Matt, our friend Matthew Pinch is a newly published author.Track 2:[25:49] If you're into, I'm really sorry, Matt, if you're hearing this, I have not listened to your book yet or read your book yet, but I promise I'm going to this summer. I believe it's called Taste by Matthew Pinch. You can find it on Amazon.Track 2:[26:01] It's a horror slash thriller. Have you read it? I have started it and I read it with Matt's voice in the background, basically. So it's, you know, I think that's kind of natural for that to happen. But I'm excited that Matt had finally got that book out there. And I jumped online and got it on Amazon right away and it showed up, I think, the next day. So, yeah, it's great to see that Matt's following that passion of his as well. Yeah, he tells me there's a sequel this summer, so it'll be perfect timing. I can do both at once. yeah but anyways um yeah so thanks for coming on and uh take care thanks craig you too let me know that if there's anything else you need okay sounds good take care talk to you soon.

American Recordings a été fondé en 1988 par le producteur Rick Rubin, précédemment connu sous le nom de Def American Recordings. Le label a été créé après le départ de Rubin de Def Jam, marquant ainsi le début d'une nouvelle ère dans son parcours musical. Au fil des ans, American Recordings a offert une plateforme éclectique à une variété d'artistes, allant du metal aux artistes indie en passant par le hip-hop. Le label a connu des succès remarquables avec des groupes comme Slayer, Danzig et The Black Crowes, ainsi qu'avec des artistes emblématiques comme Johnny Cash et Sir Mix-a-Lot. Rick Rubin a joué un rôle central dans la production de nombreux enregistrements du label. En 1993, American Recordings a subi une transformation majeure, symbolisée par un événement mémorable : un faux enterrement pour le mot "Def". Cette cérémonie extravagante a été organisée pour marquer le changement de nom du label, passant de Def American Recordings à simplement American Recordings. L'idée de cet enterrement a émergé lorsque Rick Rubin, le fondateur du label, a découvert le mot "def" dans le dictionnaire et a estimé que son association avec une source aussi conventionnelle ne convenait pas à l'image anticonformiste qu'il souhaitait projeter pour le label. L'événement s'est déroulé le 27 août 1993, attirant plus de 1 500 personnes en deuil. Parmi les invités figuraient des personnalités influentes telles que les Black Panthers, des artistes renommés comme Tom Petty, Rosanna Arquette, Flea des Red Hot Chili Peppers, et Sir Mix-a-Lot. Mo Ostin, président de Warner Bros. Records, a même joué le rôle de porteur de cercueil. Les participants ont déposé des fleurs ainsi que divers objets musicaux et personnels dans le cercueil ouvert, témoignant de leur adieu à cette ère révolue. Après la cérémonie, un cortège funèbre a suivi, tiré par des chevaux de style du XIXe siècle, accompagné par un orchestre à six instruments jouant "Amazing Grace". La procession s'est achevée par une fête nommée Ciao Def, qui s'est tenue dans un bowling, marquant ainsi de manière festive la fin d'une époque et le début d'une nouvelle ère pour American Recordings. Au cours de son histoire, American Recordings a engendré plusieurs sous-labels, dont Infinite Zero, en partenariat avec Henry Rollins, spécialisé dans la réédition d'albums méconnus. Malgré cela, aucun de ces sous-labels n'a réussi à survivre après le départ d'American Recordings de Warner Bros. Records en 1997, leurs enregistrements ayant finalement été supprimés. Au fil du temps, la distribution des albums d'American Recordings a été gérée par diverses maisons de disques, comme Geffen Records, Warner Bros. Records, Columbia Records et Universal Music Group, montrant les difficultés rencontrés par le label en matière de distribution. En 2007, une nouvelle phase a commencé pour American Recordings lorsque Warner Bros. Records a acquis les droits de son vaste catalogue. Cependant, le roster actuel du label a été transféré à Sony BMG après une bataille judiciaire. Rick Rubin a signé un nouveau contrat avec Universal Republic Records en 2012, donnant naissance à une nouvelle incarnation d'American Recordings. Malgré les défis rencontrés en cours de route, American Recordings reste un label influent dans l'industrie musicale, mettant en avant une diversité d'artistes et de genres musicaux sous la direction visionnaire de Rick Rubin. MC 900 Ft Jesus/If I Only Had A Brain Swell/Kinda Stoned Long Fin Killie/Idiot Hormone Lordz of Brooklyn/Papers Barkmarket/Feed Me Medicine/Aarhus Saul Williams/Lalala Slayer/I'm Gonna Be Your God Johnny Cash/Hurt Kae Tempest/Holy Elixir

Io, Anna Tatangelo, Gigi D'Alessio e il padrino. Fonti: estratto del brano Due vite" di Marco Mengoni, pubblicato l'8 febbraio 2023 da Sony Music, ascoltabile su Spotify; estratto del brano "Vita spericolata" di Vasco Rossi del 1983, pubblicato nell'album Bollicine da Carosello Records, ascoltabile su Spotify; estratto del brano "La solitudine" di Laura Pausini del 1983, contenuto nell'album Laura Pausini e pubblicato da CGD, ascoltabile su Spotify; estratto del brano "Ciao amore, ciao" di Luigi Tenco del 1967, pubblicata da RCA e ascoltabile su Spotify; video "Sanremo 2013 - La polemica contro la satira di Maurizio Crozza" pubblicato sul canale Youtube di Rai il 12 febbraio 2013; clip "1995: Baudo sventa un suicidio" contenuta nella serie "Sanremo follie" disponibile su RaiPlay; video "FESTIVAL DI SANREMO : LA PROTESTA DEI FRONTALIERI" pubblicato sul canale Youtube di ImperiaTV il 22 febbraio 2014; estratto del brano "Bastardo" di Anna Tatangelo, contenuto nell'album Progetto B pubblicato il 16 febbraio 2011 da Sony BMG, ascoltabile su Spotify; estratto della colonna sonore de il Padrino di Nino Rota, pubblicata in versione CD nel 1991 da MCA e ascoltabile su Spotify. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sintonía: "The Contenders" (Instrumental Demo)The Contenders - Strangers - Denmark Street - Get Back In Line - Lola - Top Of The Pops - The Moneygoround - This Time Tomorrow - A Long Way From Home - Rats - Apeman - Powerman - Got To Be FreeBonus: The Good Life y AnytimeTodas las músicas extraídas de la versión Deluxe (2xCD+libreto) del álbum "Lola Versus Powerman & The Moneygoround, Part One" (Pye Records, 1970/Versión Deluxe de Sony-BMG 2020)Todas las músicas compuestas e interpretadas por The Kinks.Escuchar audio

WATCH THE INTERVIEW https://rb.gy/tpooa ABOUT PATRICE TIPOKIWebsite: https://patricetipoki.com/Facebook: https://www.facebook.com/PatriceTipokiInstagram: https://www.instagram.com/patricetipokiarkinsPaul Cardall is joined by Patrice Tipoki, on of Australia's beloved Broadway Stars. They  discussher musical family upbringing and her journey from being a Maori girl in New Zealand to becoming one of Australia's beloved Broadway stars. Sir Cameron Mackintosh's invitation to play Fantine in Les Miserables marked a turning point, leading to other iconic roles like Elphaba in Wicked, Belle in Beauty and the Beast, and her current portrayal of Satine in Moulin Rouge, prompting a fond laugh about her time with Australia's GIRLBAND signed to Sony.As for Patrice Tipoki, her early exposure to the entertainment industry set the stage for a remarkable career, blending her Maori/Irish heritage with a newly discovered Chinese background. From her debut at 7 in The King & I to being one of the youngest graduates from WAAPA's Music Theatre course, she swiftly ascended to lead roles in renowned musicals worldwide. Sir Cameron Mackintosh's invitation to play Fantine in Les Miserables broadened her international presence, performing in various locations including the West End in London. Her diverse musical credits include Nala in Disney's The Lion King, alternating as Elphaba in Wicked, Belle in Beauty and the Beast, and recently, Erzulie in Once On This Island. Now, she's excited to be part of the Australian Premiere of Moulin Rouge: The Musical as the Satine Alternate.Beyond her stage performances, Patrice's passion for recording led to several successful singles and albums. Her signing with Sony BMG as a part of GIRLBAND was a significant chapter, featuring hit singles, TV shows, and a clothing range. Notably, her collaboration with Paul Cardall garnered recognition from the Gospel Music Association, contributing to an award-winning album. Patrice's charity efforts, including a cover of Ed Sheeran's “I See Fire,” showcased her commitment to giving back.Amidst her artistic pursuits, Patrice treasures her role as a wife and mother of four, finding balance and joy in Queensland, Australia, when not on tour. ABOUT THE HOST & PIANISThttp://www.paulcardall.comhttps://www.facebook.com/PaulCardallMusic/https://www.instagram.com/paulcardall/ LISTEN TO HIS MUSIC:SPOTIFYAPPLE MUSICAMAZON Paul Cardall: A Journey of Healing through MusicPaul Cardall is a Dove Award-winning musician, composer, and producer, known for creating music that invites introspection, spiritual reflection, and peace. His compositions, often categorized as Classical, Christian, and New Age, have garnered over 3 billion lifetime streams and have earned him a position as one of the most listened-to recording artists of our time.Early Life and Health StrugglesPaul's music is deeply personal, born out of a life marked by resilience and compassion. He was born with a congenital heart condition, essentially having half a heart. His infancy was marked by numerous surgeries to save his life, and this pattern of hospital visits and surgeries continued throughout his life. In 2009, he received a life-saving heart transplant, an experience that profoundly influenced his music and purpose.Paul's own struggles with chronic illness have fueled his commitment to creating music that serves as a source of healing, both physically and emotionally, for himself and others.Musical Journey and AchievementsIn 1999, Paul founded Stone Angel Music, an independent record label aimed at producing, marketing, and distributing his recordings. His music gained significant recognition when he signed a multi-album deal with Narada, an affiliate of Virgin Records. Notably, his album "The Christmas Box" debuted at #22 on Billboard's New Age Chart.Over the years, Paul has released a string of successful albums, including "Primary Worship," "The Hymns Collection," "Living for Eden," and "New Life," many of which have secured top positions on the Billboard charts.Paul's collaborative efforts with Grammy-winning artists such as CeCe Winans and Rachel Yamagata have further solidified his place in the music industry. His dedication extends beyond music, with involvement in charitable causes, scholarships for students affected by medical bills associated with congenital heart disease, and collaborations with organizations like Operation Underground Railroad.Legacy and "Return Home"In September 2019, Paul released "Peaceful Piano," an album of improvised piano solos reflecting on his decade surviving with a donor heart. This marked a turning point in his creative process, inspiring him to record a series of improvisational pieces reflecting on his European heritage and ancestry.The resulting album, "Return Home," is a profoundly introspective work featuring 13 pieces for piano. The unique aspect of this album lies in the fact that Paul entered the studio without any preconceived material, allowing the music to flow organically. The pieces take listeners on a cinematic journey through the lands of his ancestors, incorporating various musical styles and influences that pay homage to his heritage.Paul Cardall's musical journey is a testament to the power of perseverance, resilience, and the ability of music to heal and connect us to our roots.Conclusion and Continued PhilanthropyApart from his musical endeavors, Paul continues to be actively involved in philanthropy, partnering with organizations like The Ryan Seacrest Foundation to provide keyboards to children's hospitals and establishing scholarships for students affected by congenital heart disease.For more about Paul Cardall and his musical journey, visit Paul Cardall's official website.   

Mike von der Nahmer is a sound researcher, music therapist, scientific collaborator at the German Aerospace Center and composer.  With over 30 stage works and 100+ compositions, he holds international recognition. He has collaborated with GRAMMY, Kenwood, Sony BMG, Rolls Royce and BMW, and his music has been featured in TV series like NOVA. Mike shares with us some sonification projects in various domains, such as weather patterns, language, the brain, and sound design in autonomous vehicles. For example, he gives us insights into his work at the German Aerospace Center (the German NASA), where he works on the sonification of air traffic control. Today, you will not only hear us talking but also experience different sound worlds. Because Mike brought some sound files to the conversation, we hear different sound layers from an air traffic game and examples of what he calls 'mood compositions' for Rolls Royce, BMW and Mini that are central in the sound strategy of these car brands.  We end the conversation with a longer piece of about five minutes of sonification of curves that Mike co-created with two outstanding mathematicians in Luxemburg.  So be prepared to hear about pioneering thoughts connecting sound, science, and human experience. Show Notes Connect with Mike via LinkedIn: https://www.linkedin.com/in/peter-michael-mike-von-der-nahmer-0780964/  Sonification in Air Traffic Control, German Aerospace Center (DLR): https://www.dlr.de/fl/en/desktopdefault.aspx/tabid-1149/1737_read-74107/  “ReShape”, Sound of Data - Science meets Music, sonification of curves: https://www.youtube.com/watch?v=n9l_oTHr-_w   Mashrabiya ReShaped, painting curves to music: https://www.youtube.com/watch?v=ci0uISK2KAA  Mike von der Nahmer, Youtube: https://www.youtube.com/@mikevondernahmer5051  Mentimeter questions on sonification: https://www.menti.com/altpihgk8vfp/0  Beethoven's 5th mapped in a Customer Journey software: https://www.smaply.com/blog/cx-professional-interview-christof-zuern Show support Please choose one or more of the 'three ways to support the show'! Subscribe to the podcast. Leave us a review — even one sentence helps! I appreciate your support; it helps the show! Tell your friends about the podcast and musicthinking.com Buy the book The Power of Music Thinking and/or the Jam Cards. The Power of Music Thinking is brought to you by CREATIVE COMPANION specialised in facilitating leaders, teams and organisations in customer experience, change and innovation.  

Eva Gougeon-Avila est née en 1987 à Ottawa, d'un père péruvien et d'une mère Québecoise. Eva chante depuis qu'elle est haute comme trois pommes, et a fait ses débuts en public à l'âge de deux ans avec son père, Carlos Avila, en plein cœur du marché Byward à Ottawa. À l'âge de neuf ans, elle fait sa première apparition télévisée à l'émission “Homegrown Café”, un concours diffusé sur les ondes de CJOH. Tout au long de son enfance et adolescence, elle participe à tous les concours de chant régionaux et suit des cours de chant et de théâtre. Elle commence à travailler avec un agent et à laisser sa marque sur de grandes scènes en Outaouais, notamment en première partie de Claude Dubois, Dany Bédard, Roch Voisine, et comme invitée spéciale dans le spectacle “Soirée de filles” avec Marie-Chantal Toupin, Laurence Jalbert, Andrée Watters, Mélanie Renaud et Nanette Workman. À l'âge de 17 ans, elle remporte le concours « Jeune Diva du Québec », un grand honneur pour Eva. Les membres du jury étaient des chanteuses québécoises qu'elle admirait au plus haut point (Gabrielle Destroismaison, Ima, Andrée Watters, et plusieurs autres). Puis en 2006, elle décide sur un coup de tête, (un peu à contrecœur), de passer une audition pour la quatrième saison de Canadian Idol à CTV. Après un été de montagnes russes, elle est couronnée grande gagnante ce qui lui permet par la suite d'enregistrer deux albums avec Sony BMG : "Somewhere Else" (2006) qui fut certifié OR, et "Give Me The Music" (2009). Au fil des années s'ensuivent de belles opportunités et de beaux succès professionnels : Quatre extraits radio dans le top 10, dont un extrait Platine au Canada, une nomination aux prix Juno, des contrats d'ambassadrice de marque (Maybelline NY, Spring shoes, Sony Electronics…) Eva a eu le privilège de jouer en première partie de Beyoncé lors de sa tournée canadienne de “I Am… Sacha Fierce” en 2009, chanté cérémonies de clôture des Jeux olympiques de Vancouver en 2010. Elle offre son spectacle solo au festival des montgolfières de Gatineau devant plus de 50,000 personnes, une soirée marquante dans sa carrière. En 2015, elle enregistre la chanson thème officielle des Jeux panaméricains « Unidos Somos Mas » en espagnol. Entre 2011 et 2017, elle joue sur certaines des plus grandes scènes et festivals du Québec avec le groupe montréalais "Les Vikings". Elle obtient le privilège de performer aux côtés d'artistes fantastiques tels que Garou, Paul Piché, Nanette Workman, Michel Pagliaro et Marie-Denise Pelletier. Son troisième album "Never Get Enough" est sorti en 2015 avec EOne Canada, et comprend sa première chanson en français “à mille saisons d'ici”. On peut aussi voir Eva en tant que comédienne, notamment dans The Bold Type, Real Detective, Alert, et plusieurs autres séries américaines, et dans le film “Autumn and the last Jaguar” à l'affiche en 2024. En 2022, elle décroche un premier rôle au grand écran dans le film Le Coyote, de Katherine Jerkovic, qu'on peut visionner en VOD. Depuis 2017, Eva est en spectacle aux quatre coins du monde avec Brit Floyd, un hommage à Pink Floyd, dans lequel elle interprète la chanson iconique “The Great Gig In The Sky”. Ils font en moyenne 150 concerts par année et seront de passage au Canada à l'automne 2023 et au printemps 2024! Pour suivre Eva : Instagram: @evaavilaofficial Facebook: https://www.facebook.com/evaavila?mibextid=LQQJ4d Twitter: @evaavila87

"We made a mistake and Sony paid a terrible price.” A terrible price indeed: an arrogant and ill-advised decision to include a rootkit in its music CDs cost Sony BMG a lot of money - and painted it as a self-centered, self-serving company that cares more about its bottom line than its customers. Why did Sony BMG make such a poor decision?Advertising Inquiries: https://redcircle.com/brands

Nel 2021 Britney Spears è finalmente libera dalla tutela legale del padre, che l'aveva costretta a un regime di semilibertà per oltre 13 anni, portando i fan a istituire il movimento #FreeBritney. Ma da quando la cantante ha ripreso a mostrarsi sui social, gli utenti hanno iniziato a condividere diverse teorie secondo le quali la cantante sarebbe scomparsa e sostituita da un'intelligenza artificiale…I contributi audio di questa puntata sono tratti dal brano Gimme More di Britney Spears, contenuto nell'album album di Britney Spears, Blackout del 2007 e distirbuito da Jive, Zomba, Sony BMG, ascoltabile su Spotify; dal brano Work Bitch di Britney Spears, contenuto nell'album album di Britney Jean del 2013 e distirbuito da RCA, ascoltabile su Spotify; dal video "Britney Spears, Madonna, Selena Gomez & Paris Hilton - Vogue (Britney Spears Wedding)" pubblicato sul canale Youtube di Britney Online il 24 giugno 2022; dal video "Leave Brittney Alone - Short Version" pubblicato sul canale Youtube di BaptistKitty il 21 agosto 2009. Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's show we discuss the Housing Crisis and Home Schooling. GUEST 1 OVERVIEW: David Wright holds a Civil Engineering Degree – First Class Honours and joined Arthur Andersen and Co as a management consultant from uni so did not practise engineering. Spent 8 years with Anderson's consulting in the IT space to large companies both here and overseas. Then went on to be an IT consultant in the Finance Industry. Specialised in the Treasury Areas of large banks – both here and overseas (worked in London for several years) Finally joined DST International as their Development Director in Australia. The software was for the funds management industry. The shop had 120-150 employees based in St Kilda and exported the software to the UK, US, South Africa and a few sites in mainland Europe. Extensively used in the banking sector in Australia. Now have, in conjunction with a few other investors a manufacturing operation in country Victoria. Employees between 40-50 people. GUEST 2 OVERVIEW: Homeschool Academy Australia was founded by Lydia Denker, a single mother concerned about her child's education during the lockdown period. Making the hard decision to homeschool her son permanently she didn't want to fail him or hinder him in any way. Trying to find the type of assistance that she felt would suit her lifestyle was impossible. There was a gap in the market for families like herself… Families who never considered homeschooling but now feel that homeschooling would be the best way forward and for families who need more support and structure. Lydia decided to take matters into her own hands and created an online learning facility for homeschooling families. Lydia Denker is a Singer Songwriter who was signed to Sony/BMG for 10 years. She released a few singles and competed on Australian Idol top 24 but quit the music industry after realising what an ugly and painful industry it is. She chose to use her voice for God. To worship and bring Jesus to people. She started a ministry called Crazy Faith Street Worship teaming up with incredible musicians and evangelists to bring church to the streets, introducing people of Melbourne to Jesus! Lydia is founder of Homeschool Academy Australia an online learning facility for homeschooling families who need and want an alternative to mainstream schooling.

Über die richtigen Verträge und taktvollen Umgang. Asterix Westphal ist Rechtsanwalt für Musik-, Medien- und Entertainmentrecht und darüber hinaus als Musiker zum Beispiel bei „Die Liga der gewöhnlichen Gentlemen“ aktiv. Unterhaltsam und reflektiert erklärt er seine täglichen Aufgaben, die eher in der Beratung und Hilfestellung bei Vertragsgestaltung liegen. Vor Gericht findet man den gebürtigen Hamburger nicht. Aufgewachsen in einer künstlerisch engagierten Familie startete Asterix Westphal früh als Schlagzeuger, um später als Kultur- und Musikjournalist den Weg zum Jurastudium zu finden. Im Zuge dessen arbeitete er im Unternehmen von Starkomponist Hans Zimmer in den USA. Neben vielen fachlichen Learnings sammelte er auch eine Menge anderer Erfahrungen. So musste er u.a. für die Punkband Goldfinger als deutscher Vocal-Coach für das Nena Cover zu „99 Luftballons“ aktiv werden. Später wechselte er in die Rechtsabteilung von Sony BMG und wurde Director Business Affairs, um sich nach einigen Jahren selbstständig zu machen. Seitdem berät und vertritt er regelmäßig bekannte und erfolgreiche Artists. Was das für ihn bedeutet und welche fachlichen Ratschläge er für Künstlerinnen und Künstler hat, erzählt er Gastgeber Alexander Schröder im Redfield Podcast. Zum Ende gibt vom ebenfalls viel als Dozent (z.B. bei der GEMA oder Popakademie) tätigen Experten noch eine kurze, fachliche Einordnung in Sachen AI. www.asterixwestphal.de www.redfield-podcast.de

Today's guest is music industry veteran Nick Stewart, who signed U2, Killing Joke and The Long Ryders to Island Records. Nick's career, spanning nearly 30 years, includes stints at Island Records, Polygram, Sony BMG and Warner Music. He has worked with, amongst others, Robert Palmer, Grace Jones, Steve Winwood, Blondie, Lonestar, The Eagles, Echo And The Bunnymen, The Storys, New Order, Thin Lizzy, Sir Elton John and Dire Straits. Enjoy.

Steve Barile saw Elvis live in concert 7 times. One of those concerts was the now famous Madison Square Garden performance in June 1972 Steve attended the Afternoon show on the 10th of that month. This was the concert that was released by RCA on CD as “An Afternoon in the Garden” in 1997. Years later 8mm home movie footage of the almost complete show turned up and the sound was synced to the film and it was released as “Prince from another Planet”. Steve also supplies photos for the Follow That Dream Collectors albums. Steve joins me on the show to share his memories of seeing Elvis live And discusses his work with Follow That Dream and Sony BMG. YOU CAN SUPPORT THE CHANNEL HERE || ALL DONATIONS GO BACK INTO THE COSTS OF RUNNING THIS CHANNEL https://www.buymeacoffee.com/Elvisfanchannel INSTAGRAM https://www.instagram.com/elvis_the_ultimate_fan_channel/ FACEBOOK https://www.facebook.com/Elvis-The-Ultimate-Fan-Channel-1834123136661767/?ref=bookmarks TWITTER https://twitter.com/SteveFrancis5

Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Ska-P (pronunciado esˈkape) es un grupo español de ska punk formado en Vallecas (Madrid) en 1994. Sus canciones se caracterizan por su rechazo e inconformismo con el sistema actual, con letras sobre anticapitalismo, antifascismo, antitauromaquia, antiimperialismo, críticas a los medios de comunicación y a la Iglesia católica. Cantan letras que apoyan los derechos de los animales, el veganismo, el ecologismo, el feminismo, el anarquismo y el anarcosindicalismo. Han compuesto canciones respaldando la lucha del Ejército Zapatista de Liberación Nacional, el Pueblo palestino y la Revolución Bolivariana, homenajeando en la canción "El libertador" al Libertador de América Latina Simón Bolívar. Su canción «Cannabis»,​ reivindica y apoya la legalización de la marihuana. Algunos de sus temas son "El vals del obrero", "Mis colegas", "Sexo y religión", "Niño soldado", entre otros. Aunque su principal género es el ska punk, en algunas de sus canciones también hay ritmos españoles, latinos, de días festivos como villancicos, y otros estilos jamaicanos como el reggae, que en varias ocasiones buscan enfatizar el tema de la canción. Otras también son de ska, sin casi ritmos de punk, y viceversa. Ska-P surgió en 1993 como un grupo de ska formado por un grupo de amigos de Vallecas y País Vasco. Ese mismo año graban con la discográfica AZ-Records su primer disco, titulado Ska-P, que contiene 9 canciones. El disco no consiguió muchas ventas en comparación con los discos posteriores, pero contribuyó a que el grupo se diera a conocer, especialmente por la canción «Como un rayo», tema de apoyo al equipo de fútbol Rayo Vallecano, y que se hizo bastante popular en Vallecas. Tocaron varios conciertos, llegando a telonear a Extremoduro y a Platero y tú, aunque todavía tenían escaso público. En 1995, el guitarrista Toni dejó la banda, y entró en su puesto Joxemi. También entró Pipi, amigo de Pulpul, que hasta entonces se limitaba a salir disfrazado en algunos conciertos y ayudar al grupo a cargar y descargar, y que a partir de ese momento tomó el papel de voz secundaria, al mismo tiempo que seguía disfrazándose en algunas canciones. En 1996 salió su segundo disco El vals del obrero, de manos de la discográfica RCA Records (filial de Sony BMG), y participaron en el 9º Festival Vallekas Rock, lo que aumentó la fama de sus directos. Tras una gira por toda España y parte de Francia, entre 1997 y 1998 graban su tercer disco, Eurosis, de nuevo con RCA. Siguen tocando en España y Francia, pero en esa época también hicieron su primera irrupción en América Latina, tocando en Argentina y México. Pako, baterista y miembro fundador de Ska-P, dejó la banda en medio de la gira, y entró Luismi como nuevo baterista. También participaron en el festival Arezzo Wave de Italia. En el año 2000 graban Planeta Eskoria. Dos años más tarde sale a la venta su 5º álbum ¡¡Que corra la voz!!, el cual han definido como el más completo de la banda. Destaca la mezcla de estilos, tanto canciones de ska con aire festivo como temas con sonido más duro al estilo de Planeta Eskoria. Hacen una gira europea por Hungría, Bélgica, Holanda, Austria, Alemania, Francia, Italia, Suiza, Reino Unido, Irlanda, Grecia y los países anteriormente citados. También vuelven a América Latina, tocando en Argentina, Chile, México (donde se presentán por primera vez en el Festival Vive Latino), Brasil, Costa Rica, Puerto Rico, Venezuela, Uruguay, Colombia, entre otros. Además, en estas últimas giras tuvo lugar la incorporación al grupo de los bilbaínos Txikitín (trompeta) y Gari (trombón). En 2004 editan su primer álbum en vivo, Incontrolable, que además de contar con 16 canciones grabadas en directo por toda Europa, le acompaña un DVD con 13 temas grabados en Nion (Suiza), Torino (Italia) y París (Francia). Además se incorporan todos los videoclips de la banda e imágenes del grupo en la última gira. En febrero de 2005 anunciaron un paro indefinido. Argumentaron para ello que "necesitaban un descanso" debido a la gran cantidad de conciertos por todo el mundo, no obstante Pipi afirmó que la decisión había sido únicamente de Pulpul, y que el resto del grupo no podía seguir sin él, así que habían tenido que dejarlo. De hecho, hay rumores, fundados en la actitud de algunos componentes, de que hubo peleas internas entre Joxemi, Pipi y Pulpul.​ Aun así, el grupo declaró que "queda abierta la posibilidad de un futuro retorno". Anunciaron además una gira de despedida. Su último concierto en España fue el 24 de septiembre de 2005 en la Cubierta de Leganés, y el último recital definitivo antes del parón fue en Buenos Aires, Argentina el 12 de octubre de 2005. Los integrantes del grupo decidieron dar por finalizada su gira de despedida en esta ciudad debido al trato recibido en ocasiones anteriores. Todo lo recaudado en dicho festival fue donado a diferentes organizaciones benéficas argentinas, como a comunidades mapuches (en memoria a los daños ocasionados por las invasiones castellanas durante la conquista y conformación del Virreinato del Río de la Plata) y comedores comunitarios de Buenos Aires. En 2006, seis meses después del parón, el cantante Pulpul hizo una entrada en la página oficial anunciando que él seguía componiendo y esperaba que esas letras fueran en un futuro las de un nuevo disco de Ska-P. Algunos miembros del grupo formaron parte de otros grupos durante el parón. Es el caso de Pipi, quien fundó un grupo alternativo parecido a Ska-P, llamado The Locos. Joxemi también toca en No-Relax grupo punk formado en 2003 junto a una gran cantante Italiana llamada MIcky y con el que continúa en 2009. El 12 de octubre de 2007, después de dos años de inactividad, Pulpul publicó un aviso en la web oficial en el que hablaba de la posible reunión del grupo en el 2008.​ En el mismo comunicado, escriben los distintos integrantes del grupo opinando positivamente sobre el reencuentro, salvo Pipi; este inicialmente anunció que seguiría con su nuevo grupo, The Locos, y no volvería a Ska-P, aunque finalmente sí volvió con el grupo. Entre los detalles del comunicado, se dice que ensayarán con el antiguo repertorio y si todo va bien posiblemente sacarán un nuevo álbum en octubre del 2008. Alacrán Producciones, a fines del 2007 abrió la contratación de Ska-P para la gira en 2008 . La vuelta del grupo se confirmó a través de la página oficial,​ en donde comunican sobre un nuevo disco en octubre (Lágrimas y Gozos), y una minigira por Europa (Italia, Francia, Grecia y España) y países latinoamericanos (México, Chile, Ecuador, Argentina, Colombia, Uruguay y Venezuela) El 5 de septiembre de 2008, lanzaron un sencillo del álbum Lágrimas y Gozos, llamado "Crimen Sollicitationis", en donde realizan fuertes críticas a la Iglesia católica, tanto al papa Benedicto XVI, como a la pederastia de algunos sacerdotes.​ El álbum Lágrimas y Gozos fue lanzado el día 7 de octubre tras seis años sin disco de estudio y tres sin pisar los escenarios. En 2010 visitan nuevamente América Latina, donde ya son recibidos con los brazos abiertos, pisando escenarios en Argentina, Chile, y México, entre otros. En febrero de 2013 sacan una antología para celebrar su (casi) 20 aniversario a la que llaman Todo Ska-P, que se compone de cinco CD (El vals del obrero, Eurosis, Planeta Eskoria, Que corra la voz y Lágrimas y gozos), dos DVD (Seguimos en pie de 1998 e Incontrolable de 2002) y un último DVD inédito con 12 videoclips, un documental y el concierto "Fête de L’Humanité 2001" en La Courneuve-Le Bourget en septiembre de 2001. Al mes siguiente, el 5 de marzo, publican su octavo álbum bajo el nombre de 99%. El álbum se compone de 15 canciones en las que se abordan temas como el 15-M, el Club Bildelberg, la corrupción en España y México, la manipulación informativa o el negocio de las farmacéuticas, entre otros. Meses después el álbum fue nominado a los Grammy Latinos en la categoría de "Mejor álbum de rock", pero Ska-P rechazó la nominación: «Nos han nominado a los Grammy, jejeje. Ironías de la vida, ¡que os jodan! Dádselo a Obama, que lo ponga junto al Nobel de la Paz».​ En 2014 se dedican a estar fuera del estudio y empiezan una gira en Sudamérica pasando por diversos países como Argentina, Chile y México. En noviembre después de las giras, la banda anuncia en su página web que harían otro parón musical por un tiempo indefinido. Tras el éxito que tuvo el Woodstock Festival, en Polonia para más de 500,000 personas, el festival lanzó una convocatoria donde los asistentes al evento votarían por qué artista fue más de su agrado. Al resultar Ska-P ganador, el festival le produjo un CD + DVD de su presentación en el festival, dicho álbum fue lanzado el día 29 de abril. . En 2015 se hizo público en la página oficial de Ska-P el motivo del parón; Pulpul sufre tinnitus. Esto consiste en la percepción de acúfenos o golpes en el oído, y a pesar de que algunos otros músicos padecen estos síntomas y siguen activos, él ha decidido permanecer inactivo debido a que no debe exponerse a la música alta. Cabe aclarar que no ha dejado por completo la música, según él mismo comunica, aún sigue escribiendo canciones que pretende sacar a la luz si consigue eliminar los acúfenos, algo que por ahora es incurable, aunque espera poder dominarlos.​​ El 10 de junio de 2017 comentó en su Twitter: «Seguiré insistiendo hasta estar preparado para enfrentarme a un concierto, os echo mucho de menos».​ El 24 de noviembre, a través de su Fan Page Oficial de Facebook, sitio web y redes sociales de los miembros de la banda, se anuncia que lanzarán un nuevo disco de estudio para el año 2018. Este verá la luz entre septiembre y octubre. El 11 de diciembre se confirma la salida de Pipi del grupo. En sus redes sociales la banda cita: "Es evidente que la relación SKA-P-Pipi no es buena desde hace tiempo y creemos que cuando una relación no funciona es mejor romper a fingir. La grabación del próximo disco será sin Pipi y si hay vuelta a los escenarios tampoco estará Pipi. Esto no significa que no haya disfraces, los habrá. Sabemos que las rupturas duelen durante algún tiempo, pero por desgracia, son necesarias." FDO. SKA-P al completo. El mismo 11 de diciembre, Pipi, a través de la fan page de su banda "The Locos" comenta y oficializa su salida de la banda, escribiendo: "Querida gente que tantas y tantas alegrías me habéis dado durante todos estos años con todo lo que hemos compartido bajo el paraguas de la música. Tengo que comunicaros que debido a diversas situaciones vividas en la convivencia natural de los miembros del grupo Ska-p, entre otras discrepancias, donde viéndome a un palmo de la muerte hace año y medio por una inesperada enfermedad, solo recibí la llamada de un miembro del grupo (Joxemi) y sumado a las motivaciones que ahora guían a Ska-p, y que no comparto, y dónde en las últimas reuniones de la banda no se contaba conmigo, creo que podéis entender que me encuentro en la difícil situación de no poder seguir con Ska-p. Tengo una gran pena escribiendo estás palabras. Pero también me emociona seguir con mi propio proyecto The Locos, con el que llevo más de 10 años peleando duro y disfrutando de los escenarios y la música en un formato más pequeño que mi anterior banda, pero más sincero. Llevo tiempo dándole vueltas a la cabeza, donde me surge la idea de intentar plasmar en un libro mi vida en la música. Mis anécdotas buenas, los momentos mejores y los insuperables sueños. Además de los momentos malos y las peores pesadillas de las cloacas. Soy culo inquieto , por lo que, si tendré más tiempo ahora...quizá me atreva. No encuentro las palabras adecuadas y justas de agradecimiento que pueda expresaros a vosotros, la gente, que disfrutó con mis actuaciones. Donde si os puedo asegurar que me dejé la piel literalmente desde el primer concierto hasta el último, y desde el primer minuto del show hasta el final. Y espero haberos alegrado o animado con mis performances, mi sello de identidad, durante más de mil conciertos que llevo en mi corazón. Esa fue y sigue siendo mi intención." El 28 de diciembre, la banda en sus redes sociales escribe lo siguiente: "Desde que hemos comenzado a ensayar siento la terrible necesidad de subir a un escenario. A todos los ensayos he llevado mis "In ear", me está costando mucho adaptarme a este aparato, pero al terminar no tengo la sensación de ser devorado por millones de grillos, se alteran un poco los que ya me acompañan, pero es soportable. Es posible que pronto comencemos a cerrar algún concierto para finales del año que viene.Un abrazo libertario a tod@s y feliz año nuevo!!." En abril de 2018 la banda anunció a través de su web oficial que ya estaban grabando el que será su octavo álbum de estudio y que esperan tenerlo todo terminado para finales de junio.​ También se anunciaron los primeros conciertos para la nueva gira, que dará inicio el 15 de septiembre en Varsovia, Polonia.​ Por otro lado, Luismi, el baterista del grupo, sufrió un infarto el 6 de abril que le obligó a apartarse temporalmente del grupo. Actualmente se recupera y espera poder estar disponible para el inicio de la gira. Ivan Pozuelo «Güevo» sustituyó a Luismi y se encargó de terminar los trabajos de grabación que aún quedaban por hacer.​ El 10 de julio de 2018 Pulpul anuncia la grabación del primer videoclip del nuevo disco, en donde participan los actores Eloy, Oscar y Manuel. También destaca la participación de Laura de la nueva agrupación española "Dskarrila" El 5 de agosto de 2018 se revela la portada y el nombre del nuevo disco, llamado: Game Over. En la cual se aprecia al característico "Gato López" tras un tablero de ajedrez. La Ilustración de la portada fue diseñada por Sebastian Kowoll. En septiembre de 2018 salió a la venta Game Over, el octavo álbum de estudio de la banda, acompañado del videoclip «Jaque al Rey». Ska-P ha sido criticado (tanto desde fuera del anarquismo como desde dentro)​ en lo que respecta a su discurso político. La crítica más común hacia ellos consiste en la falta de coherencia entre lo que predican y lo que realmente hacen.​ Los motivos de esta crítica son que, aunque se declaran anarquistas y anticapitalistas y lanzan vivas a la autogestión en sus letras​ en sus conciertos y demás apariciones públicas, además de en su web, ciertamente no se autogestionan, sino que tienen por discográfica a Sony/BMG (una multinacional) y han participado en festivales organizados por grandes empresas, como el Pepsi Music;​ esto es visto como una incoherencia con sus ideas. También argumentaron que todo el dinero que ganaron por participar en el Pepsi Music fue donado a grupos mapuches; no obstante, los que los critican afirman que el fin no justifica los medios y que no es coherente con las ideas anarquistas, ya que para ayudar a los perjudicados por el capitalismo también están ayudando a las multinacionales que son las culpables de la situación de dichos perjudicados. Ante esto, el grupo se defiende afirmando que lo que ellos hacen es participar en el sistema para luchar contra él, y que es imposible ser totalmente coherente con las ideas anticapitalistas hoy en día.​ En septiembre de 2013 se dieron a conocer los nominados a los Premios Grammy Latinos, donde Ska-P salió nominado por el disco 99 %. En respuesta a la nominación escribieron en las redes sociales, diciendo que le dieran el premio a Barack Obama y que lo pusiera al lado de su Nobel de la Paz.​ Pagina Oficial: https://www.ska-p.com/inicio/

For The Trance Empire Guestmix this week we welcome Namibian born DJ and producer Pierre Pienaar, as he delivers an exclusive one hour mix.   Pierre Pienaar is one of the most prominent names in the Electronic Dance Music, especially in the trance genre. He has racked up close to a 100 commercially released singles and over 80 official remixes under his Pierre Pienaar, P.H.A.T.T., Pierre Pressure, Melodia, ReBirth, JXS Project and Deep Sequence aliases, spanning over more than a decade and having his music licensed to respected record labels like Ministry of Sound, Sony / BMG, Universal, Warner Bros, EMI, Armada, Vandit, Flashover, Nukleuz, Tidy, Monster Tunes, Cloud 9, Be Yourself Music and Black Hole Recordings. He has been commissioned to do official remixes for the likes of Technotronic, Bob Marley, Roger Shah, Fabio XB, Lost Witness, BK, Ratty, CRW, Mario Piu, Ralph Novell, and Mauro Picotto among others.   Pierre was the Head of Nukleuz Green which released prolific productions from the likes of Mauro Picotto, Alphazone, Mario Piu, Gigi D'Agostino, Tillmann Uhrmacher and many others which was the number-one selling vinyl record label in the UK for three years running and became Music Week's number-one UK Dance label. In 2017 he co-produced “Stronger Together” with Grammy-winner Paul van Dyk (for Best Soundtrack in A Motion Picture “The Dark Knight”), which quickly rose to the number-one spot on the Beatport Trance top 100 and is considered one of the biggest modern trance classics. In 2019 Pierre was voted into the Top 30 of the Trancepodium Top 100 DJ's poll, which is an international poll and considered the most important poll in the trance industry for DJ's.   Pierre's tracks have featured heavily on The Trance Empire playlists with Rodman playing records 'Leap of Faith' - a collaboration with Daniela Presta on High Voltage Recordings, 'White Light' on State Control, and the outstanding 'Home' - a collaboration with That Girl on Go Music. 'Home' was chosen by Rodman as a Track of the Week on TTE and then featured in our End of Year Mix for 2022.   We are delighted to welcome Pierre Pienaar to The Trance Empire guestmix for you guys!   Tracklist:   DIM3NSION - Theia [FSOE]                                                                 Ghost Etiquette ft. Aza Nabuko - Hold On To Me [ASOT] Ciaran McAuley - Together We Rise [VANDIT]            Darren O'Brien & Violet Dolivo - Forbidden Love [High Voltage] Miyuki ft. Tara Louise - Love Again Like That [Nocturnal Knights Music] Liam Wilson & Corin Bayley - Worth The Wait [VANDIT] Cari & Fisical Project & Caleb Golston - Like It Was Yesterday [GO Music] Lemon & Einar K - Anticipation (ReOrder Remix) [Armada Captivating] Sam Laxton - Memory [FSOE] Bogdan Vix & Renee Stahl - Forever (Bogdan Vix & Claudiu Adam Remix) [Armind] Pierre Pienaar x Daniele Presta - Leap of Faith [High Voltage] Pierre Pienaar & That Girl - Home [GO Music] Pierre Pienaar - Light Force (Rhys Elliott Remix) [High Voltage]   https://www.TheTranceEmpire.com

Dawg and Gus have a sit down with John to discuss " indie bands". John explains his love of this musical sub genre and talks about bands who are considered to be in this group and what the criteria is to be considered for this . Indie is short for " independent. Independently released music is not directly financially dependent on any of the four major labels ( WMG, Sony BMG, EMI and Universal) Through the podcast we discuss bands that fit into that category and discuss their impact on the subgenre. From REM and Radiohead John gives us his insight and his opinions on some of the best bands to come out of this genre. So be sure to tune in and give a listen to this very imformative talk and comment if you think of a band that we didn't mention in this podcast. Dawg and Gus As always, support your local venues and artists.!

Die Audio-CD wir Anfang der 1980er Jahre erfunden. Damals macht man sich keine großen Gedanken darüber, einen Kopierschutz zu integrieren. Die Datenmenge ist schlicht und ergreifend zu groß, um mit handelsüblicher Hardware kopiert zu werden. Doch gute zehn Jahre später ändert sich die Lage. Das mp3 Format wird erfunden, Festplatten werden immer größer und CD-Brenner kommen zu erschwinglichen Preisen in den Handel. Spätestens mit der preisgünstigen Verfügbarkeit des Internets und dem Aufkommen von der ersten Peer-to-Peer Tauschbörse napster sieht sich die Musikindustrie bedroht. In der Folge werden verschiedenste Kopierschutzmethoden erdacht. Und jede einzelne davon steht vor dem Problem, dass der originale CD-Standard keine solche Methode vorsieht. Im Jahr 2005 bringt Sony BMG schließlich CDs mit dem Kopierschutzverfahren Extended Copy Protection (XCP) auf den Markt. Diese beinhalten eine Software, die sich unter Windows automatisch installiert und durch sogenannte Rootkit-Technologie unsichtbar wird. Ein Verhalten, dass man bis dato nur von Schadsoftware kennt. Es folgen ein weltweites Medienecho und ein juristisches Nachspiel für Sony BMG. Sprecher & Produktion: Wolfgang Schoch Musik: BACKPLATE von https://josephmcdade.com

Executive SummaryFilip is a founding partner of Cherry Ventures, one of Germany's most important seed investors. Their portfolio includes unicorns like Flixbus, Auto1 Group, Forto, Infarm, and well-known startups like Amorelie, Kitchen Stories, Flaschenpost, Spryker, and Superlist. Their portfolio also includes our former guests: Qualifyze, Sanity Group, and Rows. Filip has a background as an entrepreneur himself, so he and Cherry approach startup investing differently. Tune in to learn more about him and the VC.“We have software helping us to find good startups, for example, if you are head of product at a good startup and change your title to ‘working on something new' we get notified.”Filip Dames, Founding Partner Cherry VenturesSubscribe HereWe are always sharing new resources with you. Find all of our options below.The Authority on German, Swiss and Austrian Startups | Linktree“I really believe an investor should be stage focused”Filip Dames, Founding Partner Cherry VenturesGerman Startup Awards 2022This interview is in media partnership with the German startup association (Bundesverband Deutscher Startups https://deutschestartups.org/). Their German Startup Awards #GSA22 honor each year outstanding female and male founders and investors in special categories. You can learn more about the winners in our interviews and on this website: https://germanstartupawards.de/rueckblick/rueckblick-2022 You can also have a look at our history, we also interviewed many winners of the German Startup Awards 2021 already. The FounderFilip Dames has had an accomplished career, starting out as an intern in Malaysia with DaimlerChrysler, at BCG, and Sony BMG in New York City. Following his venture into the corporate world, he then founded a collectible marketplace called Tamundo. There he went on to oversee the international expansion of Zalando and become the founder and CEO of Zalando Lounge (Zalando's shopping club). The venture was a success, helping Zalando to go public in 2014. He decided to leave the company, making his 30th birthday also his Zalando farewell party.From there Filip decided to venture off and focus on venture capital; so it came as no surprise when he started Cherry Ventures in 2013 in Berlin as business angel and startup investor. With tickets of 10.000–50.000€ they are dedicated to helping Germany, Europe, and beyond with investments for entrepreneurs wanting to make their visions reality.“We invest almost exclusively in Europe”Filip Dames, Founding Partner Cherry VenturesCherry VenturesCherry Ventures (https://www.cherry.vc/) is an early-stage venture capital fund founded and led by former entrepreneurs. They are focusing on European seed-stage companies in the B2B and B2C space. Cherry invests there at the pre-seed- and seed stage with initial tickets between €500k and €5M.“Founders first and investors second” is the motto of Cherry VenturesThey started out with their first fund with their own money and the money of close friends, much less than 10 m €. From there they build a portfolio of 30 companies, of which some did really well. This in turn enabled them to raise an institutional fund, worth 150 m Euros. In the second...

Executive SummaryFilip is a founding partner of Cherry Ventures, one of Germany's most important seed investors. Their portfolio includes unicorns like Flixbus, Auto1 Group, Forto, Infarm, and well-known startups like Amorelie, Kitchen Stories, Flaschenpost, Spryker, and Superlist. Their portfolio also includes our former guests: Qualifyze, Sanity Group, and Rows. Filip has a background as an entrepreneur himself, so he and Cherry approach startup investing differently. Tune in to learn more about him and the VC.“We have software helping us to find good startups, for example, if you are head of product at a good startup and change your title to ‘working on something new' we get notified.”Filip Dames, Founding Partner Cherry VenturesSubscribe HereWe are always sharing new resources with you. Find all of our options below.The Authority on German, Swiss and Austrian Startups | Linktree“I really believe an investor should be stage focused”Filip Dames, Founding Partner Cherry VenturesThe FounderFilip Dames has had an accomplished career, starting out as an intern in Malaysia with DaimlerChrysler, at BCG, and Sony BMG in New York City. Following his venture into the corporate world, he then founded a collectible marketplace called Tamundo. There he went on to oversee the international expansion of Zalando and become the founder and CEO of Zalando Lounge (Zalando's shopping club). The venture was a success, helping Zalando to go public in 2014. He decided to leave the company, making his 30th birthday also his Zalando farewell party.From there Filip decided to venture off and focus on venture capital; so it came as no surprise when he started Cherry Ventures in 2013 in Berlin as business angel and startup investor. With tickets of 10.000–50.000€ they are dedicated to helping Germany, Europe, and beyond with investments for entrepreneurs wanting to make their visions reality.“We invest almost exclusively in Europe”Filip Dames, Founding Partner Cherry VenturesCherry VenturesCherry Ventures (https://www.cherry.vc/) is an early-stage venture capital fund founded and led by former entrepreneurs. They are focusing on European seed-stage companies in the B2B and B2C space. Cherry invests there at the pre-seed- and seed stage with initial tickets between €500k and €5M.“Founders first and investors second” is the motto of Cherry VenturesThey started out with their first fund with their own money and the money of close friends, much less than 10 m €. From there they build a portfolio of 30 companies, of which some did really well. This in turn enabled them to raise an institutional fund, worth 150 m Euros. In the second fund, successful entrepreneurs from the first fund invested like the founder of Amorelie or the founders of Flixbus.Their portfolio is already pretty impressive and includes names our frequent followers will recognize, unicorns like Flixbus, Auto1 Group, Forto, Infarm. But they are also investors in well-known startups like Amorelie, Kitchen Stories, Flaschenpost, Spryker, and Superlist. Their portfolio also includes former guests, Qualifyze, Sanity Group, and Rows, for which you can find the interview link in the show notes.Further Readings / Additional ResourcesQualifyze (audio only) https://player.captivate.fm/episode/220f49cc-2ef1-471a-bd5b-504d9235e892Sanity Group

Executive SummaryFilip is a founding partner of Cherry Ventures, one of Germany's most important seed investors. Their portfolio includes unicorns like Flixbus, Auto1 Group, Forto, Infarm, and well-known startups like Amorelie, Kitchen Stories, Flaschenpost, Spryker, and Superlist. Their portfolio also includes our former guests: Qualifyze, Sanity Group, and Rows. Filip has a background as an entrepreneur himself, so he and Cherry approach startup investing differently. Tune in to learn more about him and the VC. “We have software helping us to find good startups, for example, if you are head of product at a good startup and change your title to ‘working on something new' we get notified.”Filip Dames, Founding Partner Cherry VenturesSubscribe HereWe are always sharing new resources with you. Find all of our options below. The Authority on German, Swiss and Austrian Startups | Linktree “I really believe an investor should be stage focused”Filip Dames, Founding Partner Cherry VenturesThe FounderFilip Dames has had an accomplished career, starting out as an intern in Malaysia with DaimlerChrysler, at BCG, and Sony BMG in New York City. Following his venture into the corporate world, he then founded a collectible marketplace called Tamundo. There he went on to oversee the international expansion of Zalando and become the founder and CEO of Zalando Lounge (Zalando's shopping club). The venture was a success, helping Zalando to go public in 2014. He decided to leave the company, making his 30th birthday also his Zalando farewell party. From there Filip decided to venture off and focus on venture capital; so it came as no surprise when he started Cherry Ventures in 2013 in Berlin as business angel and startup investor. With tickets of 10.000–50.000€ they are dedicated to helping Germany, Europe, and beyond with investments for entrepreneurs wanting to make their visions reality. “We invest almost exclusively in Europe”Filip Dames, Founding Partner Cherry VenturesCherry VenturesCherry Ventures (https://www.cherry.vc/) is an early-stage venture capital fund founded and led by former entrepreneurs. They are focusing on European seed-stage companies in the B2B and B2C space. Cherry invests there at the pre-seed- and seed stage with initial tickets between €500k and €5M. “Founders first and investors second” is the motto of Cherry VenturesThey started out with their first fund with their own money and the money of close friends, much less than 10 m €. From there they build a portfolio of 30 companies, of which some did really well. This in turn enabled them to raise an institutional fund, worth 150 m Euros. In the second fund, successful entrepreneurs from the first fund invested like the founder of Amorelie or the founders of Flixbus. Their portfolio is already pretty impressive and includes names our frequent followers will recognize, unicorns like Flixbus, Auto1 Group, Forto, Infarm. But they are also investors in well-known startups like Amorelie, Kitchen Stories, Flaschenpost, Spryker, and Superlist. Their portfolio also includes former guests, Qualifyze, Sanity Group, and Rows, for which you can find the interview link in the show notes. Further Readings / Additional ResourcesQualifyze (audio only) https://player.captivate.fm/episode/220f49cc-2ef1-471a-bd5b-504d9235e892 Sanity Group

Mit Niko Incravalle im Studio haben wir die Staffel 5 abgeschlossen. Niko ist erst durch etwas ungewöhnliche Umstände in die westdeutsche Provinz, später aber geplant nach Berlin gekommen. Wie Niko genau in die kinky Szene geraten ist, haben wir nicht so recht rausgefunden, aber dort und in anderen Szenen ist er mitunter auch international als DJ unterwegs. Wir wünschen Gute Unterhaltung! ***
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*** Social Media: Instagram: https://www.instagram.com/incravalle SoundCloud: https://soundcloud.com/niko-incravalle-1 Nikos 5 Platten für die Insel: Bob Marley "Legend" (Island Records, 1984) Tracy Chapman "Crossroads" (Elektra, 1989) Jean-Michel Jarre "Oxygène" (Sony BMG, 1976) NWA "Straight Outta Compton" (Ruthless/Priority/EMI, 1988) Dr. Dre "The Chronic" (Death Row Records, 1992) Links: #dj #podcast #djpodcast #andendecks #NIKOINCRAVALLE #kitkatclub #djthomashaak #thedirkness #djlife #stopwars

https://surfshark.deals/ThinkAboutEuro - Enter promo code ThinkAboutEuro for 83% off and 3 extra months FREE! In this episode of The DNQ Files, Kris welcomes the fantastic drag queen duo, Novympia to the murky depths of *interesting* song choices made at national finals with Meisterjaan - Parmupillihullus. We discuss earliest memories of Eurovision, pride events and once again, Kris gets Sony BMG (record label) mixed up with BMI (airline and body mass index). Novympia's Eurovision Parody Full playlist of Novympia Parodies Novympia play with Magic Mixies Edyta Górniak - Once In A Lifetime - Poland 1994 (Debut year for Poland) Jessica Garlic - Come Back - UK 2002 Lena - Satellite - Germany 2010 Gina G - (Ooh Ahh) Just A Little Bit - UK 1996 Nova at Bournemouth Pride 2022 Alvan and Ahaz - Fulenn - France 2022 Stegan - Hope - Estonia 2022 Sanremo 2021 - Balloons Aaron Sibley - Pressure - Una Voce Per San Marino 2022 Novympia - Legendary Creature Novympia Ft. Charmaine Diamond White - Legendary Creature (2022) James Newman - Embers - UK 2021 Bzz - Bzikibi - Georgia JESC 2009 Freya Skye - Lose My Head - UK JESC 2022 Sophie Lennon - Solas - Ireland JESC 2022 Lesley Roy - Maps - Ireland 2021 Albina - Tick-Tock - Croatia 2021 Dami Im - Sound Of Silence - Australia 2016 Dami Im - Lonely Cactus Voyager - Dreamer Jendrik - I Don't Feel Hate - Germany 2021 Jendrik - Dibdibidi Find Novympia on Youtube, Nova on Twitter, Olympia on Twitter, and most importantly, you can support them with cold hard online financial transactions via Patreon

Our special guest this week is Kris Bradley, a songwriter/producer who has done some amazingly cool things with Sony BMG, Rolling Stones Magazine, Fox, LinkedIn and Miramax. She's the founder of Produce Like a Boss and BoomFox Productions. Kris is a 6-figure musician and a producer business coach. She teaches musicians how to produce their own music from home, and how to build a business as a freelance musician/recording artist. What You'll Learn Kris shares her story on how it was very challenging for a singer/songwriter who is not technically inclined and didn't grow up in an era or age of smartphones and computers. Let us know how Kris was able to sit at home, not even have to put on real pants and track vocals, doing jingles for these clients,and making 6-figures as a musician. Let us also dig into her mantra which is Create, Release, Repeat and learn more about the new music industry, and how to go PRO as a producer. Connect with Kris Bradley Website Facebook Twitter Instagram Youtube Spotify Connect with Jason Website Facebook YouTube Instagram Spotify Pandora Amazon Music Apple Music

Canadian singer, songwriter, composer, and pianist, Chantal Kreviazuk was born in Winnipeg. She played music from a young age before signing with Columbia Records in the 1990s. Her debut studio album, Under These Rocks and Stones, was first released in Canada in 1996 and saw commercial success before being issued in the United States the following year to critical praise. Kreviazuk released two more studio albums with the Columbia la-bel, Colour Moving and Still (1999) and What If It All Means Some-thing (2002), both of which brought moderate commercial success world-wide. She signed with Sony BMG for her fourth album, Ghost Stories (2006), which reached number two on the Canadian Albums Chart. Since 2003, Kreviazuk has co-written and composed numerous songs for other artists as well as film soundtracks and has appeared in several Canadian independent and short films. Her fifth album, Plain Jane, was re-leased by Canadian independent label MapleMusic Recordings in 2009. Her most recent albums, Hard Sail and Get To You, were released by Warner Music Canada in 2016 and 2020, respectively. She also re-leased a Christmas album in 2019, called Christmas Is A Way Of Life, My Dear. From the beginning of her career to 2016, Kreviazuk was the 51st best-selling Canadian artist in Canada. Kreviazuk met Raine Maida, the lead singer of Our Lady Peace, at a Pearl Jam concert in Toronto in 1996. They married in December 1999, and have three sons, born January 2004, June 2005, and June 2008. In honour of their tenth wedding anniversary, Kreviazuk and Maida renewed their wed-ding vows in Costa Rica in November 2009. The family lives in Toronto and also has a home in the USA. Kreviazuk and Maida appeared in the 2019 documentary film I'm Going to Break Your Heart, which detailed both their collaboration on the al-bum Moon vs. Sun, their first album recorded jointly as a duo, and the conflicts and tensions that had arisen in their marriage after 19 years. Kreviazuk is a member of the Canadian charity Artists Against Racism and is also intimately involved with War Child and other charities. Janette caught-up with her on the red carpet at 10th Annual Vaughan International Film Festival (VFF) Gala Awards (where she was the featured entertainer) to talk about her three-time Juno Award winner and collaborations with several other musicians, including Drake, Pitbull, Christina Aguilera, Carrie Underwood, Kendrick Lamar and Pink, how she sees VFF helping young artists, and what more she'd like to see for Metis & Ukrainian artists. Support us on Patreon www.patreon.com/janettestv Looking for more ways to support Janette's TV? Buy our merchandise here! https://www.janetteburke.com/shop Protect your Privacy with Express VPN. Find out how you can get 3 months free by clicking the link below. www.expressvpn.com/ Janette's TV & Podcast Channels www.youtube.com/watch?v=EDHHvKvXq7o Want my help on your media journey? Check out my 1:1 On-Camera Training Opportunity https://www.janetteburke.com/1-1-on-c... Interview Showcase Package Who Is It For? If you're a celebrity or thought-leader in your industry (i.e. an entrepreneur, professional, coach, consultant, speaker or book author) that wants exposure to mine and other audiences and also understands that in order to get it and become an industry leader you must first be camera ready, let's talk! I'll take you through the 4 pillars of my Interview Showcase Package. Book Your Complimentary 15-minute Audition! https://www.janetteburke.com/interview Book Your 15-Minute Complimentary Audition Link below https://www.janetteburke.com/book-online

Závěrečný díl Wolfcastu o dějinách malwaru je tady a s ním i Michal Rybka a Martin Vaňo. V třetí části konečně pronikneme k červům, zombie networks, trojským koňům a ransomware. Připomeneme si historicky významné okamžiky historie škodlivého kódu, velký skandál od Sony BMG, a samozřejmě i techniky, jak se škodlivé kódy šíří a jak fungují. Definujeme si pojem hacking a jedny z nejznámějších hackarských skupin a klanů z celého světa. V závěru Michal rozklíčuje, proč se něco takového, jako je veřejně dostupný kryptografický software Tor, patentovaný US Navy, nabízí zdarma. Podívejte se na https://www.retronation.cz na další skvělé výlety do herního retra!

Приветствую всех! С вами в эфире Dreamer и очередная клубная сессия проекта MAXIMUM. С грустью приходится констатировать, что такая замечательная пора года как лето ушла... Данным эпизодом MAXIMUM вступает в новый музыкальный сезон, где (я надеюсь) вас будут ждать самые интересные новинки электронно-танцевальной сцены от лучших музыкальных продюсеров мира в подаче вашего покорного слуги. В сегодняшней программе вы услышите самые свежие новинки из мира глубокого house и динамичного progressive - Maximum House, как я люблю его называть. Хочу напомнить, что мои последние миксы, новости, компиляции и радиошоу можно найти на официальном веб-сайте проекта MAXIMUM - promodj.com/dreamer Не забывайте также подписываться на мой подкаст MAXIMUM в Apple и Google Podcasts, это очень удобно. Apple Podcasts: podcasts.apple.com/ua/podcast/… bit.ly/1GmefEt Google Podcasts: bit.ly/2XLvor6 Проект "MAXIMUM" - новые веяния, тенденции, тренды современной клубной сцены и электронной танцевальной музыки. "MAXIMUM" - максимальное удовольствие! Открывает эфир новейший, меланхоличный трек Eira от проекта Moya, вышедший на лейбле Peace Symphonies. Очень красивая, хоть и маленькая история о большом ките от проекта M.O.S., изданная на собственном импринте ребят Melody Of The Soul. Великолепный Dreamers Records, без которого не обходится ни один эпизод моей программы, порадовал свежим треком Your Game от музыканта St.Ego. Коллаборация музыкантов Bodaishin и Phoesy подарила миру великолепный релиз Ethereal Dreams, вышедший на известном и уважаемом лейбле Do Not Sit On The Furniture, который пренадлежит легендарному диджею, музыканту и продюсеру Behrouz. Эта работа не с проста получила звание TRACK OF THE MONTH в моем шоу. Тем самым, я хочу поддержать владельца лейбла Do Not Sit On The Furniture, господина Behrouz, который на данный момент находится в коме. Сейчас многие артисты поддерживают его семью морально и финансово, а также держат кулаки за наилучшее будущее американского ветерана клубной сцены, который, вне сомнения, является одним из лучших в своем деле. Бельгийский лейбл Future Avenue, который был создан на базе другого известного импринта Sound Avenue, порадовал новым релизом Earth Wide от проекта Slow B. Американо-британская коллаборация музыкантов Wassu и djimboh вилилась в полноценную EP для именитого лейбла The Soundgarden. Сегодня я хочу представить вам заглавный трек из данной EP под названием Parsa. Рекорд-компания Sudbeat порадовала свежим релизом Summer Morning от аргентинского музыканта Antrim. Один из моих любимых progressive лейблов Genesis представлен коллаборацией музыкантов Nicolas Leonelli и Sebastian Haas, записавшим для лейбла крутейший трек Obscurial. Мощную progressive волну, заданную минутами ранее, подхватывают колумбийские артисты Arbey Gonzalez, который записал потрясающий трек Cruising Altitude, а именитый ремиксер Kamilo Sanclemente мастерски его ремикшировал. Издали все это ребята на уважаемом в progressive кругах сербском импринте Balkan Connection. Смена вектора звучания в сторону более динамичного progressive, происходит благодаря новой работе What You Believe от аргентинского продюсера Mayro, издавшего свой трек на американском рекординге Perspectives Digital. Аргентинский дуэт Analog Jungs порадовал шикарным, мощным треком Arun, записанным специально для колумбийского лейбла Clubsonica Records. Очень люблю такой progressive, глубокий и проникновенный. В завершении программы представляю киевский лейбл Eleatics Records и французского артиста Invoker, который издал на этом популярном лейбле свой последний трек Hope Song, который очень удачно вписался на финишной прямой. В регулярной рубрике BONUS TRACK у меня сегодня звездный дуэт Deep Dish с их потрясающим треком Sexy III, который прекрасно демонстрирует звучание того периода в карьере дуэта, когда Deep Dish были на вершине клубного progressive олимпа. Релиз был издан конгломератом Sony BMG, а это, как вы знаете, 100% коммерческий успех артистов, которые имеют дело с такого рода мейджором. Желаю всем мира, приятного прослушивания и (дай Бог) до новой порции МАКСИМУМА! Искренне ваш Dreamer. PromoDJ: promodj.com/dreamer Apple Podcasts: podcasts.apple.com/ua/podcast/… Google Podcasts: bit.ly/2XLvor6 01. Moya (US) - Eira (Original Mix) [Peace Symphonies] 02. M.O.S. - A Little Story About Big Whale (Original Mix) [Melody Of The Soul] 03. St.Ego - Your Game (Original Mix) [Dreamers] TRACK OF THE MONTH 04. Bodaishin & Phoesy - Ethereal Dreams (Original Mix) [Do Not Sit On The Furniture] 05. Slow B - Earth Wide (Original Mix) [Future Avenue] 06. Wassu & djimboh - Parsa (Original Mix) [The Soundgarden] 07. Antrim - Summer Morning (Original Mix) [Sudbeat] 08. Nicolas Leonelli & Sebastian Haas - Obscurial (Original Mix) [Genesis] 09. Arbey Gonzalez - Cruising Altitude (Kamilo Sanclemente Remix) [Balkan Connection] 10. Mayro - What You Believe (Original Mix) [Perspectives Digital] 11. Analog Jungs - Arun (Original Mix) [Clubsonica] 12. Invoker - Hope Song (Original Mix) [Eleatics] BONUS TRACK 13. Deep Dish - Sexy III (Original Mix) [Sony]

The Bottom Line by Evolved Finance explores the financial journeys of some of the most successful online educators, thought leaders, influencers, and service providers in the online space. Each week, Parker sits down with a current Evolved Finance client to talk about their relationship with money and how their mindset has changed as their business has grown. This week, Parker chats with Kris Bradley. Kris is a songwriter/producer with credits including Sony BMG, Warner Chappell, Rolling Stone Magazine, Fox, Lincoln, and Miramax. She heads Boomfox Productions, producing for various sync projects, artists, and songwriters. She is also the founder of Produce Like a Boss, which is an online coaching program geared towards the songwriter/producer, rather than the engineer. Her ‘non-techy' and simplified style of teaching is helping tons of artists learn how to produce their own music, and build profitable businesses from their home studios. To learn more about Evolved Finance: Follow us on iTunes and leave a review: https://podcasts.apple.com/us/podcast/evolved-finance/id1227529139 Download our free audio course: www.evolvedfinance.com/audiocourse Join our private Facebook Group: www.facebook.com/groups/evolvedfinance To learn more about Kris and her business: Instagram: www.instagram.com/producelikeaboss/ Facebook: www.facebook.com/producelikeaboss TikTok: www.tiktok.com/@producelikeaboss YouTube: www.youtube.com/producelikeaboss Podcast: www.producelikeaboss.com/podcast

Here he is, the brother of Bruce B Godorn (Season 2, Episode 8 –https://bit.ly/3PV8ve7). He has been involved in the creative side of the music industry, as a music producer, singer, songwriter, saxophonist and entertainment executive. He has worked at Sony/BMG and also played on 4 Gold records with Ray Parker Jr. & Raydio on Arista). He was born in Detroit & mentored by an NBA Hall of Famer, Dave Bing before moving to L.A. This is where Andrew Woolfolk of Earth Wind and Fire & Ray Parker Jr. mentored him. He also appeared in Prince's Partyman video. Now, we will get more insight about his day-to-day life, what he says about the DSP (Spotify, Apple Music, etc.) side of the music industry, and his eclectic experience working with some iconic artists. We will also hear two of his songs that he co-produced and sang including Every Day & Night & A Woman. Everyday & Night Artist: Horatio Gordon Management: Horatio Gordon Production & Songwriters: Darryl Rainey, Bruce B. Gordon, & Horatio H. Gordon Label: Unreleased A Woman Artist: Horatio Gordon feat. Kacey the Songbird Management: Horatio Gordon Production & Songwriters: Horatio H. Gordon and Bruce B. Gordon Label: Unreleased --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/forbs-west2/support

The Quarantine Tapes es un podcast diario de Onassis LA y dublab. El programa es presentado por Paul Holdengräber. Artistas, escritoras y escritores, activistas, líderes, trabajadores y trabajadoras, pensadoras y pensadores charlan con Paul acerca de cómo pasan el tiempo en este momento histórico sin precedentes. Es una crónica de paradigmas cambiantes en la era del distanciamiento social, que destaca las afinidades universales en esta experiencia humana mundial.La edición Argentina presentada por el periodista Sergio Cohen convoca a invitados con enfoque en América Latina y comunidades de habla hispana alrededor del mundo. The Quarantine Tapes se emite los días de semana a las 9.30 PT en DUBLAB.com; a partir de las 12 pm PT está disponible en todas las plataformas de podcasts. The Quarantine Tapes Argentina transmite todos los Jueves a las 9.30 PST en DUBLAB.comNo pudo escuchar la transmisión en vivo? Escúchela como podcast en quarantinetapes.com~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~En esta ocasión, Sergio Cohen recibe a la talentosa artista Gabriela Pochinki, con la que lleva adelante un nuevo episodio de “Las cintas de la cuarentena” Argentina. La sensibilidad de la Invitada y el tono afectivo que se percibe en el diálogo que mantiene con el anfitrión va enhebrando, con sutileza, uno a uno los temas que conforman esta entrega.El diálogo comienza con una minuciosa descripción que Pochinki realiza con relación al impacto que provocó el inicio de la pandemia en la población mundial y prosigue con la narración de los aspectos cotidianos que debió modificar para hacer frente a la imprevista amenaza que se cernía sobre la humanidad.La entrañable conversación es la llave que permite acceder a la vida intima de esta cantante lírica, que deslumbró con su voz al público de los más encumbrados escenarios mundiales, sin dejar de abordar aquellas zonas más sensibles del alma de una mujer que brilló a lo largo de toda su trayectoria profesional.Su lucha, su sacrifico, su soledad, su vínculo con la familia de Michael Jackson, el perfeccionamiento de su don,  su relación con Dios , el milagro de la maternidad y el futuro que se avecina son sólo algunos de los contenidos de este mágico abanico que se va desplegando a lo largo del presente registro.Gabriela Edith Pochinki nació en Buenos Aires, Argentina. Dueña de una gran versatilidad, logró abarracar diferentes estilos musicales: la ópera, el pop, el tango, la música popular y el canto litúrgico. Fue elegida “Mejor cantante lírica del mundo” en San Remo. Realizó estudios de técnica vocal y repertorio, bajo la dirección de diferentes maestros, en Italia, Suiza, Austria, Alemania, Estados Unidos e Israel hasta alcanzar la clase magistral de Zurich, con Elizabeth Schwarzkopf. Se graduó en la Manhattan School of Music como Bachelor y Master en Opera y en la Universidad de Medicina del Salvador de Argentina de Fonoaudióloga. Su conocimiento del español, el inglés, el italiano, el alemán, el hebreo y el francés, la habilitaron para abordar los más variados repertorios, que incluyen personajes como Despina en “Così fan tutte”, Gilda en “Rigoletto”, Rosina en “El Barbero de Sevilla”, Valencienne en “La Viuda Alegre”, Marie en “La Hija del Regimiento”, Lucía en “Lucía de Lammermoor”, Linda en “Linda de Chamounix”, Susana en "Las Bodas de Figaro”, Oscar en “Ballo di Maschera”, Nanetta en “Falstaff”, entre otros. Formó parte del elenco estable del Stadttheater Lucerna, donde interpretó distintos roles. Protagonizó “Amor sin Barreras” en tres oportunidades, en diferentes idiomas, la Virgina Opera, la Volksopera de Viena y en el Landestheater Salzburgo, acompañada por la Orquesta del Mozarteum de la ciudad. Fue distinguida en competencias internacionales tales como la de Pavarotti, NATS, Pittsburg, Queens Opera, Verismo Opera de Nueva York. En el Teatro Colón de Argentina debutó con Carmina Burana, junto a la Orquesta Filarmónica de Buenos Aires, dirigida por el maestro Pedro Ignacio Calderón. Gabriela interpretó el rol de “Adèle” de “El Murciélago” en la Opera de Illinois, versión en inglés, en Israel, en la Nueva Opera de Tel Aviv, por primera vez realizada en hebreo y en la Volksopera de Viena. Su trayectoria le abrió la puerta de los grandes medios de Alemania, Italia, Japón, Estados Unidos, Israel, Austria y Argentina. Grabó un amplio repertorio de arias de ópera y cánticos litúrgicos con el acompañamiento de diferentes orquestas sinfónicas. Joe Jackson, el padre de Michael, la inició en la música pop. Con el productor Kenny O 'Brien desarrolló un extenso abanico de canciones populares. En el 2007 Sony BMG lanzó su álbum Opera-Pop “Pájaro Rebelde” cantado íntegramente en español. Durante los últimos años realizó giras por Argentina, Uruguay, Francia e Israel con su espectáculo “Canciones de mi Vida”. En el 2014 fue declarada Personalidad Distinguida de la Cultura Argentina por la Legislatura Porteña. Sergio Cohen Pjaseczny nació en Buenos Aires en 1961. Es Licenciado en Periodismo y Comunicaciones. Se inició en el periodismo en 1982, llevando adelante distintas funciones periodísticas en diversos campos de la profesión, especializándose en el manejo de la entrevista. Fue profesor universitario. Participó en más 30 de revistas y 8 diarios, trabajó en emisoras radiales de AM y FM y se desempeñó en diferentes puestos en programa televisivos. Es guionista humorístico, autor y compositor. Editó los libros de poesía “Algo que decir”, “Los Testaferros de Dios” y de música “Letra y Música”. Escribió el  guión del largometraje “Tango y política”.  Fue distinguido con diferentes galardones, entre ellos se destacan: "El Periodista", Premio a la Mejor Producción Periodística (1993) y Premio a la Mejor Cobertura Periodística (1997-1998). Actualmente, se desempeña en Diario Popular, periódico en el que reportea a personalidades de las más variadas disciplinas artísticas y culturales del país. Acaba de concluir “Ella”, su cuarto trabajo discográfico.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Este podcast puede ser subscripto en apple podcast, simplecast, spotify o cualquier otro medio como escuche sus podcasts.  Para ver otros podcasts producidos por dublab visite: dublab.com/podcasts.

DRM, or digital rights management, can cause far more problems than what it was meant to solve. And it doesn't even solve the problem it was designed to do. In this episode, we look at several cases where DRM caused problems for legitimate customers. See omnystudio.com/listener for privacy information.

While we are cooking away at our new season we are bringing back this gem that really deserves to be heard again.   Black Motion is Thabo “Smol” Mabogwane and Robert “Murdah” Mohosana, the duo who have been flying the flag high for Tshwane, the undisputed house music capital of South Africa, for the last decade.   Their percussion-driven electronic dance music and wildly energetic performances, helped establish them as purveyors of South Africa's burgeoning house scene, as they travelled the world and climbed the charts to praise and critical acclaim.    From their early roots in Shoshanguve, to their deeply spiritual musical journey, Smol chats the importance of their Pedi culture and how they built their sound on the foundation of the drum, executed in the familiar style of house music.     Outro Song: Marry Me featuring Msaki Apple Music Spotify Youtube   Featured Tracks:   Banane Mavoko -  Oskido presents Black Motion Featuring Jah Rich  Apple Music Spotify YouTube Hosana - Black Motion  Apple Music Spotify Youtube Beat of Africa - Black Motion Apple Music Spotify YouTube Can't Deny the Feeling - Black Motion Apple Music Spotify YouTube Prayer for Rain - Black Motion, Caiiro feat. Tabia Apple Music Spotify YouTube   MASSIVE shout out to Black Motion and Sony BMG for the generous use of their music in bringing this podcast to life.    Dance to the rhythm of the drums with Black Motion on Facebook Instagram Twitter   For our growing back catalogue of awesome, head on over to www.texxtalks.com or follow us on Facebook Instagram Twitter for updates, things you need to see and general fun.  Also: make sure you follow Texx and the City on Facebook, Twitter and Instagram or all of your music news.

In this episode, Richard talks to Kris Bradley, the CEO, and founder of Boom Fox Productions and Produce-Like-A-Boss.Kris Bradley is a songwriter/producer with credits including Sony BMG, Warner Chappell, Rolling Stone Magazine, Fox, Lincoln, and Miramax. She heads Boomfox Productions, producing for various sync projects, artists, and songwriters.She is also the founder of Produce Like a Boss, which is an online coaching program geared towards the songwriter/producer, rather than the engineer. Her ‘ non-techy' and simplified style of teaching is helping tons of artists learn how to produce their own music.

What is good Friends!It is Thirsty Thursday and we're releasing another episode. As you know I love my artists! I love their courage around embracing their talent and sharing it with the world. My next guest has been on a lifelong journey developing and creating his art. Please welcome Tom Tikka! Tom Tikka picked up the guitar at the tender age of six after hearing Paul Anka's “Lonely Boy” in his father's old Chevrolet. Soon afterwards, he began writing songs. Tom's infatuation with music only deepened after his aunt's husband Timo "Oippa" Oinonen introduced him to the concept of lead guitar and even more importantly to the music of such legendary groups as The Beatles and The Doors. Tikka formed almost as many groups as he disbanded in his late teens and early twenties. Yet, when he finally signed his first recording contract on his 21st birthday, it was a solo deal and not a band effort. He recorded a three-song EP for Olarin Musiikki, a small indie label in Espoo (Finland), under the alias of Tom Spark. Unfortunately, the EP disappeared as quickly as it was released. Consequently, Tikka found himself in square one, without a band or a record deal.Disappointed, Tom withdrew from music for a few years but began writing songs again once his brother Lappe Holopainen suggested that they form a songwriting team. Lappe had founded a group he was convinced would go far and he needed tunes for his new outfit. This group was Carmen Gray.Carmen Gray was signed to Sony/BMG in 2005 and during the next nine years, they went on to record three albums and one EP. The group's entire catalog (including such radio hits as “Lost In My Mind Again”, “Gates Of Loneliness” & “Life Can Be Beautiful”) was penned by Tom Tikka & Lappe Holopainen.After Carmen Gray disbanded in 2013, Tikka formed his current group The Impersonators with poet Antti Autio. In 2017, The Impersonators signed with FBP, a German label based out of Frankfurt. Together with their producer Janne Saksa, the Josie Award-nominated The Impersonators have released tunes to rave reviews, considerable amount of radio attention and chart success: “Rodeo” rose to #1 on the International iTunes charts and “Scarlett Hell” to #9. In April 2020, Tom began working with MTS Records and has since released three critically-acclaimed solo EPs, one album and several iTunes hits, including the two #1 singles: "Doormat" & "With Eyes Closed".In 2021, Tom Tikka won an ISSA award for International Male Emerging Artist Of The Year. He was also awarded four Josie-Award nominations as well as a nomination in the prestigious Hollywood Music In Media Awards. To follow, learn or support Tom, head to the links below:https://twitter.com/1mpersonatorshttps://www.instagram.com/1mpersonators_band/https://www.tomtikka.com/Support for Label Free Podcast is brought to you by ​MANSCAPED™​, who is the best in men's below-the-waist grooming.  ​MANSCAPED  offers precision-engineered tools for your family jewels. They obsess over their technology developments to provide you the best tools for your grooming experience. MANSCAPED is trusted by over 2 million men worldwide! We have an exclusive offer for my listeners - 20% off + free shipping with the code: LabelFree20 at   https://www.manscaped.com​ As always thank you for the support, to contact me directly follow the link below: https://www.labelfreepodcast.com​ Stay Healthy, Stay Ready- Deanna Marie Kuempel #ad​​ #sponsor​

Tom Tikka picked up the guitar at the tender age of six after hearing Paul Anka's “Lonely Boy” in his father's old Chevrolet. Soon afterwards, he began writing songs. Tom's infatuation with music only deepened after his aunt's husband Timo "Oippa" Oinonen introduced him to the concept of lead guitar and even more importantly to the music of such legendary groups as The Beatles and The Doors. Tikka formed almost as many groups as he disbanded in his late teens and early twenties. Yet, when he finally signed his first recording contract on his 21st birthday, it was a solo deal and not a band effort. He recorded a three-song EP for OlarinMusiikki, a small indie label in Espoo (Finland), under the alias of Tom Spark. Unfortunately, the EP disappeared as quickly as it was released. Consequently, Tikka found himself in square one, without a band or a record deal.Disappointed, Tom withdrew from music for a few years but began writing songs again once his brother Lappe Holopainen suggested that they form a songwriting team. Lappe had founded a group he was convinced would go far and he needed tunes for his new outfit. This group was Carmen Gray. Carmen Gray was signed to Sony/BMG in 2005 and during the next nine years, they went on to record three albums and one EP. The group's entire catalog (including such radio hits as “Lost In My Mind Again”, “Gates Of Loneliness” & “Life Can Be Beautiful”) was penned by Tom Tikka & LappeHolopainen.After Carmen Gray disbanded in 2013, Tikka formed his current group The Impersonators with poet Antti Autio. In 2017, The Impersonators signed with FBP, a German label based out of Frankfurt. Together with their producer Janne Saksa, the Josie Award-nominated The Impersonators have released tunes to rave reviews, considerable amount of radio attention and chart success. In April 2020, Tom began working with MTS Records and has since released three critically-acclaimed EPs, one album and seven iTunes hit singles, including the two #1 hits ”Doormat” and ”With Eyes Closed”.In 2021, Tom Tikka won an ISSA award for International Male Emerging Artist Of The Year. He was also awarded four Josie-Award nominations as well as a nomination in the prestigious Hollywood Music In Media Awards. You can check out the things Tom is up to by going to www.tomtikka.com

Kris Bradley is a songwriter/producer with credits including Sony BMG, Warner Chappell, Rolling Stone Magazine, Fox, Lincoln, and Miramax.  She heads Boomfox Productions, producing for various sync projects, artists and songwriters. Kris is the founder of Produce Like a Boss, which is an online coaching program geared towards the songwriter/producer, rather than the engineer. Her non-techy and simplified style of teaching is helping thousands of artists learn how to produce their own music. Find out more about Kris here: https://www.producelikeaboss.com/ready

What Up With Rob and Chris: Tom Tikka‘s band, Carmen Gray was signed to Sony/BMG in 2005 and during the next nine years, they went on to record three albums and one EP. The group's entire catalog (including such radio hits as “Lost In My Mind Again”, “Gates Of Loneliness” & “Life Can Be Beautiful”) was penned by Tom Tikka & Lappe Holopainen. After Carmen Gray disbanded in 2013, Tikka formed his current group The Impersonators with poet Antti Autio. In 2017, The Impersonators signed with FBP Music Group, a German label based out of Frankfurt. Together with their producer Janne Saksa, The Impersonators have released tunes to rave reviews and considerable radio attention. In 2020, Tikka began working with MTS Records and released a solo EP titled “Working Class Voodoo” under the name Tom Tikka And The Missing Hubcaps. On this self-produced venture, Tikka plays and sings everything himself. The title single reached the UK Top 100 iTunes singles chart. His latest single reached #2 on the Pop charts in South Africa! https://www.tomtikka.com/ https://www.facebook.com/Impersonator... https://twitter.com/1mpersonators https://www.instagram.com/1mpersonato... https://www.youtube.com/channel/UCNxE... More What Up Videos

Dan Levitt is the founder and CEO of Long Haul Management. We discuss how Dan paid rent while making only $6,000 a year out of college (many side hustles), beating me in an office rap battle, Disney's big miss in digital music, executive producing one of YouTube's premium original series, and what it's like to represent some of the biggest sports and gamer personalities on the Internet.Subscribe to our newsletter. We explore the intersection of media, technology, and commerce: sign-up linkLearn more about our market research and executive advisory: RockWater websiteFollow The Come Up on Twitter: @TCUpodEmail us: tcupod@wearerockwater.com---Chris Erwin:Hi, I'm Chris Erwin. Welcome to The Come Up, a podcast that interviews entrepreneurs and leaders. Dan Levitt:I chose the safer Disney route. Again, I needed to pay the bills. But I made a promise to myself. Every day, I saw someone else doing what I wanted to do. They were the AbsolutePunks of the world. Or there were other people who turned the music blog into an A&R career, or leveraged it in other ways.I'm good at seeing gaps in the marketplace and where could you go in it. I made a promise. The next time I see it, I'm fucking going for it. Chris Erwin:This week's episode features Dan Levitt, the founder and CEO of Long Haul Management. Dan grew up in Boston with an early love for music and yet-to-be-discovered bands. So, after wrapping a few acts in high school and interning at Philly radio stations during college, he kicked off his career by moving to LA with absolutely no job prospects.But after a few A&R gigs at Columbia Records and Disney, Dan was early to see how digital and YouTube were going to transform the music industry. So, he left traditional media and kicked off his digital career, joining one of the early YouTube multichannel networks, company called Big Frame.We actually worked together there. And in less than nine months, I actually had to lay him off. Dan struck out on his own, positioned himself as the YouTube guy for the music industry and started his own talent shop, Long Haul Management.Some highlights of our chat include how Dan paid rent while making only $6,000 a year when he first moved to LA ... You'll crack up at some of his many side hustles ... when he beat me in an office rap battle, executive producing one of YouTube's premium original series, and what it's like to represent some of the biggest sports and gamer personalities on the internet. All right, let's get to it. Dan, thanks for being and the podcast. Dan Levitt:Thanks for having me. Chris Erwin:Awesome. I believe that you're a fellow East Coaster like myself. So tell me, where did you grow up? Dan Levitt:Sure, I'm from a nice suburb of Boston, Newton, Massachusetts. Literally voted safest city in America back when I was younger. So, nice Jewish suburb of Boston. Chris Erwin:Got it. It's funny. I went to underground at Tufts in Medford/Somerville. I think, while I was there, it was rated one of the most dangerous mafia-driven neighborhoods in the Northeast, or all of the US. So, quite the opposite of you. What was your household like? What were your family and parents doing? Dan Levitt:So, one, my parents are both from South Africa. They moved to the US in, I think, '77. My dad went to school for engineering, and then got a job in Boston, and then eventually started his own software business that really had a bunch of ups and downs. Mostly ups, and then fortunately sold to IBM right before the big bubble burst there. So, the timing was fortunate. Dan Levitt:And then my mom was artist. So, had all kinds of different things she would do in the art space, be it theater, be it actual prints and displays and stuff. Chris Erwin:Okay, very cool. It's funny. I've known you for about a decade and I had no idea your parents were from South Africa. Look, you're an entrepreneur. You've built out an incredible talent management firm. We're going to get to that in a bit. But you have entrepreneurial roots in your family. Dan Levitt:It's interesting now. I remember my dad would come back ... I think maybe at the height, he had 50, 60 people. Maybe more. I remember growing up, he'd come back from work and we'd be watching a Celtics game. It was the most exciting game ever, especially, they were really good back then. Dan Levitt:And he would fall asleep, and I'd be like, "How in the world can you possibly fall asleep during this game?" And now, I'm like, "Yep, I get it." Yeah, I could totally get how you could be so wiped out the day that, no matter what is on TV, you're just out. Dan Levitt:I mean, what was really interesting is, my parents went through a kind of messy divorce. We don't need to get into that but that's a whole fun story. But what's interesting is, when they separated, he stayed with a friend for a bit. And he went from sleeping in the basement of a friend's house to selling his business to IBM in a year. Dan Levitt:There were a lot of times that people told him, because the business had some challenges over the years, there were a lot of people that told him that he should declare bankruptcy with the business. But he stayed with it. And eventually, it worked out for him. I'm sure, hopefully, some of the resiliency I have, learned from him. Chris Erwin:Wow. Awesome. I have to ask. Being from Boston, a lot of media professionals from Boston have a pretty strong Boston identity. I think of Dave Portnoy in Barstool Sports, and Bill Simmons from The Ringer. Do you think of yourself like that, or your total West Coast transplant now? Dan Levitt:It's not just specific to Boston, but especially in the Northeast, there's a certain intensity and, I think, an edge that you can have, where in Boston, in traffic, if someone cuts you off, you scream at each other. And that's just acceptable and that's how you vent, right? Dan Levitt:In LA, it's much different than that. I'm in LA now. On the West Coast, people are more scared of confrontation. If you scream at someone, that's a really big deal. I think there's just a certain firm mentality that you have where it's pretty hard to bother me or get under my skin. Dan Levitt:I have thick skin. I do think part of that is just growing up in a culture where people are so up front with that. I also think, to a certain extent, growing up in cold climate where the weather is pretty brutal, and you just have to plow through it, does give some sort of mental toughness. Chris Erwin:I think that's totally right. I think there's this saying. I hope I'm not butchering it. But it's, "In New York, when people are saying, 'Fuck you,' they're saying, 'Good morning.' In the West Coast, when they say, 'Good morning,' they're saying, 'Fuck you.'" Dan Levitt:Yeah. I mean, but it's more so ... I remember in one of my first PA jobs in LA, I had a disagreement with another PA about the way things should be done. And then later on, I was brought into the office by my supervisor and they're like, "Dan, you were screaming at them. Why?" Dan Levitt:And I was like, "I wasn't screaming at them. I was telling them something they didn't want to hear in a certain tone. If I was screaming at them, they would know. Everybody would know." So, that was really the first ... I just moved to LA and I was like, "Shit, I got to really be cognizant of how I talk to people out here. They're going to think I'm a fucking lunatic," which, to a certain extent, is true. But maybe I need to slow play that a bit. Keep my response- Chris Erwin:It's part of your je ne sais quoi, as they say. Nothing- Dan Levitt:Yeah. I mean, you know me really well. But for people who just meet me, I can be a lot. Chris Erwin:Yeah, so let's actually talk about how you got to where you are today. I think, trying to get a sense of, was there a glimpse in your early days of you entering entertainment, becoming a talent manager? I think about things that you had mentioned that you were looking at unsigned bands in high school in the '90s. Tell me about that. Dan Levitt:My skillset is, I'm really good at seeing patterns and seeing where things are going, right? Before they get there. So, I think that's what I'm best at, be it entertainment or trends. I've done okay in the stock market, investing and stuff. So, specific to your question, yeah. Dan Levitt:My first real strong passion was music. I heard Green Day and it changed my life. And I was like, "This is it." And then I definitely have the personality type where if I'm into something, I'm all the way fucking in. So, if I like Green Day, okay, I need ever record they've ever had. Dan Levitt:So, I started, the mid '90s or so, music was starting to shift to digital, right? So, you used to discover bands on the radio, and then around that time, there started to be primitive websites. Around when Napster first came out, there started to be people who would put MP3s online, right? Dan Levitt:So, now here are these blogs that are hosting MP3s. So, they would be posting bands that would be signed to record labels. And I would like these bands. I'd find then, I'd like them, and then they'd get big a year later. It was like, "Oh, I'm pretty good at knowing which bands are going to be big later." Dan Levitt:And then, one site in particular started focusing on unsigned bands, and I said, "Oh, these unsigned bands are pretty good. I think they're going to make it." And then they would get signed and they would make it. So, I saw, "Hey, I'm pretty good at ... " Dan Levitt:And I started learning more about the industry. And at that point, originally, my job was to, "Hey, I wanted to work as a music direct on the radio helping find the songs." And then I realized, "Hey, actually the best way I can help musicians is to work at a record label." So then, it was my dream to be an A&R guy to sign a band and help them break. Chris Erwin:And any genre focus? What types of music were you listening to? Was it Green Day punk? Stuff like that? Dan Levitt:More like the new metal, like the Korn. I know you're obviously a huge Limp Bizkit fan. That kind of stuff. Chris Erwin:Three Dollar Bill, Y'all Dan Levitt:Sure, exactly, right? Around that time was the Linkin Parks of the world and that kind of stuff. That was really the scene that I was into. I still had an appreciation for more pop music and stuff like that. But really, the rock, I would say, is the genre that I was into and certainly having a great moment then. Dan Levitt:Yeah, so then there were a few sites. And I remember trying to email people, and bands, and managers, and see what I could do. But I was just a kid in high school. Again, this is, I'm downloading songs over a dial-up modem. Chris Erwin:DSL. Dan Levitt:Yeah, exactly. This was not how easy it was today. That was the dream. But I didn't know anyone at entertainment. There was no path to it. I was like, "Could I start my own record label and fund it?" But that seemed so far from being feasible. Chris Erwin:Yeah, were you reaching out to any of these bands direct, or was it, you're just thinking about what you want to do after college? Dan Levitt:Yeah, I had a buddy from summer camp who was, at the same time ... This is the late '90s. He started interning at record labels in New York and started getting a bit of traction. So, we were talking about, "Hey, maybe we should start our own label." And there were one or two bands that we approached. They didn't really respond. It didn't go anywhere. Chris Erwin:Oh, I would've loved to have been a fly on the wall to hear the pitch of you pitching a band in high school to sign with you. Dan Levitt:I forget what the value proposition was, but that band didn't really go anywhere. They probably should've given us a shot. Chris Erwin:You're doing this in high school, and then you end up going to Temple University in Philly. Does the dream start to take form there? What happens? Dan Levitt:No. I wanted to be a bit more conservative. And I was like, "Hey, I know I want to get into entertainment. I know I want to be on the business side. What's interesting to me is the intersection of art and commerce. But these jobs are going to be really hard to get. So, as a background, why don't I get a business degree, just to give me some kind of stability and baseline of knowledge?" Dan Levitt:So, I went to school at Temple. There's all kinds of story. My dorm room burnt down freshman year. Just the craziest shit happened. Chris Erwin:Wait, did you cause that or was it somebody else? Dan Levitt:No, no. Well, it's a point of contention. My roommate was lighting candles for some reason at 10:00 in the morning. But the fire marshal said it was electrical outlet. It's a whole thing. But anyways, went to Temple. Actually, before I left, I interned at a radio station in Boston. Then I interned at radio stations in Philly because that was really the only ... Dan Levitt:There weren't record labels in Boston, at least that I was aware of, in Philly. So, I just interned at radio in hope that I could make my way up there. But then I saw, man, the radio jobs ... I mean, and this was back then. I could only imagine now. Radio's not glamorous at all. It's really bare bones. The budgets are next to nothing. No one leaves these jobs. The jobs didn't pay great. Dan Levitt:So, I realized, "Hey, I thought I wanted to do radio, but this is not for me." And then that was more like, "Okay, I want to work for a record label." That was the dream. Be an A&R guy. Chris Erwin:In graduating Temple, which I think is around 2004, do you go immediately ... Do you have a job lined up? Like you're going to a record label. You're pumped going to the big city? Dan Levitt:I don't know why. I wasn't really actively hustling for a gig. I guess I assumed, "Oh, the college sets up some interviews and stuff." Nothing. So, a couple of my buddies went there. Temple has a really good film program, so most of my friends actually weren't on the business program. They were more on the film side. Dan Levitt:So, a couple of my buddies were moving out to LA to get started in their careers. So, I knew the music industry at that time was really New York or LA. And the last winter in Boston, the high was like eight degrees. I'm not one to complain about the cold, but I was too fucking cold. Dan Levitt:So, I was like, "Do I move to New York with no gig where it's crazy expensive and the weather's brutal, or maybe I should I try LA and see what it's like over there." So, I moved here without any job, and hoping that I'd figure it out. Chris Erwin:So, you're showing up without a lot of savings. No clear job prospects. Moving with a couple friends but don't really know anyone on the West Coast. So, there's a timeline here where it's like, "Hey, I got to figure something out probably in the next couple months," right? Dan Levitt:Totally. Maybe a couple grand. Thankfully, at least rent back then was a lot less than it is now. I think me and my buddies got a house in Glendale ... well, maybe Eagle Rock area or Glassell Park for maybe $1,000 between us three. It was pretty inexpensive. I had some cost but I had a little bit of room to work with there. Chris Erwin:Yeah, so you show up with maybe a couple suitcases. You're in LA. What's your mentality? Are you pumped? Are you excited? Are you also scared? And then what do you start doing to sow your roots? Dan Levitt:Really, it was just like, "Okay, I have a business degree. Surely, I can get an entry-level job somewhere doing marketing." And just nothing. Barely interviews. Fucking nothing. So, I was just like, "All right, let me just ... " Couple of my buddies started PAing, so I did some PA gigs. Dan Levitt:But even in those gigs, you really have to hustle. You have to networks. And the gig ends and then you've got to get another job. And then that one ends. You got to get another job. I didn't really want to jump from job to job. There's late-night shoots. It would mess up my sleep schedule. Dan Levitt:I was a much different person. I was a lot lazier. I didn't think things would come to me. I just thought it would be easier. Chris Erwin:It's funny to hear you say that, because who you are now, who I have seen you evolve from since the Big Frame days in 2013, right? When you left. You are such a go-getter. Eye on the ball. Laser focus. Massive hustler. So, I guess this was an important experience for you to train that muscle and change your mentality. Dan Levitt:For some background, I am not a type ... Now, I'm probably type A, but I promise you, I was not type A. For context, I don't know what my GPA was in high school. Maybe a 2.3. It was not good at all. At all. I was a bad student. For context, in second grade, I already wasn't doing homework just I couldn't be bothered to do it. I could do it. Dan Levitt:I could pass everything and do it well. For some reason, it wasn't interesting to me. Probably wasn't until after I left Big Frame when I really had to figure stuff out for my own. But I had to really flip that switch and become that person. There's some people who just born type A. That's been a constant evolution for me. Chris Erwin:But your first job, you do get an A&R job at Columbia Records, which is part of Sony Music, I think in March 2005. How did that come to be and what was that experience like? Dan Levitt:Oh, this is a great story about how this ends. The buddy I mentioned earlier who was interning at record labels, he was able to move up. I think he was actually probably the youngest A&R guy in Sony history, at least at the time. He helped get John Legend signed and Coheed and Cambria. So, after John- Chris Erwin:Favorite band, Coheed and Cambria. Jersey band in the metalcore punk-ish type scene. Love them. Dan Levitt:Yeah, I think that was one of the first things he got signed. And then after he helped get John Legend signed, who they had passed on maybe five or six times, then they started, "Oh, maybe we should listen to him." He got promoted. At the time, the music industry was really going through an interesting transition. This is 2005. Dan Levitt:So, this is after the height of the boy band and rock. CD sales are declining now, relative to all-time highs. What was happening was, you were seeing a lot of executive turnover. So, a lot of execs who got these amazing lucrative deals in the good old days were getting or not renewed. So, there was a lot of turnover. Dan Levitt:So, what happened was, at that time, most of the A&R people for Columbia Records were in New York. But they needed someone lower level in LA to go see shows for them, especially at that point, the live shows. Especially in rock and other genres is a big part of a band's success. Dan Levitt:They didn't really have anyone lower and my buddy knew that I was still hustling. I'm working retail at that point. I'm working at The Vitamin Shoppe just to pay the bills, right? Because I didn't want the hustle of the random PA gigs. Keep in mind, I'm still applying for marketing jobs at a Nestle's and other more consumer products. Dan Levitt:I'm applying at entertainment too, but everyone is entry ... And this is even worse now. An entry-level job, they want you to have experience. I didn't have any work experience. I had a couple internships. So, I'm just working retail. My buddy is basically able to get me a job working for Columbia Records, but part-time, right? Dan Levitt:So, I'm basically working at The Vitamin Shoppe during the day, and then at night, going out and doing A&R for Columbia Records, albeit, in a part-time capacity. And I'm just fucking praying that no one I know from the music world comes into the store. Dan Levitt:So, it's really a one foot in, one foot out. And I'm basically just trying to do what I can to find the next great act for them to sign. So, that I can get recognized, and that I can do this full-time, and quit the soul-sucking day job. Chris Erwin:How much were you making as an A&R exec at this point? Dan Levitt:I might have been making maybe $125 a week. I think it was definitely between six and seven grand a year. So, not by any means enough to pay the bills, but not terrible, especially back then as a side. Keep in mind, if you look at it from an hourly perspective, I'm not really doing much. Maybe I go to one or two shows a night. Dan Levitt:By the way, I'm on the guest list for shows. I can walk into The Viper Room and the people there know me. I can just go in. So, I'm seeing amazing shows. I'm meeting people in the industry. I'm meeting managers. Meanwhile, anyone I meet, I'm trying to see if I can work with them. Dan Levitt:I'm applying for job after job. Entry-level manager assistant, $24,000. I'm applying. At that point, I have Columbia Records on my resume, and still barely getting bites. Even then, for whatever reason, I wasn't getting the gigs. It was a really, really tough time. Dan Levitt:It's worth noting, this was before the tech started. This was before SoundCloud. This is before some of the first music startups. So, there really wasn't much opportunity to get a gig somewhere. I interviewed at some of the music marketing companies like Streetwise. Dan Levitt:And this is building street teams and digital street teams. I wanted to do all that shit. I had some experience and still couldn't get in. Columbia Records. So one, it's kind of laughable now, but I discovered Arctic Monkeys extremely early. They only had three songs online. No one had heard of them in the US. No sales. Nothing. Dan Levitt:So, I have a bunch of buddies that I would send songs to. This is when The Strokes are first hitting, right? I find them on one of the music blogs that I like. These songs are ... I'm into them but I don't love it. I send it to a bunch of buddies and universally, everyone of them were like, "This is the best thing you've ever sent." Dan Levitt:And I was like, "Really? Wow." So then, I pitched them to Columbia Records and they're, "Oh, this is cool. It's this cool indie rock thing. But it's three guys in the UK. There's no sales. There's no history. It'd be really hard for us to fly them back and forth. But thanks for bringing it up." Dan Levitt:I didn't really know that I had to keep following up. "Hey, there's starting to be some noise." I didn't know. No one taught me how to do A&R or how to pitch, had to follow up. Again, it's not like I'm going into an office. I'm just remote because I still had the day gig. Dan Levitt:So, anyways, eventually there were Arctic Monkeys and Lily Allen, a few things that I pitched that ended up hitting eventually. And then it got to the point where Sony Music was having a weekend where they were bringing in ever Sony Music employee to New York to do this whole song and dance about their roster. Dan Levitt:So, I basically request vacation time from my dad gig to go to New York. Again, Columbia Records is paying me $125 a week, but they're flying me to New York and put me up in a fancy hotel. Chris Erwin:It's like half your salary. Dan Levitt:Oh, no, by far, they spent way more on this. I mean, anyways, it was a weekend in Greenwich, Connecticut with the A&R team. So, I get called into the head A&R's office on the Friday. He's like, "Hey, Dan, I have some great news for you. Thanks for everything you've done. We're going to make you full-time. We're just waiting to hear from accounting on how much that's going to be. We'll get back to you." Dan Levitt:And I'm like, "This is what I've been fucking working my whole life for." And then right afterwards, we get on the bus to go to Greenwich, Connecticut. And Columbia had just brought on Steve Lillywhite, the producer who produced all the big U2 records, Dave Matthews. Albums I fucking grew up on. I'm shooting the shit with him now. Dan Levitt:We go to the head of the label's house, and there's all these Korn, and Rage Against the Machine, and all these albums that were so meaningful to me. All the plaques. It was a weekend where I felt like I was one of them now. My whole life, I've been trying to get in, and now I'm finally in. Still today one of the best weekends of my life. Dan Levitt:And then I fly back and it's Monday. And I'm back in the day job. And I'm just waiting for the phone call. I'm just waiting for the phone call about how much more money it's going to be. I'm so fucking ready. I get the call. "Hey, Dan, we have some bad news. We're not going to have room for you anymore. Sorry, but thanks for everything you've done." Chris Erwin:Wow. Just fast like that? Almost no emotion? Just, boom. Dan Levitt:No, no, to his credit, he was really apologetic. But I was fucking shellshocked because the call I got where I thought, "Okay, this is the phone call. I'm about to quit. I'm about to quit day job," was just the carpet ripped out from under me. Dan Levitt:I had the day job but at least I was grinding at night, hoping to get somewhere. Now, that was taken from me. And now I'm like, "Fuck, I'm about to be 25 with a business degree, working retail. This is not how I thought shit was going to go." Dan Levitt:So, it ends up being revealed later on, it wasn't clear at that time, but basically, Columbia Records was bringing on Rick Rubin and he wanted his own people. But it was just a gut shot at the time. Chris Erwin:So, Dan, you get into a few side hustle. And I think one of them culminates in you doing chat room marketing for cream cheese. But tell us a couple highlights here because I think some of these side hustles, like swap meets, is still involved in your life today. Dan Levitt:It's always fun for me, trying to figure out new ways to make money. It's a lot easier now with the internet and stuff. It wasn't back then. I was a big focus group slut. I would do anything. Promote anything. So, I would get really good at filling out focus group surveys. Dan Levitt:I knew how they wanted you to answer, and so I would do ... For example, I've been paid to eat tofu. I've been paid to eat gum. I've been paid to eat McDonald's breakfast sandwiches. I got paid to play a Xbox Kinect before it came out. I've been paid to look at marketing materials. Dan Levitt:I've been paid to play with phones, and gadgets, and look at Cirque du Soleil. All kinds of stuff. Especially in LA, I'm sure this is the case in maybe a lot of big cities, but there's a lot of companies that do focus groups both in person. And I was just a maniac. Dan Levitt:There were a few Twitter accounts that popped up from those. It's like, "Hey, if you're this and you're this, fill it out." So, I would just ... whatever I could to try to get in. Chris Erwin:And this was paying the bills for you, so this was important. Dan Levitt:I think one year, I made maybe eight grand doing it. My first couple years in LA, I might have made only $20, $30 grand, so it was pretty significant. There was a store in LA that, on Sundays, would sell clothes, some vintage, some new, for a dollar. Dan Levitt:I would go and I'd buy most of the men's stuff. I'd list it on eBay. Basically, anything I sold it for was profit. I ended up getting fired from The Vitamin Shoppe. That's not really an interesting story. There was a company doing ... This would be summer 2008. They were doing experimental digital marketing. Dan Levitt:So, they were basically going into chat rooms essentially spamming message points. But then also, you had to have one-on-one conversations with people where you'd have to work in talking points, which was really fucking hard. Especially, how do you work cream cheese into a conversation organically? But I got fucking really good at it. Dan Levitt:So, within two days, I got so good at it that, by the end of the first week, I was promoted to the night shift manager. So, you would drop the campaign talking points into the chat. But really, it was all about these one-on-one conversations because basically, this agency would take those conversations, chop them up, make them clean, and then share it with the brand, and, "Hey, look, we're doing this subtle marketing for you." Chris Erwin:What was one of the lines that was something that you custom crafted that you were known for? Dan Levitt:This is really interesting psychology. What everyone else would do was, they would try to hit up a million people to try to find one, and try to work it in. They would brute force it. I took the opposite approach. I was like, "I'm going to ask other people online about themselves, and then just as conversations go, they'll flip it. And they'll ask me about myself." Dan Levitt:And then I'm like, "Oh, yeah." Put one of the common ... "Oh, what do you do for work?" I'm not going to say the brand's name but it's a city where I went to school. But it's like, "Hey," we couldn't say, "I work at." We had to say, "I work with X cream cheese company." "Oh, really? I love cream cheese. Cool." Dan Levitt:And then it's like, "Oh, what do you use it on?" "Oh, I can use it for cheesecakes or stuff like that." Or there's another site that's harder to use but you could actually see people's images. Think Myspace era. It wasn't Myspace but similar. Dan Levitt:So, I would identify people that I thought, based on physical attributes, might be interested in cream cheese. And I'd just message them and chat with them. But man, that was one of the funnest jobs I ever had, more so because, as a guy, it's not so bad. You're mostly talking to girls. As a girl on the internet trying to talk to guys about cream cheese, the kind of shit that they would hear was just- Chris Erwin:Probably a dark rabbit that we will not go down. So, Dan, then you head to A&R at Disney around September 2008. How did that come to be? Dan Levitt:My roommate used to do HR for Disney, right? So, keep in mind, at that point actually, I'd left the cream cheese job. And I'm working in a movie theater. I'm making $8.50 an hour. I got my side hustles. So, I see a job posting for A&R coordinator. Dan Levitt:I ping my roommate and I'm like, "Hey, do you know the recruiter for this gig?" And he did. It was someone he used to work closely with. So, I was able to customize my resume and it went directly to the recruiter from a friendly ... I remember the weekend I saw the job, I was in Chicago for a wedding. Dan Levitt:And I remember holding back my friend for an hour, so I could tweak it before we went and got pizza. I applied on a Friday. And then I got back and basically, I think that day, the recruiter called. I had a phone interview. And basically, the next Friday, I had a gig. Chris Erwin:Wow. That moved very fast in contrast to your other stuff. Dan Levitt:Unheard of for Disney. And the salary was in the mid-40s. Again, I had a Columbia Records gig, but it paid next to nothing. And now, I have an A&R job at Disney with a real fucking salary and amazing benefits, and it happened so quick. And I had been out here for five years grinding. Just grinding. Chris Erwin:Did you feel you had made it at that point, like, "I've made it. I'm here"? Dan Levitt:It wasn't that I made it. It was that I made it out of retail because to this day, I ... There's absolutely nothing wrong with working retail, I did it forever, but I don't want to do it again. I don't want to interact with the public. I couldn't believe it. I couldn't believe how fast it happened. And just like that, my whole world changed. Dan Levitt:I was so appreciative and so thankful to have a gig that provided some stability that was in a industry that I wanted. You meet someone, you tell them you work for Disney, it changes the perception of you, right? And certainly for me, who'd been trying to get a real industry gig, it was fun to ... I knew that I had the chops, and it was finally someone recognizing it. Chris Erwin:Hey, listeners, this is Chris Erwin, your host of The Come Up. I have a quick ask for you. If you dig what we're putting down, if you like the show, if you like our guests, it would really mean a lot if you could give us a rating wherever you listen to our show. It helps other people discover our work and it also really supports what we do here. All right, that's it, everybody. Let's get back to the interview. Chris Erwin:After this, you end up going to, call it, the YouTube revolution of Big Frame. So, I'm just curious, while you're at Disney, was there anything about emerging media, digitally native artists that you were focused on during those four years? Trying to sense a through line here. Dan Levitt:After I left the Columbia Records gig or got let go, I saw these people who had these music blogs that were starting to go with their own reputations as tastemakers. So, I thought, "Oh, maybe I should do that for myself. Maybe instead of working for a record label and being a tastemaker, maybe I should do that on my own, with my blog or something." Dan Levitt:But I didn't really have the technical prowess to do the blog stuff. It seems like, "Oh, it should've been easy." Blogs and stuff were not easy back then. So actually, I started doing online video. I bought an HD camera. This must've been very early YouTube days. Dan Levitt:But I actually, with a buddy, recorded some HD music industry podcasts where we talked about music industry news and stuff. But I think I would post it on YouTube, but sadly and stupidly, because YouTube didn't monetize then, I put it on Revver where they did monetize. R-E-V-V-E-R was sort of a YouTube competitor at the time that did monetize. Dan Levitt:And I was like, "Oh, I want to make money doing this," so even though there's more audience on YouTube, I put it there. And nothing happened that I didn't ... It was hard relying on my buddy, who was great to schedule this. I didn't stick with it. So, I didn't stick with it. But I was doing it semi-consistently. Dan Levitt:But then when I got the Disney job, I asked if I could continue doing it, and they were like, "No, you're doing A&R for us. You obviously can't be talking about acts that aren't signed to Disney." So, I put that on the side and then I saw the early podcast boom. Dan Levitt:Again, I'm listening to Bill Simmons. I'm listening to Carolla. Saw the podcast thing happening. So, while I'm at Disney, especially I'm a couple year in, it was a decent job but my department is pretty strict. I wasn't given the freedom that you would think an A&R guy would have. It was a lot more administrative. Dan Levitt:It was a glorified assistant, right? It wasn't an A&R role. They truly did not care about my opinion for acts in my estimation, especially the label side. I worked for the publishing side. I tried to get in with the label guys and it didn't really work. Dan Levitt:A couple years in, I'm starting to think, "Okay, I got to get out of here." This was great, but I'm like, "I'm going to be a 30-year-old A&R guy who's never got anything signed. And if lose this gig ... " And again, this is the industry especially 2008, 2009, 2010, sales are going way down. Dan Levitt:This is when streaming is just starting. So, I'm trying to meet whoever I can, right? So actually, this is when SoundCloud first starts. I was up for a gig there. I had some friends record some messages recommending me. I had a great relationship of amazing songwriters and artists that I was an advocate for, that hadn't really made it or were just starting to. Dan Levitt:I tried to get at SongKit and all these things that were starting. I actually tried to get a job at Spotify. I'm actually one of the first 500 people in the US to have a Spotify account. I had an account for two years before it launched. Chris Erwin:I think what I'm hearing is that you've also applied to every single music company, I think, in the world by this point. Dan Levitt:Yeah, but especially the good ones, right? I loved what SoundCloud was doing. Really at the time, they were so innovative. And they were solving their big problem, which was hosting audio. The role that I wanted was helping artists get on the platform and figure stuff out. Dan Levitt:So, around that time, again, I always believed in YouTube. I was doing it for myself. And then obviously Justin Bieber broke. And I'm looking on YouTube and I'm seeing these kids who are doing mid-tempo acoustic ballads, because that's all they can do, because that's what you do when you start. Dan Levitt:But they were doing covers and building an audience. And I was like, "The originals aren't that good. And I know all these amazing songwriters and producers that right now getting cuts in a major label system, because it's a fixed game, because the heads of the A&R start separate publishing divisions. And those people get the singles." Dan Levitt:So, I was like, "What if I actually brought some artist development into this YouTuber space where these people have done the hardest part. They've built an audience," right? There was one day on Twitter, the YouTube Creators account on Twitter posted that they were having an event at ... This is before the YouTube Space ... at YouTube's offices where they were talking about what makes a video successful on YouTube. I said, "That'll probably be good for me to know." Dan Levitt:I went and Sarah from Big Frame, who we both know well, was on the panel. She was talking about how she started a business and she was managing YouTubers. I was surprised that this was a thing, that there was enough of a business for there to be managers. Dan Levitt:Not only that, really smart ... Sarah is really impressive. I was like, "Wow, this is wild. I had no idea this kind of scene was happening." And then someone else actually asked about music. "What should the labels do?" And she was like, "Oh, the labels have no idea what they're doing at all." Dan Levitt:And then I went up to Sarah afterwards. I was, "Oh, I work for Disney Music." She's like, "Oh, I'm so sorry." I was like, "Oh, no, you have no idea how right you are." Actually, for an anecdote about how truly out of touch, in my experience, they were ... Dan Levitt:So again, through my relationships, I was one of the first 500 in the US to have Spotify. The Spotify had their agreement. They had a few test accounts for people in the industry to get to try it. I had one. I went to the head ... maybe the number two at Disney Music. Dan Levitt:And I was like, "Hey, I got this cool thing, Spotify. Have you seen it? Have you tried it? Do you want an account?" He was like, "Oh yeah, I'm not worried about that. I don't need one." It was so clear to me this was the future and they couldn't be bothered. Dan Levitt:Even, again, I'm still kind of green, right? But I saw that, hey, by the way, when they did the Spotify deal, Universal was distributing Disney, right? Universal got equity. Warner got Equity. Sony got equity. Disney didn't get equity but Universal leveraged the market share for distributing Disney for equity in Spotify. And I asked them, "Why did you do that?" I'm a fucking coordinator and you don't have- Chris Erwin:You're seeing where the industry is headed. And the vision at the top of Disney, or particularly for the Disney Music division, they just don't get it. So, you're like, "They're not going to get it." At your level, you're not going to be able to influence them. Chris Erwin:So, you're saying, again, "I got to make a move. I got to get out of here. The future is changing and I want to be a part of it." Dan Levitt:I think the big thing was, I saw what happened in podcasts. I didn't have to but I chose the safer Disney route, right? Because I needed a gig. I needed to pay the bills. But I made a promise to myself. Every day, I saw someone else doing what I wanted to do. They were the AbsolutePunks of the world, or there were other people who turned the music blog into an A&R career, or leveraged it in other ways with all these podcasts blowing up. ** Dan Levitt:And I promised myself, I was like, "I'm good at seeing gaps in the marketplace and where could you go in it. I made a promise. The next time I see it, I'm fucking going for it." Chris Erwin:I love that. Dan Levitt:That's why, when I met Sarah and I saw ... I was like, "This YouTube thing is fucking next. No one in the music industry realizes it. Let me get in. At worst ... " After that conversation with Sarah ... The follow-up week, we had lunch somewhere. Dan Levitt:And after that conversation, I was like, "Sarah, hire me." She was like, "I can't now but we're doing raise soon. Let's stay in touch." Then afterwards, I was like, "This is fucking it. I fucking know it. I need to get in here no matter what." So, I started being very aggressive. Chris Erwin:This is probably, thinking in a Big Frame timeline, the company was founded in, I think, the second half of 2011. And they officially raised funding from the Google Original Channels program and a seed round, I think, in early 2012. And you come in the second half of 2012. But yeah, Sarah's talking about they had to get funding lined up. I jointed Big Frame, I think, in July of 2012. Dan Levitt:But at this point, after I had lunch with Sarah, I'm like, "Okay, this is it. I need to get into this space," right? So, at the time, there were three companies, right? There was Maker, there was Big Frame, and Full Swing. Those were the three big ones, right? Dan Levitt:When I stepped back, I looked. At the time, Maker was far bigger and the hot company at that point, right? The one that had the most buzz. The one that had the most resources and stuff. So, I decide that I want to ... Sarah's great but let me see if I could get a job at Maker. Dan Levitt:I have a meeting with whoever's running their music dept. And this guy, he was cool. He was okay but did not have the level of sophistication or music knowledge that I had, right? And I think, especially, it's worth considering, at this point, the space is so new, there's no one with Sony and Disney A&R. The level of traditional level of music in the space at all. But I decide I'm going to go for it. Dan Levitt:I meet with him. It's a decent interview. And then I decide I really want to go out of my way to show them that I want this, right? So, at the time, Maker had 100 employees. So, the next day, I send over 100 Krispy Kreme doughnuts to the Maker office with a note, "Let's make sweet music together." Chris Erwin:How did that touch work out for you? Dan Levitt:I got a second interview. Literally, people in Maker are Tweeting about it, right? And I thought, "Look, at worst, it'll be memorable and maybe they'll think about me in the future. And at best, if I get the gig, everyone's going to like me from day one, because I'm the doughnut guy." Dan Levitt:Again, I'm real fucking desperate to get out of Disney at this point. I see the writing on the way, especially, one thing to mention is that at this time, we're talking 2012, the publishing division had merged with the record labels. And essentially, the head of one of the record labels was now the new music group boss. Dan Levitt:I was at Sony after the Sony BMG merger and I saw people getting picked off one by one. And I saw the same thing happening at publishing. I said, "This was a merger, the record side won, and the publishing people are going to go one by one." As soon as I saw the first domino fall, I was fucking on it. So, I definitely feel like there's an ax going over my head slowly descending. Chris Erwin:Yeah, so the timeline is compressing. You got to make moves. Okay, so after Disney, do you then apply to Big Frame? What happens next? Dan Levitt:Yeah, eventually, I end up ... I apply to Big Frame. I meet you. Chris Erwin:You said that you sent a video as part of your application, right? Dan Levitt:Right. Right. There was a job. I think, after Google acquired Next New NOW, they had a strategist role that I applied for that I didn't get. But I knew that, if you looked at my resume, you would see traditional media. I really wanted them to understand that I got digital culture. Dan Levitt:So, I made a video in addition to my resume, a fun video that played on the memes or the trends on YouTube at the time. The video was like, "Hey, I'm a big fan of YouTube. It's not just people doing the cinnamon challenge," and then it cut to me doing that, "or getting hurt," Then to me getting hit by 20 dodge balls from different angles. Chris Erwin:I actually think I vaguely start to remember this now. Dan Levitt:Yeah. Chris Erwin:Oh my God. Dan Levitt:I just knew that, especially having applied for so many gigs at traditional companies and not getting my resume seen, I wanted to make sure that in the future when I applied for a job, I was being extra. I was really going out of my way to show that I was serious about it. And also, especially with digital, that I got it the culture. That I got the space. Dan Levitt:That I'm not some stuffy guy. I really wanted to show that I was a believer in the space and to differentiate myself. Sarah actually told me after I was hired that the video did ease some of her concerns that it was going to be a more stealthy music guy, because especially at that time, the music industry and the MCNs, it was really contentious, right? Dan Levitt:It was Sony and some of the publishers having seen Myspace grow, and build, and get a huge valuation. It was very much a new emerging trend the music industry sees as a threat. And that dates back to sheet music but that's a separate tangent. Chris Erwin:Well, and to be clear, at least from my vantage point, I don't think there was any worry that you were going to be a traditional stuffy music guy, because I remember, I think, this is me and Jason Ziemianski were working on building out the different content verticals for Big Frame. Dan Levitt:Which was so smart to do. Chris Erwin:Yeah, so smart. So, we had Wonderly. We had Forefront. We also had a music vertical. We had an LGBTQ vertical and maybe one or two more. So yeah, we're thinking about music. I remember I'm in the back room. This is when we were on the Sunset Boulevard office, the old National Lampoon building. Chris Erwin:I mean, you come in for an interview and there was a window between the back room and the front. Jason pointing at you and he's like, "That's who you're going to interview. That's Dan." I remember looking at you and I had never seen anyone that looked like you. You were in a shiny silver suit. So, one thing that I thought- Dan Levitt:Yeah, the shiny suits. The famous shiny suit. Chris Erwin:Yeah. One, I thought it was weird because I was like, "Okay, this is digital video. People were a bit more casual. Jeans and T-shirts. He's in a suit. That's kind of weird. But then second, it wasn't just a normal suit. It was just something I'd never seen before." Chris Erwin:And I was like, "All right, this guy's a character." And from where I came from, I was just like ... I'm from traditional East Coast finance. So, I was started to discount you in my head, but also realizing I'm biased. I'm like, "Maybe this is the people that we want. I've never encountered someone like this but maybe this is the thinking and the pedigree that we want." Chris Erwin:So, then I remember sitting with you on the couches in the front. And you're mile-a-minute telling me your story and I'm drinking from a fire hose. I remember peppering you with questions. I don't even know what they were. But fast forward, we end up liking you and we hire you. Chris Erwin:All right, we hire you at Big Frame and this is in October 2012. What do you remember from those early days? What are you working on? Dan Levitt:I just remember being so excited, man. Sarah and you guys believing in me especially. Again, I'm pretty good at knowing where things were going. And just you guys just, "Hey, great. Music is the big thing on YouTube. Dan, figure it out. Figure out the opportunity." Dan Levitt:The belief in me was so amazing. Also, I'm coming from working at four years at Disney where, at least with my direct supervisors, I didn't feel like I was being treated as an adult. Everything was micromanaged. I was essentially chained to my desk. Dan Levitt:And moving into a role where it just felt like anything was possible. I remember getting there and there was really next to no musicians signed at all, right? I think you guys hadn't signed them because you didn't know what to do with them. There were a handful. Dan Levitt:And then I was like, "Hey, I have this idea for a music show." I knew that I would need to get a good song out of each of the talent that we'd had. So, I was like, "Hey, I know all these amazing songwriters and producers who know YouTube is next or I'm telling them. They're excited that I'm making this leap." Dan Levitt:And they're like, "Hey, YouTube's a thing. What should we do?" So, I just remember Sarah and I and you talking about this show idea. And then a week later, we had money from YouTube to do it. So, it was the biggest mind fuck because my entire career, I heard, "No." Literally, my 20s was hearing the word no. Dan Levitt:And literally, I can honestly say in the first month at Big Frame, I did more than in my 10 years at traditional. It was that quick. And I've really only heard, for the most part, heard, "Yes," ever since. But you can do so much more in the space. There aren't the same gatekeepers at Disney. If you try something new and it doesn't work, you lose your job. Chris Erwin:This flip a switch where you're like, "Okay, within the first month at Big Frame, I'm hearing, 'Yes,' and money is behind it"? So, do you start thinking, "Oh, if I'm a go-getter, there's a lot more I can do here"? Dan Levitt:I don't know that it was even that cognizant. It was more that I didn't really know which direction to go in. So, I was like, "Okay, there's a lack of artist development." One, that show ended up taking a lot more time. Chris Erwin:And you did that with Dave Days, right? Dan Levitt:Yeah. Chris Erwin:Called, the Writing Room. Dan Levitt:It's still up on YouTube, I think. It was great and we were all really happy with the songs and the shows, and got into artist development. And then while I was there, I realized, "Hey, before I go out and start signing people, I need to understand how YouTube works, especially in music where SEO is so important," because at the time, it was very much cover songs. Dan Levitt:And some of the biggest creators on the platform were doing cover songs, right? So, I needed to know how SEO worked. There was someone who was working at YouTube who reverse engineered the algorithm, and had done all this A/B testing to figure out how to grow channels. Dan Levitt:It was on the audience-development side, and that was MatPat. He had his channel, which maybe, I think, was a couple hundred thousand subscribers. But I didn't care. No one really cared much or paid much mind about his own channel. Dan Levitt:But he and I very quickly hit it off, because at that time, a lot of the managers, more so than other MCNs ... And the reason why I went with Big Frame, because I did get offers from all three, was, you guys wanted to be more high touch with a smaller roster, right? Dan Levitt:So, at that time, you guys actually were having some of the top talent on the platform sit down with MatPat, or just Mat at that time, who would basically tell them, "Hey, here's what you should be doing," and they wouldn't listen to him. But he was doing those one by one. Chris Erwin:And just to be clear, Matthew Patrick, who's now a huge YouTuber that Dan manages, he was an employee at Big Frame early days. Dan Levitt:He was a co-worker. Now he has maybe just under or close to 30 million across 4 channels, and is just one of the top channels on the platform, especially who's been able to do it for a decade. And has, probably, one of the most challenging formats where every video takes at least 100 or 200 hours in terms of scripting and post. Dan Levitt:It shouldn't work, but through pure determination and really thoughtful approach, it has worked. Anyways, he's working there. And quickly, we hit it off because, instead of just dropping the talent and him saying the same things over to talent that don't listen, I was like, "Hey, tell me. Do a knowledge transfer to me. I want to know this stuff, so that I can tell all my clients and be respectful of his time, and also learn. Dan Levitt:"I'm curious for myself. I want to know, how does SEO work and what are things I can do to grow my clients, so that we're providing value. And then once I know that, cool, let me go out and let me try sign some of the best and brightest." Dan Levitt:I thought that it would take me a while before I permeated, at least the music scene, on YouTube. By two or three months, based off of the work I was doing with one or two artists, I guess I should've went, "They all know each other. They would all collab. They all talk to each other." Dan Levitt:So, in a very short amount of time, I created a great name for myself as someone who's ... especially at that time, with the exception of Big Frame, it was scale, scale, scale. Just sign channels, get them into CMS, Comscore, Comscore. That was not Big Frame's approach. Dan Levitt:So, Big Frame really had a great reputation and I wanted to help further perpetuate that. So, not only was I helping people grow their channels, but I was setting them up with songwriters and producers, helping them figure out the different revenue streams. Dan Levitt:One of the challenges at that time was, the contracts that we had were more, at that time, standard MCN deals that only participated in ad revenue. And for most creators, that's fine, right? Because the ancillary revenues, the merch touring, and brand deals, and stuff were't there, or they were just starting. Dan Levitt:On the music side, especially then when it was confrontational with the publishers, the ad revenue is shared. So, the CPMs and the ad revenue was a lot lower take-home for the artist, and in turn, Big Frame. However, they were making significantly more and a lot more on downloads and streaming. Dan Levitt:So, I noticed, "Hey, I'm giving you advice and I'm helping you grow your channel. But we're only participating in, essentially, the least profitable revenue stream." So, I recognized, "Hey, at least in music, if we're going to be ... " And probably more broadly because we saw at time peak, and some other platforms come up that weren't YouTube. Dan Levitt:Some of the talent was trying to do stuff on their own and sort of getting exploited. And I realized, and I went to Sarah and you and said, "Hey, we might want to think about having our contracts be more robust and 360 if we're going to have this more boutique roster." Chris Erwin:Oh, I remember those conversations where we had, I think, a very short, minimal contract. Only participated in AdSense off of YouTube. Then a lot of push from the team saying, "Hey, we're doing all this work. We're impacting the 360 business of this talent. One, the company needs to get paid for it." Chris Erwin:And also, because you guys were thinking about, as talent managers, "How do you participate? What's your incentive?" Look, contracts is a whole separate thing, because I remember then the contract became like 12 pages. And then people were saying, "This is crazy. You got to make it simpler. No one's going to sign." But that's another tangent. Chris Erwin:Anyway, okay, you identify this. We start to rejigger the business. And yeah, you start building out our music vertical. Dan Levitt:It was going really well. I mean, we were getting the best talent. We just weren't monetizing the way that we wanted yet. And I was waiting on these management contracts to come in, so that we could get that ... Again, that process took longer. We were basically building ... Dan Levitt:We would've had all the best ones, right? Some of them had deals that they signed before that were, "Hey, as soon as this term ends, I'm going to join." Chris Erwin:So, I think this speaks to some mutual challenges, right? And frustration where we're trying to sort out the contracts. We're trying to sort out the business model. We're realizing at Big Frame, the music vertical is not directly making a lot of money relative to the cost that we're putting into it. Chris Erwin:Also, this is a point where I think there is some headwinds facing the MCN industry. We were having some challenges raising the needed capital and floating working capital. So, we had to make some changes. There was a discussion around, "Okay, probably going to have to shut down the music vertical, and we're going to have to let Dan go." Chris Erwin:This is something you and I talk about for the past 10 years. I remember being in the room when that conversation happens, because it was between me, and you, and Jason, I believe. Dan Levitt:I was really the first person let go. It was a growth stage. And then I was probably the first casualty, right? And to your credit, I was not surprised, because maybe a month or so before, you were like, "Hey, Dan, have you actually looked at some of the numbers in terms of what we're paying you and what you're bringing in?" Dan Levitt:Again, that seems blatantly obvious that I should've been but I wasn't. I came from a role that was very administrative and I kept doing what I knew. It wasn't clear to me that, "Oh, I'm actually responsible for ... I should be ... for my own P&L within this larger entity." Chris Erwin:In reflecting on that moment, and I don't actually think I've ever shared this before, but I think there's some realizations where, one, I think I was learning a lot about the digital entertainment industry, right? I had a very traditional background MBA. And there was a lot that I ... Chris Erwin:I knew about business and I knew that revenue had to be more than cost to get the profit. But I think I didn't understand the nuances of how this industry worked, of how you recruit talent, how you invest in a team, and figuring out the right business model. And I think listening to our talent managers, like yourself, could've been something I did with more focus and intent. Chris Erwin:But I think it was a mutual value exchange. We're all learning and I think this helped set up a lot of talent managers for success of thinking about running a sustainable business. Thinking about top line versus bottom line. And I know that there was some conversations where, yeah, I was giving clinics to you and some of the other members of the team like, "Let's sketch out some numbers and see what works here. Chris Erwin:"And it's not working. How do we get there?" And I feel that you've taken that to your new business, which has obviously been paid off in spades for you. Dan Levitt:I think me and the other talent managers there, we kind of went in wide-eyed where we knew the opportunity, and we knew where we saw things were going. But I don't think any of us had run this kind of a business like that or thought through that kind of stuff. Dan Levitt:It's just like you're trying to build the plane while you fly it. The other thing is, you obviously know this and you hear some of the stories from me and other, it's really hard dealing with talent. It's really hard dealing with talent. Especially then, one thing that I don't hear discussed as much, and I think for someone like me, who worked with traditional talent for a while, the digital talent's different, right? Dan Levitt:So, for me, working in music as an A&R guy, if I meet an artist or a musician, at least back then, they've heard, "No," a million times, right? And they understand the value of a team. On the YouTuber side, especially back then, especially early on, but it's still the same now, especially with the new breed of creators who are really fucking savvy, a lot of them don't understand the value of a team. Dan Levitt:They've hit a time when everyone's catering to them, especially the OG YouTubers who got in when you could just have deceptive thumbnails and stuff. They were not as receptive to advice that, potentially, they should've been. So, in addition to figure out how to make a business model of this thing as it's emerging, and especially, music is a lot harder in brand deals than beauty and other verticals, it was challenging. Dan Levitt:And it's compounded by, the job in working with talent is essentially to keep the unaccountable accountable. Chris Erwin:Look, I feel for you guys because I think you're working really hard dating over the past decade to figure out the business models that work for this new talent. And I think that's still happening together. And different from traditional managers, this feeling of you're always on. Chris Erwin:So, the internet doesn't shut off. It's 24/7. And you could be dealing with a brand deal that goes awry on a different timezone. And you're getting up at 4:00 AM. Or there's a YouTube channel take down that's impacting a brand deal, or a video that's meaningful to talent. And that happens at midnight, you got to be on it with a plan, a solution, and a call into the platform. That's unique. Chris Erwin:And look, that's a separate podcast to talk about all those stories. I think the collective Big Frame managers will write a book. But I will the challenge that you guys face in managing digital talent. For me, having run the talent organization and overseeing the talent managers, that's also hard because at the top, we tried to bear the burden of that stress, and give you guys the tools, and empower you. Chris Erwin:You guys demanded a lot because your talent demanded a lot. And it was admittedly hard. But I think it was a beautiful journey to go through together and we learned a lot. Dan Levitt:Yeah, I can't believe it was only eight months. I was only there eight months, which is surprising. But man, in that eight months, the professional development that I had was so far beyond. I remember saying to Steve Raymond, who was the CEO of Big Frame at the time, I remember telling him, "I'll never work for a big company again if I can avoid it." Dan Levitt:I like the startup culture. I like the fact that we're making it up, and we get to try new things, and make mistakes and do stuff. So far, I haven't had to. Chris Erwin:Before we go on and we talk about your transition to Long Haul, I think we'd be remiss if we just didn't tell one story about the upstairs rap battle. This still gets me to this day because you ended up as the winner. It pains me to this day. So, tell the listeners a quick context for our rap battle. Dan Levitt:Yeah, I don't know the origin of it. I think there might have been two. I don't know. I don't remember how it started but I think we were just ... We throw friendly jabs back and forth. And somehow, it cultivated in, "Hey, we're going to do a rap battle." Dan Levitt:I remember spending half the day writing out my stuff. I just remember the whole team was there and they were filming it. We got to find a video of it somewhere. But yeah, there was a rap battle and I was victorious. I know I went at you for ... Dan Levitt:I remember one line. You had a Ford that was giving you a bunch of challenges because all you could afford is a piece-of-shit Ford. That line really, while not being the most creative, really hit with the audience. Chris Erwin:Yeah. I think, in rap battles, you just get a sense, because like you said, everyone was watching. They were filming. Crowd's reacting. And if you track the energy, you just know who's winning. And I remember at the end with that line, the crowd just was like ... Chris Erwin:It just felt like, "All right, Dan has one this." I think we were kind of even throughout throwing these different jabs. I remember working on my script for a couple weeks. I was frustrated because I was like, "That line is ... That's not a special one. He just said Ford and afford in the same sentence." But it didn't matter. It was over. So, look, massive credit for you. Dan Levitt:You're going against a music industry professional. There were no ghostwriters but it's to be expected. So, if Chaz or anybody else wants to come for the throne, they know where I'm at. Chris Erwin:So, Dan, okay, after this let-go moment, what are you thinking about? What's next for you? Dan Levitt:When I took the gig, I knew it was going to be a roller coaster. I knew it was riskier, right? But again, I felt, "At worse, if it doesn't work out, at least I will presumably have positioned myself in the music industry as the YouTube guy. And because I know YouTube is going to be a big thing, I should be okay. I'll figure something out." Dan Levitt:And that's exactly what happened where, as soon as I let go, I hit up all my people. In that eight months, people did start to notice. Some people. I was very fortunate that, within the first month, I got two gigs doing consulting for two different startups that wanted to work with digital creators, particularly musicians, that actually paid more for a lot less work. So, I sailed up for the first time. Dan Levitt:Now, it's like, "Okay. Now, I'm actually making more money than I was at Big Frame and I have way more free time. So, what could I be doing?" And then around that time is when MatPat crossed a million subscribers. We hadn't talked in a while but there was that mutual respect, right? He's noticed that I was doing more for talent and being thoughtful. Chris

Today we have a special episode of Alt Goes Mainstream – the co-founders of Rally on to discuss how people can now invest into defining cultural moments and assets that are aligned with their passions.Chris Bruno and Rob Petrozzo grew up together – and they have combined their respective talents to form what has become one of the symbols for the financialization of all sorts of assets.Rally, which started as a platform to enable investors to invest into shares of classic cars that would be unattainable to many investors, has become a multi-asset investment platform that allows individual investors to invest into all sorts of exotic, rare assets at low minimums.Chris, Rob, and I had a fascinating conversation about how Rally built and evolved their concept from classic cars to all sorts of rare, grail assets. We discuss: How they got into collectibles themselves. How they've waded through complex regulatory structures to figure out how to offer these assets to the masses. How they grew up together and have now built a company that aligns with their passions. And how on earth they were able to IPO a triceratops skull and IPO a rookie card of the United States (hint: the Declaration of Independence). Chris, Rob, and team have created a leading fractional investing platform for the alternatives space. They recently raised a $30 million round led by Accel, who invested in GOAT, to help propel their marketplace further.Rally has already achieved an active, engaged, and passionate userbase of over 200,000 investors who have invested in everything from Pele rookie cards to classic cars to dinosaur heads to, soon, the Declaration of Independence, or a rookie card of the United States of America as Rally investor and Upfront Ventures Partner Greg Bettinelli has called it.Chris, the Co-Founder and President, comes from the VC and startup worlds. He was an Associate at Village Ventures before co-founding two companies, Health Guru Media and Spotter. He's a classic car enthusiast, which ignited his interest in unlocking the asset class to individual investors.Rob, the Co-Founder and Chief Product Officer, has been the creative inspiration behind Rally.He has brought his background as the in-house lead designer and creative consultant for Sony BMG, where he worked on the likes of Kanye West's GOOD music imprint, and as the creative director for a few startups to bring Rally's brand to life in person and in the digital world. Rally has also done some really interesting things with their brand, opening up a showroom to their investors, creating and offering stock certificates to their investors, and creating exclusive merch drops (including the limited edition Michael Jordan rookie card sweatshirt that I wore for today's podcast). Thanks Chris and Rob for coming on the AGM podcast. We hope you enjoy today's episode.

Teddy chats with Ron Knox, senior researcher and writer at The Institute for Local Self-Reliance, about his recent article in Wired Magazine, Big Music Needs to Be Broken Up to Save the Industry. He tells stories about why music is worse now than it was when the industry was more competitive, how Sweet Jane Recordings is actually owned by a big conglomerate, how independent record stores ended up with prescription cough syrup instead of indie records,how YouTube effectively sets a floor on streaming royalty rates, and how big radio pays no royalty rates for playing music. Lastly, he talks about how he is optimistic that new antitrust leadership and new legislation in Congress will reshape the industry.

In this episode Sheetal Shah chats with Shivali Bhammer, the youngest recording artist to be signed by Sony BMG for bhajans and one of the Top 25 Under 25 South Asian music artists. Her two albums The Bhajan Project and Urban Temple have reached #1 on the iTunes World Music charts. Today, we talk about Shivali's journey from working in finance to professionally signing bhajans, as well as her passion for Kathak dance. Shivali.co.ukShivali on InstagramThe Bhajan Project on SpotifyUrban Temple on Spotify Hosted on Acast. See acast.com/privacy for more information.

Nick got a crazy idea in his head that we should talk about a very special album. One that isn't necessarily an ALBUM album, but it is a collection of music from a specific period of time. And that collection is the 2006 compilation of bangers, jams, and bops that is Now That's What I Call Music, Vol. 23. We all remember the commercials on TV, but do we remember these songs? Only way to find out is to listen to this week's episode...of Spin Doctors! *dramatic music sting*   Thanks to Pale Blue Dot for our theme For You...   All music on Now That's What I Call Music, Vol. 23 is © its respective artist and SONY BMG available under CC BY-NC 2.5 Kidz Bop is © Razor & Tie (Concord Music) Follow us on IG and Twitter @spindocpod   Questions? Criticisms? Comments? Email spindoctorspod@gmail.com

Tom Tikka picked up the guitar at the tender age of six after hearing Paul Anka's "Lonely Boy" in his father's old Chevrolet. Soon afterwards, he began writing songs. Tom's infatuation with music only deepened after his aunt's husband introduced him to the concept of lead guitar and even more importantly to the music of such legendary groups as The Beatles and The Doors. Tikka formed almost as many groups as he disbanded in his late teens and early twenties. Yet, when he finally signed his first recording contract on his 21st birthday, it was a solo deal and not a band effort. He recorded a three-song EP for Olarin Musiikki, a small indie label in Espoo (Finland), under the alias of Tom Spark. Unfortunately, the EP disappeared as quickly as it was released. Consequently, Tikka found himself in square one, without a band or a record deal. Disappointed, Tikka withdrew from music for a few years but began writing songs again once his brother Lappe Holopainen suggested that they form a song writing team. Lappe had founded a group he was convinced would go far and he needed tunes for his new outfit. This group was Carmen Gray. Carmen Gray was signed to Sony/BMG in 2005 and during the next nine years, they went on to record three albums and one EP. The group's entire catalog (including such radio hits as "Lost In My Mind Again", "Gates Of Loneliness" & "Life Can Be Beautiful") was penned by Tom Tikka & Lappe Holopainen. After Carmen Gray disbanded in 2013, Tikka formed his current group The Impersonators with poet Antti Autio. In 2017, The Impersonators signed with FBP Music Group, a German label based out of Frankfurt. Together with their producer Janne Saksa, The Impersonators have released tunes to rave reviews and a considerable amount of radio attention. In 2020, Tikka began working with MTS Records and released a solo EP titled "Working Class Voodoo" under the name Tom Tikka And The Missing Hubcaps. On this self-produced venture, Tikka plays and sings everything himself. It featured the UK iTunes chart hit title single. On July 31, 2020, Tikka & The Hubcaps released the “Insane” EP on MTS Records. See acast.com/privacy for privacy and opt-out information.

Finland Singer/songwriter Tom Tikka of the Impersonators (and formerly of Carner Gray of Sony/BMG music) talks about his new song “Cloud Nine” along with “Broken Snow” “Sad Café” Circus” etc., and how he got started in his amazing career plus his many influences that being a vibrant “60's retro alternative pop rock” sound! Check out their website at https://impersonatorsmusic.com/ ! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/themikewagnershow/message Support this podcast: https://anchor.fm/themikewagnershow/support

Part Two of Kevin's interview with Kevin Kennedy, one of the stars of the show ‘Rock of Ages'.  Kevin is most recognisable from TV as ‘Curly' in Coronation Street but now pursues a successful career in musical theatre. He shares his journey and experiences as a successful performer and some amazing insights into the craft of the actor. In this episode, Kevin discusses the influence of Coronation Street, the challenges of addiction, the rise of his career in music and the fascinating story of his transition into musical theatre. KEY TAKEAWAYS Curly Watts, who proved to be a huge hit with audiences in Coronation Street, wasn't meant to be a character with any longevity. But after proving a hit, the producers were keen to put Kevin under contract. At the height of his success, Kevin fell into an addiction spiral, and was forced to go to rehab. Upon repairing himself, Kevin needed to start again. Kevin credits Coronation Street with taking good care of him and saving his life during this period. Using a pseudonym, Kevin submitted his music to Simon Cowell at Sony BMG, who was on the lookout for TV-led musical talent, and was signed immediately. From here, Kevin embarked on a successful career as a musician, especially in the United States. Having been let go from Coronation Street, Kevin had to make a choice about the future of his career. As he liked acting and music, he decided to marry the two and go into musical theatre. His first role was in The Rocky Horror Picture Show. Musical theatre can be daunting, but each experience is there to be relished and enjoyed. Even auditions, which Kevin enjoys. Many consider soap opera actors to be somehow inferior, but Kevin doesn't see it that way. In fact he credits them with a set of unique talents, such as carrying a story for months or sometimes years, and the ability to learn and memorise scripts at speed. Fame was never important for Kevin. The important thing was to enjoy his work, and to develop as an actor. His subsequent fame opened many doors, which is far more valuable. When things are going wrong, there's often a mindset that says “I have to be something different”, but the real lesson is to focus upon who you are. To do the things you want to do.  Acting can be a struggle sometimes. It's not always glamorous. But if you love what you do, then each struggle becomes a lesson, and as Kevin says, “If you're doing something you love, then you never have to work a day in your life" No problem is insurmountable. Facing challenges down and defeating them makes you a better person, and you can't run away forever.   BEST MOMENTS 'The great thing about that was that it was a home gig' 'That was the first time I ever saw the power of Coronation Street. Her attitude completely changed' ‘Coronation Street were like a family' 'There's always a positive to look for. Always' ‘Mistakes make you a better actor' ‘You need to get back in touch with the things that you want' 'This business is great if you're at, or near, the top' ‘No problem is insurmountable'   ABOUT THE HOST Kevin Clifton is a professional dancer who has been performing & competing at the highest level for over a decade. Kevin has worked on shows like 'Burn the floor' & 'Rock of Ages' to 'Strictly Come Dancing' one of the biggest TV shows in the UK which Kevin won in 2018.    CONTACT METHOD Kevin Clifton Instagram Kevin Clifton Facebook Kevin Clifton YouTube See omnystudio.com/listener for privacy information.

065 Sock Strumming Crandy gets a sock job; Fream torments his son at the theme park; Proulx shares his tattoo; Tarragon preorders Mass something something. Show notes are always available on the Zed to Zed website We are on iTunes, Stitcher and Google Play! Please give us a rating or review, it will really help us and is a free, easy way to support the show! Talk to us! Join our community! Discord Chat Zed to Zed Forums ACTIVE contests on forum Twitter: @zedtozed Zed to Zed Xbox Club Zed to Zed Podcast Leaderboard Email: contact@zedtozed.com Facebook: Zed to Zed Podcast Hosts: Brandon Fream aka "Freamwhole" - TrueAchievements / Xbox / Twitter Randy aka "Crandy" - TrueAchievements / Xbox / Twitter Tarragon Allen aka "zzUrbanSpaceman" - TrueAchievements / Xbox / Twitter Damien aka "Spazpol" - TrueAchievements / Xbox / Twitter Daniel Proulx aka “Proulx”- TrueAchievements - Xbox Referenced during the show: Big Rigs is Greenlit on Steam Possible Pre-E3 Scorpio Event PSA: TrueAchievements Leaderboards Turned Off (Genre Updates) TrueAchievements Weekend Topic: What game made you a gamer? Sony BMG copy protection rootkit scandal Xbox One introduces "Copilot" mode Three-dimensional chess Hasbro and Harmonix are making a music card game Gwent: Become The Wild Card Raincloud Randy Gwent Card Threes "SNAP" mode achievement changed Ion no longer in development Destiny: Age of Triumph Destiny Twitch Stream re: Age of Triumph Destiny Fans Rally after Fellow Fan's Passing Mass Effect: Andromeda MP DLC Will Be Free Wordament (Windows 10) becoming Microsoft Ultimate Word Games (whtthfgg) Final Fantasy 30th Anniversary PS4 tops February NPD Phil Spencer: A lot of dev interest in Scorpio/XB1. Previewed a lot of new games. Can't share 3P specifics but Japan was a great trip Review: Ittle Dew 2 Bill from Left 4 Dead appearing in Dead By Daylight All audio production and podcast backend support provided by Tarragon Allen. Songs and sounds that have been used in the show: "Jive Bot", “Dalmation Station (It Gets Better Mix)” by Jake Kaufman and “Jive Bot (Psycho Prismatic Mix)” by cancel from the games Mighty Switch Force! 1 and 2, developed and published by WayForward Technologies “BGM - Danny Bit Bang (Ninja Sex Party - Dragon Slayer)” by Jake Kaufman from the game PULSAR ARENA Epic Voice Announcements by RJBANKSWA Zed use and would like to thank the following products and services for making the podcast and the community possible: Zencastr for their podcast recording solution Adobe Audition for audio editing Audacity for audio editing and recording Libsyn Podcast Hosting iTunes for making podcasts mainstream Audio-Technica Microphones Blue Microphones NAD Electronics Headphones DreamHost Hosting Digital Ocean Hosting Skype chat Discord chat Discourse forum software TrueAchievements for making achievements awesome Microsoft for the Xbox Glossary of Xbox Gamerscore and achievement jargon and terms