Podcast appearances and mentions of Troy Carter

This week on This Week in Louisiana Agriculture, we follow Congressman Troy Carter as he visits farmers in his district to hear firsthand about the urgent need for a Farm Bill. We also explore a new state-of-the-art sawmill revitalizing a small town, dive into Louisiana's booming agritourism scene, and continue our Road to Leadership series with Marty Wooldridge. Plus, we celebrate Black Farmers and Growers Day, stomp grapes at Landry Vineyards, and get a reality check on farming in the John Deere Challenge. Catch all that and more in this edition of TWILA! Show NotesContact your Senators and Representative Sign up for Voter VoiceLearn more about Hunt Forests ProductsView photos from the 2025 Louisiana Farm Bureau Sporting Clays Challenge Visit Landry VineyardsWatch this week's entire TWILA Boost here

Congressman Troy Carter joins Scoot to talk about where New Orleans goes from here in the aftermath of the tragic terror attack on Bourbon St.

This hour, Scoot talks to and Congressman Troy Carter to talk about where New Orleans goes from here in the aftermath of the tragic terror attack on Bourbon St.

On today's show, Scoot talks about the criticism artists get for sharing their politcal opinions on stage, the Bourbon St. terrorist being mistaken for an illegal immigrant, and the Saints final game against Tampa Bay. Scoot talks to: Lt Gov. Billy Nungesser, and Congressman Troy Carter

At least 14 people were killed during a deadly attack on New Year's Day when a driver slammed into a crowd celebrating New Year's on Bourbon Street in New Orleans, in what is being investigated as a suspected terrorist attack. The driver is also dead. At least 39 people were hospitalized for their injuries in the wake of the incident, with some in critical condition.New Orleans police superintendent Anne Kirkpatrick discusses the investigation into a vehicle attack on Bourbon Street. Officials have said the attacker was inspired by ISIS.Dr. Jeffrey Elder, chief medical officer at University Medical Center in New Orleans, speaks to "CBS Mornings" about the conditions of survivors of the vehicle attack and how the hospital became a reunification center.Democratic Rep. Troy Carter, who represents the district affected by the vehicle attack in New Orleans, joins "CBS Mornings" to discuss security and how attacks can be prevented in the future. Carter also serves on the House Homeland Security committee.This year, a new spending cap on medication goes into effect for the first time for people on Medicare. CBS News medical contributor Dr. Celine Gounder explains its impact.The global skincare industry is projected to be worth more than $260 billion by 2027. Dr. Rachel Nazarian, a board-certified dermatologist, talks to "CBS Mornings" about how to optimize your routine this year.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Here's my fireside chat with Venice Music CEO and co-founder, Troy Carter, live from the summit. We talked about the shift to independence, the need to sell more than just an audio experience, why it's a sellers market for music distributors, and the next revenue driver for music will be after streaming.We'll be sharing more conversations from the summit over the next few weeks!This episode is brought to you by Hangout, the new social music platform.Listen in for our Chartmetric Stat of the Week.

U.S. Rep. Troy Carter (D-LA) talks about how the Harris campaign is doing in the Deep South and the issues important to voters in his home town of New Orleans.Become a supporter of this podcast: https://www.spreaker.com/podcast/tavis-smiley--6286410/support.

U.S. Rep. Troy Carter (D-LA) talks about how the Harris campaign is doing in the Deep South and the issues important to voters in his home town of New Orleans.

Representatives Troy Carter, Joyce Beatty, and Summer Lee talk about the power of the Congressional Black Caucus platform and the drive to vote November 5th.  Listen to the full broadcasts from the Congressional Black Caucus Foundations 53rd Annual Legislative Conference and all of the Native Land Pod episodes on the podcast feed (wherever you get your podcasts) or watch on the Native Land Pod YouTube page. As always, we want to hear from you. Send us a video @nativelandpod and we may feature you on the podcast. If you'd like to submit a question, check out our tutorial video: www.instagram.com/reel/C5j_oBXLIg0/ —--------- Instagram  X/Twitter Facebook NativeLandPod.com Thank you to the Native Land Pod team, Reasoned Choice Media and iHeart. Theme music created by Daniel Laurent.See omnystudio.com/listener for privacy information.

It's Thursday and that means it's time to catch up on politics with Stephanie Grace, editorial director and columnist for The Times Picayune/The Advocate. She tells us about Gov. Landry's upcoming special tax session and why he will be looking for Democratic support to pass some of his proposals. This weekend will see the launch of the first NOLA Mural Fest. The project is a collaboration between the Krewe of Red Beans and local artists as a way to uplift community voices, encourage support for the arts, and spur positive community changes. Devin De Wulf, founder of the Krewe of Red Beans, and artists and founders of this initiative, Bruna Patella and Madison Roy, tell us what to expect at this weekend's events. Troy Carter, (D-LA) the Democratic U.S. House member representing Louisiana's 2nd Congressional District is facing a challenge. Devin Davis, 27, is described as further to left. He leads the political operations team for the advocacy group, Voters Organized to Education, the same organization that helped get the state's public service commissioner, Davante Lewis, elected in 2022. If elected, he would also be the first openly LGBTQ representative from the South.Davis joins us to discuss his campaign, his political priorities and what he believes it will take to unseat the incumbent. ___Today's episode of Louisiana Considered was hosted by [host]. Our managing producer is Alana Schreiber; our contributing producers are Matt Bloom and Adam Vos; we receive production and technical support from Garrett Pittman and our assistant producer, Aubry Procell.You can listen to Louisiana Considered Monday through Friday at noon and 7 p.m. It's available on Spotify, Google Play, and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!

Here we geaux! Voters Organized interviewed congressional candidate Devin Davis about his race against incumbent Rep. Troy Carter. Join Bruce Reilly and Devin for a lively discussion on abortion rights, home insurance in the time of climate disaster, Cancer Alley, Palestine, and much more. Recorded at Voters Organized HQ in New Orleans on October 18, 2024. 

Unlock the secrets of equity crowdfunding (yikes! that's another 25 cents for the swear jar), scratch that, "community round" with our insightful guest, Jonny Price – VP of Fundraising at WeFunder. Learn how the 2012 JOBS Act has transformed the way everyday Americans can engage in pre-IPO investments, making it accessible beyond the traditional wealthy elite. Embark on a captivating journey as we explore Jonny's personal story of transitioning from a consulting career in London to impacting lives through Kiva's crowdfunded microloans in the United States.  Imagine a world where investment opportunities are not confined to an exclusive circle but are open to everyone. Jonny demystifies the legal and strategic complexities of raising capital and shares how WeFunder empowers anyone to make meaningful contributions to the startup ecosystem, leveling the playing field for all investors.We delve into the successes of guys like Troy Carter and Nas in angel investing and explore how platforms like Wefunder are reshaping capitalism. Emphasizing the importance of community funding, the guys discuss how democratizing investment can reduce wealth concentration and empower diverse communities. Tune in to a thought-provoking conversation about the future of investment, the power of diverse voices, and the innovative spirit driving a financial revolution."Unglossy: Decoding Brand in Culture," is produced and distributed by Merrick Creative and hosted by Merrick Chief Creative Officer, Tom Frank, hip hop artist and founder of Pendulum Ink, Mickey Factz, and music industry veteran, Jeffrey Sledge. Tune in to hear this thought-provoking discussion on Apple Podcasts, Spotify, YouTube, or wherever you catch your podcasts. Follow us on Instagram @UnglossyPod to join the conversation and support the show at https://unglossypod.buzzsprout.com/.Send us a textSupport the show

Tommy goes live to Washington, DC to speak with Congressman Troy Carter

Last week, politicians and celebrities alike gathered in Chicago for the Democratic National Convention. Over four days, we heard speeches from Joe Biden, the Obamas, and the two names at the top of the ticket: vice presidential candidate Tim Walz and presidential candidate Kamala Harris. Political consultant, author and media contributor James Carville joins us for his major takeaways from the convention and what he believes this means for the future of the Democratic Party. From House Rep. Troy Carter to New Orleans City Council President Helena Moreno, to actor and New Orleans native, Wendell Pierce, there was no shortage of Louisianans at last week's DNC. One of them, Kaitlin Joshua, testified about her own experience with Louisiana's restrictions on reproductive health care, saying she was denied treatment while undergoing a miscarriage. WWNO and WRKF's reproductive health reporter Rosemary Westwood tells us more about Joshua's speech and why abortion access was a major discussion point at the convention. __Today's episode of Louisiana Considered was hosted by Karen Henderson. Our managing producer is Alana Schrieber. Matt Bloom and Aubry Procell are assistant producers. Our engineer is Garrett Pittman.You can listen to Louisiana Considered Monday through Friday at noon and 7 p.m. It's available on Spotify, Google Play and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!

In the last few months, more than 15,000 Louisianans have been kicked off of food stamps. This comes after COVID-era work requirement waivers expired, with most Louisiana residents losing SNAP benefits in January. Nick Chrastil, a reporter for The Lens NOLA, tells us why thousands more Louisianans are expected to lose their benefits due to a new state law. On Sunday, President Biden announced that he was officially dropping out of the presidential race. Shortly thereafter, he endorsed Vice President Kamala Harris for the Democratic nomination. Louisiana's Democrats were quick to pledge their support for Harris, including 51 of the state's 53 democratic envoys to the DNC, Congressman Troy Carter, Democratic Party Chair Randal Gaines, and even famed Democratic strategist and media personality James Carville. But what are the rank-and-file Democrats saying?Devin Davis, a 27-year old political organizer for the group Voters United to Educate who is also running against U.S. Representative Troy Carter in this fall's election joins us with his take. There's a movement in the South to train more nurses to help people following a sexual assault. It's part of a decades-old program that gives medical professionals tools to provide trauma-informed care, and it's now free to attend. The Gulf States Newsroom's Drew Hawkins visited one of these trainings to learn how this kind of treatment could help with prosecutions.—Today's episode of Louisiana Considered was hosted by Bob Pavlovich. Our managing producer is Alana Schreiber; our contributing producers are Matt Bloom and Adam Vos; we receive production and technical support from Garrett Pittman and our assistant producer, Aubry Procell.You can listen to Louisiana Considered Monday through Friday at noon and 7 p.m. It's available on Spotify, Google Play, and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!

Troy Carter says we may have a fusion reactor using lasers in about 10 years.

Tommy talks with Congressman Troy Carter

The Build Back Better Act, passed nearly two years ago, secured over $2 trillion for many aspects of the Biden Administration's agenda, one of which includes infrastructure projects for state and local governments. But accessing grant money isn't as simple as sending a Venmo request. There's a lot that goes into showing exactly how and what the money would be used for, a process not many know how to navigate. To help, members of Congress have introduced a bill tasking the Economic Development Administration to make itself available to aide local governments in predevelopment procedures. One of those congressmen is Louisiana's Troy Carter, who spoke with Federal Drive Executive Producer Eric White about the Economic Empowerment Through Predevelopment Act. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Build Back Better Act, passed nearly two years ago, secured over $2 trillion for many aspects of the Biden Administration's agenda, one of which includes infrastructure projects for state and local governments. But accessing grant money isn't as simple as sending a Venmo request. There's a lot that goes into showing exactly how and what the money would be used for, a process not many know how to navigate. To help, members of Congress have introduced a bill tasking the Economic Development Administration to make itself available to aide local governments in predevelopment procedures. One of those congressmen is Louisiana's Troy Carter, who spoke with Federal Drive Executive Producer Eric White about the Economic Empowerment Through Predevelopment Act. Learn more about your ad choices. Visit megaphone.fm/adchoices

Last May, Marielle Williamson was an anonymous teenager doing anonymous teenager things. Like her classmates at Eagle Rock High School in Los Angeles, California, she was busy preparing to graduate and to leap across the threshold into adulthood. The last thing on her mind was becoming the subject of countless news stories and being thrust into a debate about nutrition, animal welfare and the First Amendment. But that's what happened to her, and that's the topic of today's show. We were interested in Marielle's journey because it intersects with efforts to have Congress pass the ADD SOY Act. The bill would require the USDA to reimburse schools when they provide soy milk as an alternative to dairy milk in the breakfast and lunch lines. Right now, not only does it require notes and special permission even to receive soy milk instead of dairy, but schools aren't paid back for the cost of it, the way they are when they serve cow's milk. That's why, whether a kid wants it or not—even if dairy makes the kid sick— her or she gets two cartons of milk with each school-provided meal. Oftentimes, maybe even most times, those cartons end up straight in the garbage, unopened, because their would-be consumers either don't like milk or have a physical aversion to it, usually in the form of lactose intolerance. Not only is the practice harmful to children who don't know they are lactose intolerant and drink the dairy, or who drink it despite the many health concerns surrounding diary, it represents a remarkable waste of tax-payer dollars. But tax-payer dollars aren't the only waste. Also in vain, too, is the suffering of the thousands of dairy cows required to provide all that wasted milk. When we take for animals, we oftentimes help people, too. Helping animals helps us all. To learn more about the need for the ADD SOY Act, watch our special webinar featuring Wayne Pacelle, president of Animal Wellness Action and the Center for a Humane Economy; Dotsie Baush, executive director, Switch4Good; Dr. Lakshman (Lucky) Mulpuri, chief executive, PlantsNourish; and Rep. Troy Carter, who introduced the legislation. You can view it here: https://bit.ly/ADDSOYwebinar. The Animal Wellness podcast is produced by Animal Wellness Action and the Center for a Humane Economy. It focuses on improving the lives of animals in the United States and abroad through legislation and by influencing businesses to create a more humane economy. The show is hosted by veteran journalist and animal-advocate Joseph Grove. Apple Podcasts, Stitcher, Spotify and Podbean offer subscriptions to the free show. Music from https://filmmusic.io: "Fearless First" by Kevin MacLeod (https://incompetech.com); License: CC BY (http://creativecommons.org/licenses/by/4.0/)   OTHER LINKS www.animalwellnessaction.org www.centerforahumaneeconomy.org   Facebook: https://www.facebook.com/AnimalWellnessAction Facebook: https://www.facebook.com/centerforahumaneeconomy/   Twitter: https://twitter.com/AWAction_News Twitter: https://twitter.com/TheHumaneCenter   Instagram: https://www.instagram.com/animalwellnessaction/ Instagram: https://www.instagram.com/centerforahumaneeconomy/   LinkedIn: https://www.linkedin.com/company/animal-wellness-action/   YouTube: https://www.youtube.com/channel/UCI_6FxM4hD6oS5VSUwsCnNQ          

In today's episode of Category Visionaries, we speak with Troy Carter, CEO and Co-Founder of Earthshot Labs, an ecological restoration finance platform that's raised $11 Million in funding. Topics Discussed: Troy's background as a Stanford graduate, and also as founder of a successful cider company in the West Coast Finding fulfillment in one's professional and personal life, and improving organizations How one can make environmental issues more personal and motivating for people, and what we can learn from stoicism The way Earthshot Labs uses ecosystem forecasting to help people develop carbon reduction projects Difficulties in the industry, and what Troy sees in the future of Earthshot Labs   Favorite book:  Red Mars (Mars Trilogy)

Troy Carter is founder and CEO of Earthshot Labs. In conversation with Matthew Monahan. Watch this episode on video: https://youtu.be/5DwYAEH3Wto Earthshot Labs: https://www.earthshot.eco/ Troy's LinkedIn: https://www.linkedin.com/in/troyearthshot/ THE REGENERATION WILL BE FUNDED Ma Earth Website: https://maearth.com YouTube: https://www.youtube.com/@maearthmedia Community Discord: https://maearth.com/community Podcast Feed: https://feed.podbean.com/theregeneration/feed.xml RESOURCES The Earthshot podcast: https://www.earthshot.eco/podcast Climate: A New Story book by Charles Eisenstein: https://www.amazon.com/Climate-New-Story-Charles-Eisenstein/dp/1623172489 BIOME app by Earthshot Labs: https://www.earthshot.eco/biome Nexus Mutual: https://nexusmutual.io/ RELATED INTERVIEWS Diego Saez Gil (Pachama): https://youtu.be/k_vZhWGU7Zg Paul Gambill (Nori): https://youtu.be/6ycyCFLiqi0 Rez (Solid World): https://youtu.be/vVQUg_SBxt4 This interview took place during SF Climate Week 2023: https://www.sfclimateweek.org SOCIAL Farcaster: https://warpcast.com/maearth X / Twitter: https://twitter.com/maearthmedia Lenstube: https://lenstube.xyz/channel/maearth.lens Instagram: https://www.instagram.com/maearthmedia/ Mirror: https://mirror.xyz/maearth.eth LinkedIn: https://www.linkedin.com/company/maearth/ Lenster: https://lenster.xyz/u/maearth Facebook: https://www.facebook.com/maearthcommunity TikTok: https://www.tiktok.com/@maearthmedia

Today we welcome Troy Carter to the podcast. Troy is the co-founder and CEO of Venice Music, a technology and media company focused on powering the business of music via distribution, services, and data analytics. Formerly, Troy was the founder and CEO of Atom Factory, where he rose to prominence, nurturing the careers of global superstars including Lady Gaga and John Legend. He most recently served at Spotify as its Global Head of Creator Services, overseeing the company's growth strategy for artists and record labels.In this episode, I talk to Troy Carter about spotting creative potential. Working in the entertainment industry has given Troy an eye for talent, but that's not all it takes to become successful. Hard work, determination, and letting your personality shine through are also key components. Troy and I talk about musical geniuses and the future of the music industry with the advent of sophisticated AI tools. Website: www.venicemusic.co/Twitter: @justcallmetroy Topics02:21 The golden age of hip hop06:50 Spotting creative potential13:26 East coast VS West coast hip hop19:16 Discovering Lady Gaga 26:35 Be willing to bet on yourself29:50 Musical geniuses 36:00 The creative process41:59 How AI is changing music49:36 Discovering new artists53:19 Helping independent labels

Troy Carter joins Tommy to talk about what he's doing in DC for Louisiana and what the Risk Rating 2.0 is doing. 

In the 1990s, Interscope Records played by its own rules. Most new labels started with big stars, but Interscope had a clean slate. Most labels were scared of rap music, but Interscope leaned in. Co-founded by Jimmy Iovine, a producer, and Ted Field, a film producer, people questioned whether they had the chops to make it.The label has had a hand in some of the most memorable music moments like Death Row Records, the rise of Eminem, and the creation of Beats by Dre headphones. To break down Interscope's success, I brought back Zack O'Malley Greenberg. His book, “Three Kings,” covered Interscope's story. Together, we unpack what's made Interscope such a long-standing player in the music industry.[0:53] The most successful individual label of the past 30 years?[2:40] Key figures in Interscope's come-up story[6:57] Nontraditional way to build a record label [11:07] Death Row Records partnership [16:44] Biggest signing? [19:14] Best business move?[28:07] Darkhorse business move? [33:21] Where will Interscope be in 10 years [36:07] Would Interscope's 90s approach work today?[43:39] Interscope's entrepreneurial challenges today [50:36] Biggest winner in Interscope history?Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Zack O'Malley Greenburg, @zogblogThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Dan Runcie Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more, who are taking hip hop culture to the next level.[00:00:27] Dan Runcie Guest Intro: Today's episode is all about Interscope Records. It has been one of the most influential record labels since it was started in 1990. This record label has been home to Dr. Dre, Eminem, 50 Cent, Lady Gaga, Olivia, Rodrigo, and countless other names in between. So we talked about what made Death Row records wanna partner with a company like Interscope and what made Interscope succeed time and time again. So we talk about the business model of being able to sell controversy and why that worked well, especially in the 90s. We also talk about leadership and how important it is to have people at the helm that understand what's needed and how that continued to help Interscope time and time again.We also talk about some of the challenges that Interscope has had and how they're able to navigate that too. And in this episode, very similar to the Cash Money one that we did a couple months ago, Zach and I, that's Zach O'Malley Greenberg, you may know him from his work back when he was at Forbes as the entertainment editor there.And from the books he's written like Three Kings and Empire State of Mind. We talked about a number of things and answered several questions that we talked about in the Cash Money episode as well. What was the biggest signing? What were the best business moves that were made? What was the Dark Horse move?What are the missed opportunities? How did this record label handle transitions? And who is the biggest winner overall from the success of Interscope Records, which is now Interscope Geffen A and M today, one of the umbrella labels under Universal Music Group. This is a really fun episode to do, and we're gonna do more of them.So let us also know if you have any suggestions on other ones you want us to do at the end of the episode, and we'll go from there. Here's our breakdown on Interscope Records. Hope you enjoy it.[00:02:13] Dan Runcie: This episode is a breakdown on one of the most storied record labels of the past few decades, Interscope Records and we're back to break it down with my guy, Zach O'Malley Greenberg. Zach, welcome back, man. [00:02:24] Zack Greenburg: Thanks for having me, as always. [00:02:27] Dan Runcie: Yeah, I knew that this was a topic that was near and dear to you, given the work you covered in the spaces.Well, this is one of the more interesting record labels, but following their work for years. And just to just kick things off, this record label starts 1990, right at the beginning of a new wave for music and since it's come out, would you say that this is the most successful record label, individual record label that we've seen in music since then?[00:02:52] Zack Greenburg: I mean, it's certainly hard to think of another one, that's been more reliably at the top, right? I mean, and I think the thing that really sets Interscope apart is it's not like, you know, the label was made off of just one act or two acts or three acts. They just have a, track record of continuing to find, you know, artists that push the envelope, that, you know, break records and that end up at the top of the music scene and, you know, kind of across genres and eras too.So, you know, and really even across, chief executives, which is I think, pretty unusual. So, I think there's some kind of secret sauce in there and, can't wait to dig into it with you.[00:03:27] Dan Runcie: Yeah, I think it. In terms of the longevity, in terms of the phases they've gone through, whether it's dominating in hip hop, dominating in pop, dominating in rock, they've been able to do it across genres across decades. The one record label that I do think could also be worth mentioning in this respect is Republic Records started a few years after 1995, but I think there's a few things there too as well.The consistency and the ability to do consistent deals, win challenging Bit Wars and get some of the top artists. So I do think it would probably have to be one of those two. But from a timeframe perspective, just all of what Interscope was able to do even before things got started at Republic, do give them a edge.If we're talking past 25 years, that's probably another discussion, but past 30, 32 years, I think Interscope is probably there. I think there's also maybe a case to be made for Columbia or a case to be made for Atlantic as well, but I do think that Interscope, especially just with the way that they went about things a little differently, which we'll get into, but I feel like they have a strong advantage there. [00:04:33] Zack Greenburg: Yeah, for sure. And I think, you know, particularly when it comes to the sort of entrepreneurial spirit, you know, and we've talked about Cash Money and Def Jam and you know, Rockefeller certainly, hip hop, specific record labels that have been uniquely, entrepreneurial, you know, especially given some of their leadership, but like, I think for a label that, you know, kind of delves into pop so much.And of course Interscope obviously, you know, huge home for hip hop too. But to have that entrepreneurial streak, outside of it, mostly hip hop label. I think that's pretty unusual too in some of the things they've done around beats, which we can get into. you know, j just, you know, being almost, you know, like a venture fund or an incubator as much as a record label in some ways. I think that's another way that Interscope has been, you know, really different from the rest. [00:05:16] Dan Runcie: Yeah, for sure. That beats thing, we'll get into that one in a minute. I feel there's so much to dive into there but let's start with the quick backstory. I'm sure a lot of folks already know this, but there are three main figures that were involved with. The beginning of this record label. You have PBIV, you have Ted Fields, and you have John McLay so. Let's first start with Jimmy. So as many of you know, this was someone that was a record producer. It started as that worked with legendary artisan music, whether it was John Lennon, Springsteen, and several others. And with that, he was able to carve out a lane, figure out what works for him. And I know that now the jump from producer to executive may not seem like it's that much, but back in 89 ' 90', there were a lot of question marks around whether or not this record producer guy could run a business, could he be an executive, and make the decisions and call the shots?And there were a lot of things that Jimmy did that may seem conventional, but there were a lot that were seen unconventional. But I do think that him having the partnership with others helped craft Interscope to where it is today. And Ted Fields is one of those first, one of those people where the name comes from.So yeah. Zach, tell us a little bit about Ted and some of his [00:06:28] Zack Greenburg: work before. Yeah, I mean, you know, and it was, this was at this point, over 30 years ago, but, you know, I was five years old. But kind of looking back on it now, I mean, it seems to me the way these things go, like Ted Field was kind of the money guy. Jimmy was the industry guy and you know, Ted Field was one of the heirs of the Marshall Field Fortune, he had been involved in film production and like race cars and all kinds of things that heirs to Fortunes are option involved in, which are maybe not as lucrative as Interscope Records turned out to be. but interesting nonetheless, he was a producer on, revenge of the Nerds and some other really interesting films.but yeah. In 1990, he came along, basically thought of Interscope Records as its division of this film company. and he brought on, he teamed up with Jimmy. I think they were actually introduced by the manager of u2. and, David Geffen was sort of involved in negotiations along the way. And, it was like kind of a who's who of the music world, you know, at kind of the cusp of the 1990s there. And so he came in, he brought on John McClain, to run Interscope at first. So John McClain is like one of these people who's incredibly, he might be the most influential person in music who nobody's ever heard of. And, unless you know, you know, John McClain was, critical in Janet Jackson's success.he's also now become the co-executor of the Michael Jackson estate. you know, really since MJ died, along with John Branca, who's sort of the, public face of it, but, you know, John McClain, if you want to like, try to find a picture of John McClain. I mean, this guy is so, under the radar, but he's so deeply in the mix.I don't really know how he manages to avoid the spotlight quite as much as he does. But, you know, obviously contributes a ton, of expertise, and as a true power player behind the scenes in the music business. So, you know, you kind of, you kind of put that dream team together and then you have sort of the ingredients for, you know, the beginning of, what we now know as Interscope records. [00:08:18] Dan Runcie: Yeah, and I'm glad that you brought up Geffen earlier because when this started, a lot of people looked at Geffen as the model for what this could be, but also how Interscope went about things differently. Geffen's whole thing when he had started Geffen Records was who were the established artists that he could go after?Again, whether it was Elton John or a few other folks that they were able to really secure, because at the time, the thought was you wanna have the proven people on your roster because it's so hard to be able to build that from the ground up. So not only is Jimmy and the team already going into this from people that don't traditionally have strong music experience in terms of running a music company, at least in late eighties, early nineties, but you also have them try to do it completely with new artists and going in from a new perspective.And this was part of one of the things that I think helped set them apart because they lead into genres and aspects of genres that other folks avoided. So of course, in the early days of Interscope, they focused more so on rock music. That's what Jimmy was known for. And you had artists, I think their first hit was Ricoh Suave.They had had some stuff with Marky Mark and the Funky Bunch. So you started to see a little bit of more interesting ways to go about stuff. But then they also had Nine Inch Nails and Marilyn Manson. So you got a vibe for the fact that this wasn't just rock music. They were in many ways going after that shock value like what was the thing that was somewhat controversial, but there was the controversial stuff that did sell and was resonating and they were able to take risks that others weren't, and it worked out to their advantage.[00:09:58] Zack Greenburg: Absolutely. And you know, another executive, who deserves mention is Tom Whaley, who came over from, I think it was, he was at Capital and a and r there. And you know, he was the one who had originally signed Tupac, in I think 1991. So that was like way before Tupac was a mainstream success. He was really getting in early, you know, the seed round of Tupac, if you will. and [00:10:18] Dan Runcie: Digital underground era of Tupac. [00:10:21] Zack Greenburg: Yeah, exactly. So, you know, whereas maybe Geffen was more of like a series B kind of fund, you know, looking for series B and C, kind of sure things, you know, I think Interscope was really willing to get in there early and Right. They didn't really care if, somebody was controversial.And I think, I think Jimmy, I think that was part of his genius, was being able to tell like, you know, we shouldn't shy away from controversy. And in fact, you know, as, as long as it's. Not crossing certain lines. controversy can actually be good for a record label because it generates publicity and, you know, certainly as Jimmy got deeper and deeper in, you know, into the hip hop world, you know, I think, he followed that, strategy pretty closely. [00:11:03] Dan Runcie: Yeah. And I think this speaks to something that worked effectively in business in the nineties as well. There was almost this monetization of pearl clutching, if that makes sense. What is gonna make people actually be like, oh, did so-and-so just say that? And that's why MTV was able to reach heights in the late eighties and early nineties that VH1 necessarily didn't at the time.And that's why Interscope was able to do things, other labels weren't. And then I think similarly, you even look at gaming back in the day. You look at a company like Sega and the types of games they were willing to release on a council like the SEGA Genesis, they were taking risks that Nintendo didn't wanna take.And I think we actually saw Sony continue to do that. So I feel like there was this ethos of that in the nineties from the get-go, and Interscope was willing to go there where others weren't.[00:11:50] Zack Greenburg: Yeah, hundred percent. And, you know, I think it's, also just interesting to know that I think a lot of people look at the Tupac saga and they think about, you know, there's this whole, and we can get into this later, the whole Suge Knight and bailing him out of jail and all that.But, he was already in the Interscope, family, you know, years before that. So[00:12:06] Dan Runcie: Right. [00:12:07] Zack Greenburg: It all kind of comes together. [00:12:08] Dan Runcie: Oh, definitely. And I think with that it's time to talk about what are the most important things that does set the stage for this record label. In general, it's the partnership with Death Row records and signing them to the deal that they did. So it's funny because I think that when a lot of people think of hip hop artists signing deals and getting ownership, we often hear about cash money.We often hear about Master P and No Limit, but Death Row was able to do something quite similar and have that type of relationship with Interscope as well. It was a distribution deal, and for as notorious as Suge Knight is for his bully tactics, and that's probably a light way to put it in terms of how he goes about his business.He was very adamant about what they owned and they were able to use a few hundred thousand dollars investment on their end. Largely gotten from some money that, Suge Knight didn't get that he was owed from a vanilla ice steal and that that becomes a start to death row records. And they sat on the chronic for over a year until they found the right company. And the right company ended up being Interscope to partner with.[00:13:14] YT Clip 2: All I remember is that Dre came in, then plays the chronic. I said, who recorded this for you? He said, me. I said, wow. This guy will define Interscope. [00:13:24] Zack Greenburg: Yeah. and you know, I think that, you know, there's the old story of like, when Jimmy first heard Dre and Snoop together on a track, he's like, these guys are like Mick and Keith just, you know, they're just, just different genre but saw it immediately, right? He saw the, like behind the scenes musical guy, you know?and then the sort of like the forward facing storyteller, the performer. And, he saw formula that worked in rock and that would work in hip hop. And, I think in many ways, You know, Jimmy's genre agnostic, right? It didn't really matter that this was hip hop or that was rock.The point was the formula works and it works in whatever genre you put it forward in. So, at one of my other favorite Jimmy Stories was, I don't remember which song this was, what was it? It was, maybe it was off the chronic or doggy style and that he couldn't get the, radio stations to play it, because it was too obscene or whatever.And so, he just bought like 32nd or 62nd slots, or maybe he bought like, full three minute slots on drive time in LA just terrestrial radio and just played the song and people didn't realize that it was an ad, and they just, they loved the song and they started calling the radio stations requesting it, and that's how they rocketed it to the top.Which, do you remember what song it was? it's, not such, of course, the listeners are gonna be like, oh [00:14:41] Dan Runcie: someone's gonna come back and ping us about it. [00:14:44] Zack Greenburg: But I just, I love that story and it's, just like classic Jimmy Iovine, you know, you know, and it works. and I think also, you know, to your earlier point, like monetizing the pearl clutching, the best way to, get somebody to want something is to tell 'em they can't have it, right?I mean, so whoever's mom is like clutching their pearls, but the kid is like, wait a minute, my mom is freaking out and I can't have this record, like, what is this record that I can't have? Even if they didn't know what it was, you know? and I think in a funny way, like that era, you know, the whole parental advisory sticker, I mean, that became like, you know, like almost a badge of honor, [00:15:18] Dan Runcie: Oh yeah, I was a marketing employee at that point. [00:15:21] Zack Greenburg: Yeah, exactly. and you see that, know, obviously throughout music, but even, to draw parallels, with basketball, which as we get into talk about, beats by Dre, you know, I think there are a ton of them. But like one of the reasons that, Eric Jordan did so well early on was because they were like finding Jordan for wearing them.And this was a big story, you know, he was kind of like breaking the rules by wearing, cuz it, you know, the sneakers they had to be like white in the nba, white sneakers. We could only have a certain percentage with color on them. And like the Jordans were 50% red or something. And, this was like a big problem and, you know, resulting in fines.But Nike decided to just pay the fines and take the publicity. And I think that sort of attitude is, the one that was, you know, adopted by Jimmy and, you know, by Interscope more broadly throughout. [00:16:04] Dan Runcie: Yeah, great story. And I think that speaks a lot to both the blessing and to be honest, in some ways the curse of, Jimmy, what Jimmy's great at, and some of Jimmy's challenges as well, because from a leadership perspective and from the risk taken perspective, he was always willing to go there and spend the money to make the things happen, right?Whether it was taking a less lucrative deal to work with Death Row because you're working with Death Row, what you're able to put out, right? Three other first four albums they put out are classics, you have the chronic, you have Doggy Style, you have the above the Rim soundtrack. They just came so strong.And even that moment when they're able to have that cover on vibe, that is just such an infamous cover of, you know, the three main artists and show together. No one else could really do that, and that's why that does stay as strong as it is. But with that, Jimmy also did get a lot of criticism for overspending and not necessarily having as many checks of balances in place.A lot of people felt that, you know Doug Morris, who, this was a little bit later, but Doug Morris, who was leading Universal at the time, pretty much gave him a green light to do a lot of the things he wanted to do. And I remember in the nineties he had side Tom Jones, which was in many ways a bit antithetical to like how he's been running the business so far to spend the money on an act like that.And then even some of the things later on with Apple Music, and I mean, that's a whole nother conversation, but it's the way that the money was spent, worked well when it worked well. But then things don't work out, everyone has, you know, the criticism ready and some, some businesses that can work well, but in other businesses it can be a little bit challenging.[00:17:47] Zack Greenburg: Right. Yeah. absolutely. And, you know, I think as with many businesses though, if you spend a lot of money and you spend it, you know, intelligently or at least you know, in the right direction, maybe you overspend a little bit. If you spend in the right direction, you know, the rewards accrue to you.And, you know, I don't know if I'm getting too ahead of myself here, but. Just while we're on the topic of controversy, you know, just the whole corporate history of Interscope, it had started off as a, or it eventually was a joint venture between, Time Warner and then Field and Iovine.And in 1995, after all this controversy, with some of the lyrics and, you know, Dolores Tucker, you know, and all this T ime Warner divested, sold it's half of the company to field an Ivy for 150 million bucks. And then year later they just turned around and sold that half for 200 million back to Seagram.And, you know, so they made a tidy little $75, 85 million in like a year, you know, after, having their hand force by this controversy. So, it's just kind of funny how that all works out. [00:18:47] Dan Runcie: Yeah, no, I'm glad you brought that up. But I think we could get into some of the categories now cuz some of this probably fits there with that too. At least, I'd say the biggest signing here, I think the biggest signing, there's a number of them in Interscopes, 30 plus year history, but I think it has to be this Death Row deal.[00:19:02] Zack Greenburg: I think the death row deal, because it kind of paves the way for everybody else. But, I would say though, if there were a single artist that, you know, sort of, if you had to pick one artist to define Interscope, I'd probably go with Eminem. I mean, just in terms of like the overall, the controversy, the evolution, the sales.I mean, you know, just, nobody can touch Eminem from a sales perspective. you know, certainly when it comes to hip hop, over the past, you know, couple decades and, you know, just, all of the, kind of, the good and the bad and everything that came together. I mean, you know, but that doesn't happen unless you have Death Row.It doesn't happen unless you have Dr. Dre. I mean, you know, if you say like, what artist was most critical to Interscope overall, like on a broader kind of like holistic spectrum, I'd probably go with Dre. but as far as assigning, I don't know. It'd be hard to top that in my book. [00:19:53] Dan Runcie: Yeah, I think Eminem is a good counter there because this is kind of like the cash money conversation we had then, right? Do you say that it's Lil Wayne or do you say it's Drake and it actually is Drake from a pure numbers perspective, but obviously Drake doesn't happen without Lil Wayne and the same thing as here with Dre and Eminem and then everything else there.And Eminem is specifically because I think even if you looked at the 2010s, he's still probably up there in terms of the most commercially successful artist. He's already number one of the two thousands. He was already pretty high up from the nineties just given the work that he did in the late two thousands and his. In 2022, his greatest Hits album was the most popular rap album in the UK. And this is a album that's 17 years old, a greatest hits album. And then you just look at the streaming numbers. I'm pretty sure he has two of the three most streamed songs of the two thousands being Lose Yourself and Till I Collapse, which wasn't even like a big single at the time, but ended up being a staple on workout playlist.So yeah, [00:20:57] Zack Greenburg: and he has remained relevant in a way. I mean, I think if you walk down the street and you ask the average, you know, 15 year old, they'll know who Eminem is and they might not know who Dr. Dre is. [00:21:08] Dan Runcie: Which is wild to say, right? [00:21:10] Zack Greenburg: I know, [00:21:11] Dan Runcie: Wild. Yeah, [00:21:12] Zack Greenburg: It's crazy, but I think but I think it 's also true, for better or worse, so, [00:21:17] Dan Runcie: What's the best business move in, Interscopes done?[00:21:20] Zack Greenburg: I think it might be cheating a little bit because it was part Interscope and it was also part Universal more broadly. but I would go with beats, right? Just, you know, by way of background for those who don't know the full story, you know, uh, Jimmy Iovine and Dr. Dre founded Beats in, gosh, what was it, 2008? Something like that. [00:21:36] Dan Runcie: Yep, 08' [00:21:37] Zack Greenburg: But like from the very beginning, you know, the story goes that they're like walking down the beach in Malibu and, Dre has some kind of sneaker deal on the table and he says, you know, Jimmy, should I take this sneaker deal?And Jimmy goes, you know, like, F sneakers, let's sell speakers. And so that's how Beats was born. Is that exactly how it went down, you know, we'll never know, but it's a great story. and You know, to kind of tie it back to what we were talking about earlier with Air Jordan, they really did follow the Air Jordan Playbook in a lot of ways.And, when I wrote my book Three Kings, which was about Dre, Diddy and Jay-Z, the Dre section really focused a lot about, you know, beats and sort of how Dre set up this business and everything with Jimmy. And, you know, I actually went to the former CEO of Best Buy and I said, how did you sort of like, get kids to pay 200 bucks for a pair of headphones when like, they had been paying 200 bucks for sneakers before?And he said, well, we very consciously told our salespeople, when somebody walks in, you've gotta tell them like, you know, you're competing with Jordan not Bose, you know, you're gonna tell that kid like you know, this headphones set is like, more interesting for your wardrobe than that pair of sneakers or, you know, like that's how you're gonna really kind of win and create a category, not just sort of become the, best player in an old category. And, I think that was like the brilliant thing that they did. But the way that they got it to happen was they got full buy-in from Interscope and from the parent company, universal.And actually Universal invested a pretty big chunk of money into Beats. so that, you know, I think gosh, I don't remember exactly what it was, but I think when Apple finally bought them out, in 2014, I think Jimmy and Dre had 25 to 30% each. I think Universal had something like 20%. LeBron had a little bit and, will I am, but, you know, the fact that Universal was bought in, the Interscope was bought in, and that Jimmy was able to get them to put, beats headphones in like every single, I don't remember if it was Interscope video or all universal videos. I think it might've just been Interscope. [00:23:33] Dan Runcie: Yeah, they had 'em in Ineterscope cuz like they had 'em in like Gaga videos and like she would wear them and stuff. [00:23:39] Zack Greenburg: Yeah. And it's like, it's brilliant. Like what a brilliant move. So, you know, off of the two, that, whatever they put into it, intermediate, a lot of that was free, right? They just put in, you know, their own free product placement. They have to do anything and they help build this, you know, build beats into this $3 billion company.and so, you know, I, I don't know how the pie sort of divided, but it ended up being, you know, worth hundreds and hundreds of millions of dollars, to the sort of universal Interscope family. And then, you know, also, you know, hundreds and hundreds of millions of dollars for Jimmy and Dre.So, there are a lot of great signings. I'm sure they made a ton of money off of Eminem and all these other artists, but like, it's really hard to top that one. And, they just really knew how to do it. They really knew how to, I mean, Jimmy, you know, yeah. Again, it's a perfect partnership.Dre is this perfectionist artist and Jimmy is the market critter. And I remember, man, it must have been like 2010 or 2011, I got invited to this like launch of some new Beats thing, for New York media only. And, you know, there were like 30 people there and it was Jimmy and Dre and they were kind of like standing around in this, big conference room.And, you know, Jimmy was just like talking and yacking it up and telling stories and he told the story about the walking down the beach and, you know, sneakers or speakers and Dre's just kind of nodding and, you know, chiming in occasionally, but like, that was their deal. you know, Jimmy, Jimmy was the talker and Andre was the, you know, the, the quiet genius artist.and that was a pretty potent formula. [00:25:10] Dan Runcie: Yeah, that was my answer too. Beats has to be the best deal. All the reasons you mentioned as well. They also saw a huge opportunity with speakers as well because at this point, the predominant way that so many people were listening to music were those cheap white iPhone headphones or the iPod headphones, I should say, at the time that people were listening to.And I remember Jimmy was adamant about how poor the sound quality was coming out of them, especially given how much focus there was in the nineties around surround sound and both speakers and all this stuff. And sound shifted to these very cheap plastic headphones that just came for free in the iPod, cases.So them putting a bit more money into the technology there. Granted, there were other companies that did come through and really expand further, and that's how we're able to have products like the AirPod Pro Maxes, which are now several hundred dollars more than beets ever were because beets was considered to be expensive at that point.And now people will buy those like it's nothing the same way that people will buy Yeezys. Like it's nothing. So that other point about category creation, not just building within an existing area was key there.[00:26:20] Zack Greenburg: Yeah. And I think it's also worth noting, you know, Jimmy clearly looked up to Steve Jobs a lot and, you know, took cues from Steve Jobs creating the iPod, right? I mean, that was a very, like, he created the iPod. It was a music thing that helped basically revive apple and, and get it on the track that it is today.And you know, there, I don't think there's an iPhone if there's no iPod, but, you know, how did they get the iPod to be so sexy? It was like, It was those YouTube U2 commercials with the like, hello, hello to place golf to go, you know, and everybody was dancing and, and the crappy white, you know, earbuds with the, you know, chords and everything.you know, that was like, that was a creation of a category. And you know, I think that Jimmy looked at that and he thought, gosh, you know, I could do something like that. And I think he always thought it would be a great fit for Apple but Steve Jobs, you know, while he was alive, I think he kind of thought he could do it all himself, and he didn't really want to be involved in, you know, in that side of the business.So I think it's why, it wasn't until after Steve was gone that, you know, Apple came in and, and bought beats. But yeah, I remember reporting on that deal when it happened and happened at the worst. I was like, I had just gotten on a flight to like go to Italy for vacation with my wife.and I woke up at 7:00 AM and we landed or whatever, and I had like 70 texts and it, you know, it was like be, while I was over the Atlantic Ocean Beats, had gotten sold to Apple. And that, video came out with Dre saying how he was, you know, the new king of the Forbes list.And, [00:27:54] YT Clip 1: The Forbes list just changed. They need, Hey, it came out like two weeks ago. They need to update the Forbes list, shit just changed in a big what? Oh my understand that. Oh my. The first billionaire in hip hop.Right here from the motherfucking West Coast. Believe it. Oh. [00:28:11] Zack Greenburg: and so I just said to my wife, I was like, honey, we're gonna have to hang out in this airport for a little while before we started our vacation. I was like, you know, trying to put together a story and figure out what happened. but I think that one of the things that people talked about, you know, and at the time everybody's like, that's a crazy amount of money, you know how, you know how like Apple never spends money like this, you know, what's the deal? But a lot of the scuttlebutt was that they kind of like viewed Jimmy and Dre as, you know, maybe not like a replacement Steve Jobs, but almost like a piece of the Steve Jobs Voltron that they were gonna try to recreate, you know, like Tim Cook would, you know, the, would be the brain and the like, Dre and Jimmy would be the heart and somebody else would be the, I don't know, like something like that.They would piece it back together and get these little aspects of Steve and that they thought that Jimmy and Dre could really help out on the marketing side of it. and, you know, I don't know, I know that they had kind of like, there was a period of a few years where they were getting paid to hang around and, do stuff.And, you know, they did some, I think they did some more commercials, promotion, that kind of thing. But I never got the sense that they really were like, all right, you know, apple for life. And I think they kind of just, the thing ran its course, and, you know, they, took the last bit of their cash and off they went to do the next thing but it was interesting at least. that a lot of people really thought that that was kind of like part of the reason why, the deal was for such a big number, you know, that it was almost like an acquihire type of situation. [00:29:36] Dan Runcie: Right, and the other big piece of it was the streaming service that they had created at the time. And Apple wanted to get into streaming. They didn't have a streaming service. They were starting to develop one. So Beats music eventually became Apple Music, and then that's how Jimmy became so integral with [00:29:52] Zack Greenburg: And, I think even by that point, beats already had some really interesting people, I think like t Trenton Resner and so forth who were like deeply involved with it. And I think, you know, part of that was appealing to Apple too. that they felt that, you know, not just that the product existed, but that it, you know, that, the people existed who could kind of like grow it within Apple and, you know, eventually turn it into, into, iTunes like, you know, Apple Music and so forth.[00:30:17] Dan Runcie: Right, which speaks to that partnership in Jimmy's connections, right? He had been working with trend since the nine Inch Nails days. So yeah, all comes full circle. what do you think is the dark horse move or the dark horse thing that Interscope has that doesn't get talked about as much? So mine for this, I actually think it's the longevity that they've had with leadership there because I think that other record labels, this gets talked about a fair amount, but, and it's true for auto scope, I feel like it just doesn't get talked about in that same way.So since 1990, there's been two people that have been the head of it. So you had. Jimmy from what, 89 or 90, the founding until 2014, and then John Janick takes over and he's been there for almost a decade. And then if not more, if you just consider, you know, I think the total time working in the organization.So that's like you think about other organizations too, whether. You look at a team like the Pittsburgh Steelers, there've been two head coaches there since the early nineties. You look at the Green Bay Packers, there's been two quarterbacks that they've had as starters since the early nineties, and those teams have been consistently competitive and you rarely see them getting the first round or the number one draft pick.I think like Mike Tomlin hasn't had a losing season, and in some ways I kind of think about Interscope in that way. Yeah, sure. Every record label's had ups and downs, but these teams that have consistency, especially in an industry like music where there's so much turnover, so many of these other labels that are their competitors can be revolving doors in this way, which can lead to a lot of challenges for people to really be able to execute a strategy. This is one thing that I think has helped their longevity quite a bit.[00:32:01] Zack Greenburg: Yeah, I would say for my dark course, I would say John Janick, specifically, and I think people don't really realize, you know, just like how successful he's been cuz everybody talks about Jimmy. But, you know, first of all, at this point John's been there, I mean, he's been running the show for almost 10 years, which is nearly as long as Jimmy was.And, you know, who knows how much of the time before, Jimmy left in 2014, John was actually really, you know, running things on a day-to-day basis. So, you know, the, just like so many times you see a, visionary founder like Jimmy, leave a company and then, you know, the thing just kind of like Peters out, but, you know, I mean, under John Janick, you know, look at, you know, like Billy Eilish for example. I mean, I think Kendrick Lamar was also under his watch, probably Machine Gun kelly must have been under his watch too. [00:32:51] Dan Runcie: Yep. And then even Olivia, Rodrigo more recently. [00:32:54] Zack Greenburg: I mean, what a huge, you know, like, so that's definitely like on the level of, you know, of the biggest acts that Jimmy was able to bring in.And you know, it's like, you know, even with some of them it was really more Dre than it was Jimmy. So I think that's, you know, yeah, I think John deserves a lot of credit too. you know, and we haven't talked about Lady Gaga, so she's not exactly a dark horse. but, you know, lady Gaga is somebody who came in under Jimmy, but like, jimmy should not get credit for Lady Gaga because Lady gaga was kinda like languishing, you know [00:33:23] Dan Runcie: He was on the bench chilling and then like it was like the Akon's, the one that's like, Hey, what about her? What about [00:33:30] Zack Greenburg: And I remember I interviewed him, for Forbes. This was back in, you know, oh nine or 2010 or something like that. And, and I was like, so tell me the Lady Gaga story. And he said, basically I heard her stuff. And I was like, this is amazing. And I called her up, or I called, I think you called maybe Troy Carter, who was managing her at the time and said, you know, I wanna assign you, to my Interscope imprint.And she's like, I'm already on Interscope. So, so they just kind of like moved her around, within Interscope and, you know, they were able to, you know, that first song Just Dance. a lot of people forget that was like, when that came out. Akon was much bigger than Lady Gaga and, you know, that was at the height of Akon's fame.He's not out there as much now, but he is out, you know, he's all over the world making probably even more money than he was, back then. But, you know, yeah. He was hosting or appearing on SNL with Lonely Island and all those guys and, you know, he's kind of like showing up in the back of just dance, you know?Oh, yeah, you know, doing his Akon thing and, you know, and kind of really helped get her off the ground you know, and then just kind of like, pieced out and Lady Gaga became this incrediblesuperstar. So, you know, I think that's, certainly some serendipity for Interscope there, but, yeah, I wouldn't give Jimmy full credit for that one. [00:34:45] Dan Runcie: Yeah, definitely not Interscope, collectively. Sure they had her on the roster, but yeah, that one has to go to Akon on that one by extension, who himself, you know, clearly worked with Interscope and then just given, cuz we didn't even mention him himself, just that whole run he had from like oh four to what, 08', maybe 2010 if you wanna go a little bit longer. He was everywhere. [00:35:05] Zack Greenburg: yeah, yeah. [00:35:06] Dan Runcie: So of course we talked a lot about consistency. We talked a lot about Janet and the role that he's been able to do there, and I think consistency does naturally lead itself going further. So let's flash forward 10 years, let's go to 2030, 2033. Do we still think that Interscope will be at the level that it is now, where if you look at the market share numbers, it's roughly alternating, right? Around 10% of recorded music may be a little bit less, but I feel like it's like them Republic and then Columbia alternating to some extent. And it all kind of depends on who releases when but do you think that changes? Do you think they're more likely to stay there? Or what do you think 10 years from now [00:35:46] Zack Greenburg: Yeah, I think they're gonna stay, I mean, it's not like, one of these situations where their top artists are leaving or, you know, you're really too concerned about it, or they're kind of in the wrong genre mix. I mean, they're really heavy in hip hop. you know, they have some of the biggest stars out right now.I mean, we already talked about Olivia Rodrigo, Kendrick. Billy Eilish obviously is enormous Machine Gun Kelly, but you know, they have Black Pink. That's huge. Like, that could be a big place for growth [00:36:11] Dan Runcie: You got SZA through the TDE deal, right? [00:36:13] Zack Greenburg: Yeah. yeah. I mean, that's a great point, you know, hard to find anybody, who's having like a bigger moment that says it right now, so, You know, there's a lot.let's say that to go back to the sports analogy, it's not like this is a team of like, you know, 38 year olds who are nearing the end, you know, this is, like a win now team, with plenty of talent in the pipeline. and they've proven that they can keep working the farm system or something to continue the sports metaphor.But, and you know, I mean, John himself is not an old guy. I mean, John is, [00:36:40] Dan Runcie: Mid Forties? [00:36:41] Zack Greenburg: You know, I I forget old he is. Exactly. Yeah, you're talking, you know, where are they gonna be in 2030? I mean, you know, he'll be like in his early fifties and, still I think doing what he's doing, and doing it really well.So, you know. Absolutely. Yeah, I don't really see them fading. And if anything, you know, all it takes is like, You know, like another Monster Billy Eilish album in a given year. you know, and they start to gain even a little more market share. So I think they're in a pretty darn good place. [00:37:09] Dan Runcie: And it's arguably one of the best jobs in the recorded music industry because of the amount of leeway that I think Janet and by extension, the Interscope Geffen a and m umbrella is given relative to a lot of the other labels that are either under Universal or even others under the majors in terms of the decision making, the things that you could do, and when you have that much control based on his relationship with Lucian compared to others, it does make a huge difference. [00:37:37] Zack Greenburg: Yeah. And you know, I think another, another guy who's kind of in the background, who's been in the background, you know, for a really long time there is Steve Berman. He's another executive, who doesn't get you know, like a ton of limelight, but, you know, is kind of like quietly, like, like the cons.He's been kind of the cons area type over the years. and, you know, I think that might be part of the, you know, continuation, the connective tissue between Iovine, and, john Jank as well.[00:38:02] Dan Runcie: Right. Good point, especially just given how important lawyers and they are in terms of the influence direction of this industry. Another thing that I think is interesting, just thinking about the future, is also looking at the past of Interscope and how this record label did start and rise because of this controversy, because of the pro clutching business model.Do you think that could work today? Because I have my skepticism, but what are your thoughts?[00:38:31] Zack Greenburg: I think it depends, you know, what sort of pearl clutching is about, right? I think, know, in, in many ways the world is a nicer place than it was in the nineties. Like, you know, things were kind of a little rough and tumble in the nineties and it wasn't as sensitive a time as it is now.you know, I think, I think in general it's, good that, you know, we're like a little nicer, a little more sensitive, but, you know, in other ways, you know, I think, sometimes perhaps too much. But, you know, I think that, you know, certainly when it comes to music, I don't know, in a like this moment, for whatever reason, music isn't at the.Forefront of the culture wars and the way that it was in the nineties. And you know, instead it's like books in Florida, right? I mean, who knew? But, you know, people aren't really like, kind of, this is not a, like a campaign issue in the same way, that it might have been in the 90s, you're not seeing as many politicians sounding off about it.I mean, I think certainly you're hearing stuff, about, you know, can lyrics be used as evidence in court? you know, which is, can be a really troubling topic. But, you know, I think the sort of focus of that argument is, it's not like in the middle of national campaigns in the way that this was in the 1990s.So, yeah, I think, you know, like Interscope certainly as an experience. walking the line and it's maybe a little bit less of a delicate line, that they need to walk these days for just whatever reasons, with the political headwinds. [00:40:00] Dan Runcie: Yeah, I don't think it would work in the same way because I think the people that do try to create shock value were so desensitized to things compared to when we were the way things were in the nineties. Even for people that weren't that threat to society, but because of how they were depicted, it was easier to do that and still release great music, right?The chronic could be a shock value type of work, but it's still something that is critically acclaimed. That is in the National Registry and Library of Congress and all of these other areas. But now the stuff that creates shock value in music, whether it's even someone that's like more on the personality side, like a dj academics or someone like that will literally just say like, you know, the wildest shit just to go viral or partner with right wing organizations in order to create momentum that still has this area where it lives in somewhere like YouTube, where yes, you can get a following and you can make a living and you know, do things for yourself.But I think there's somewhat of a ceiling to that in terms of how much you can like, create, you know, broader impact and truly monetize the bases and the masses. And some of it even extends to artists as well, like those, I think someone like NBA Young Boy is quite popular and has had a bit of a number of transgressions in his track record, but still I think there's a pretty big gap of, you know, him relative to like some of the other names you mentioned just from some of the exposure and opportunities that he's given that doesn't lend itself to that.So, you know, Interscope in the early nineties probably wouldn't have wanted to try to sign Olivia Rodrigo because it didn't make sense. But it makes perfect sense now just given where things are and where things are going. So you can maybe do it on a niche level, but I think it's hard to have shock value sell in mass quantities and for the mainstream in that same way. [00:41:55] Zack Greenburg: Well, I think it's also just harder to shock people now, right? I mean, you know. [00:41:58] Dan Runcie: Or desensitized [00:42:00] Zack Greenburg: Yeah, exactly. I mean, if you were to put out the chronic today, you know, with, the marijuana leaf on the cover of it, it's like, and you know, and like this has been legal in California for like how long, you know?And certainly in terms of like things you could say or do that would be truly shocking. It's like after Donald Trump has been president in the things, you know, that are kind of, came out of that, it's like, you know, I don't really know many things an artists could do that would be more shocking, you know, and in this sort of like, hilarious, I dunno if it's hilarious, but this, let's say, ironic juxtaposition, you know, you had Eminem, the king of shock value Like making a track against Donald Trump when he was in office, you know, you have the rappers protesting against the politicians, instead of the other way around.So I think we're still, as a society, been kind of turned on our head, you know, by some of the developments of the past. you know, let's say eight years, eight years plus the past decade or so. you know, it's, guess in some ways hard for politicians to be complaining so much about music when, a lot of the obscenity is coming from them. So, [00:43:05] Dan Runcie: Right, and I think too, you were mentioning about how what Congress or what the American government can rally against in how so much of the nineties was. I still remember that infamous cover of Snoop Dogg on the cover of Newsweek, and I forget what the title of the magazine was, but it was something, along the lines of, oh, this is the greatest threat to America, or this is the greatest threat to our country, or something like that someone could probably pick me and find it, or maybe you'll link to in the show notes. And that's what people were able to get riled up around, right? Now, the biggest thing in music that has gotten anyone on a congressional level or congress level riled up is ticketmaster and Live Nation and Taylor Swift's tickets, which just shows how different things are, people used to be riled up about the content. Now this is a way to try to get at big business or whatever the exact complaint is. So, such a different time. [00:43:58] Zack Greenburg: Yeah, yeah, No, I Couldn't agree more.[00:44:01] Dan Runcie: Yeah. So we definitely spoke a lot of praise about the current era of where things are with the Interscope and the work that Janet has done the past decade. If you were in his shoes, would you be doing anything differently? And I do think that he's done a few things. So you mentioned black pink earlier.So there's clearly a way to be able to pivot and move more into music that isn't from the United States. It isn't domestic, and you're able to rise there, clearly done different types of deals from a flexibility perspective. Some artists do have, licensing deals like Olivia Rodrigo will own her masters for the long term just based on what she's shared about the nature of her contract moving forward.But for him himself, I mean, I think there's other IP things that could be interesting, but what does the type of things that Jimmy was able to do back in the late 2010 or late two thousands with beats? Like what could that look like or what could that look like for Interscope [00:44:59] Zack Greenburg: Yeah. You know, I think it's a different time. One of the things that's changed so much is over the past few years, I would say it's like, it's not quite as cool to be rich anymore, you know? I think sort of the Bernie Sanders movement, the sort of like this, right? I remember seeing it at Forbes, you know, when I started out it was like, woo, like I wanna be a billionaire and [00:45:20] Dan Runcie: The Forbes Remix [00:45:22] Zack Greenburg: Right. Exactly. Yeah. I mean, you had, Jay-Z, Diddy, and 50 being like, you know, the Forbes, yeah, they put out this Forbes 1, 2, 3 billionaire remix they called it. But you know, even now, even within the past couple years, you know, certainly, I think the Pandemic really crystallized this.But even before that, you know, with sort of like Bernie and, that whole, you know, movement, There was this kind of questioning of like, should there even be billionaires? And you know, I remember starting to see, people who you had thought, you would've thought would be, you know, jumping to be on the cover of Forbes.Just say like, eh, you know, like, I don't want to be seen as crowing about my wealth. so, you know, I think that's a big cultural change. And that's post beats, right? That's post, you know, Dr. Dre's situation. And, you know, I think that there's certainly a lot of leeway for Interscope still, to be entrepreneurial and they've always done that. But I think the challenge for Interscope or for anyone really is like, how can you be entrepreneurial in a way that is sort of like, you know, not necessarily charitable per se, but has some kind of impact, you know, like some kind of impact investing sort of thing. how can you, like, make money but, you know, drive change at the same time?I think that's sort of like, as we look going forward into the, you know, celebrity earning, you know, celebrity business sphere, I think that's gonna be the big question because it's no longer the thing that's just, it's cool to make a bunch of money on some random app or, you know, selling, some crypto thing as we've seen.And you know, you can get a lot of blowback, people think you're selling out. People think you're greedy people don't think you're selling outta greedy just cause you're doing something business related. But, you know, I think, over the past couple years it's become a lot more like, well, you know, is this something that really helps the world are using your money for good?and so I think whatever it is, if it's gonna be public facing and, you know, and I think. That's the value when you have a stable of celebrities, right, is to do something public facing. It's like, what is this doing, to help the world. So, you know, I think there are a lot of ways to take that, but certainly, you know, I think that's a bigger, bigger and bigger component going forward. [00:47:22] Dan Runcie: This is something that has changed in a relatively quick time span. You even think back to the Obama era and just the Obama presidency and just how music was and how people interacted and thought about music. You look at a album like Watch the Throne In, which I do think was one of the more popular albums from that decade.Granted, I don't think JayZ or Ye are even on the terms or desire to put something like, like that out again. But if they put that out about now, it would not get the same reception. There would be all these think pieces about, oh, here are these two men talking about, you know, their, you know, Hugo watches and there other, other bends and all this stuff.And people would be complaining about that in a way where just as recent as 2011, they were celebrated, like people, like revered so many of the songs. And just the talk about black excellence and wealth and even some of the conversations around Jay-Z himself as a figure, I know you know this well as probably some of the responses you've gotten over the years when you've talked about Empire State of mind and how people react to him, statements he's said and stuff like that.And yeah, we're just in a very different spot and now we're kind of in this space where, Yes, people can have commercial success. People, businesses can do it too. But I think it's especially difficult for companies in music because of so much historical context of how people view the record label as the enemy.People view the record label as this, and then even when the topic of the prices potentially raising for some of these streaming services, the number one thing you often hear from fans is, well, I hope that extra dollar or $2 for a potential raise in the streaming service goes back to the artist. And it's like, yes, you, you do eventually want those things, but we're losing the opportunity to talk about the value that these record labels create because of how media disseminates, right?If you talk about, oh, Olivia Rodrigo has a very favorable record deal. No one wants to hear that. But if there's ever a report, oh, Olivia Rodrigo's upset about, you know, Interscope, that thing would be a news topic for five days. Cuz that's where we are right now.[00:49:27] Zack Greenburg: Yeah. Yeah, for sure. And you know, so to to your point, I mean, you mentioned my book, empire State of Mind, which was this business focused biography I wrote of Jay-Z. it came out in 2011. but you know, It was such a different world back then. And when it came out, you know, their response was basically like, whoa, awesome. Like, this is Jay-Z's blueprint for how to, you know, be a centi millionaire. And this is so cool because now I can apply this to my career, or I can, you know, learn some lessons from him. And, you know, and there was just definitely like a sentiment of people rooting for Jay-Z to become a billionaire, race to a billion, and who's gonna get there first?Is it Jay-Z or Diddy or, you know, whoever. And, you know, and then it happened and Jay-Z you know, crossed the threshold in, I think it was 20, early 2020, something like that. I think late 2019, early 2020 was when we put him in the magazine as a billionaire for Forbes. but even when that, like, by the time that happened, you know, about 10 years later, I put out the billionaire edition of the book. after, you know, let's say, what was it, in 2021, this was 10 years later. It was a totally different story, right? people were like, why is this guy, you know, like, who cares? Like, you know, like he should be giving it all of it back, you know? Why are there billionaires in our society? Something's wrong in society that has billionaires. So, you know, and I think it has gone, that narrative has gone even faster than Jay-Z has kind of evolved into this, like very socially aware, you know, type of philanthropic mogul, you know, people are not even that into the idea of like, oh, I'll make a lot of money so I can give it back, people are like, just, you know, do the good, like do philanthropic stuff, do impact stuff the whole way through and like, don't even try to become a billionaire. So, it really is such a different world, and it's, been fascinating to write about this stuff as these attitudes have changed on a broader societal level for sure. [00:51:25] Dan Runcie: Did you hesitate naming it the Billionaire Edition, knowing like this would change and seeing things over the years?[00:51:32] Zack Greenburg: Well, I had it in mind that it would be a cool thing to do whenever he did become a billionaire, because it was like, it was almost like the realization of a prophecy. It's like, you know, in, in 2011, I sort of like, I'm telling you he's gonna be billionaire and he's telling you, you know, and it's like, okay, here it is.He's a billionaire, you know, and I actually wanted to get like a, gilded cover and do the kind of watch the throne type of thing and you know, like embossed gold and all that stuff. But, it's not the right era. I mean, like, you're saying, it's just not, it's that era anymore.So yeah, I did wonder, like, should I kind of like back off of that narrative. But, you know, to go back to the Jimmy Iovine Interscope conversation, it's like, whether it's good or bad, it starts a conversation and you want the conversation to start, so that people will read the book, you know? And it's not like, a bad thing for me if people think it's bad that Jay-Z's a billionaire, it's just a fact. And even since I put out the Billionaire edition, he's like, more than doubled his net worth, you know, again. So that's just, that's just how he operates. And, you know, that's Jay-Z. [00:52:34] Dan Runcie: Yeah, you had to put out something. So much had changed since when you first put that book out. And this is how, in many ways the. Business model of books works when there is something to be able to add, that's a refresher new forward based on this one. you had to do it. So, yeah. I think it made sense.But to bring this all full circle with Interscope in this conversation, the last thing we'll dive into is who is the biggest winner, artist, executive producer, so on from everything that has happened with Interscope in the past 33 years. [00:53:09] Zack Greenburg: Hmm. it's a great question. I mean, to me it's between Jimmy and Dre. but I would probably go with Jimmy because, you know, Dre was gonna be centimillionaire, you know, music legend no matter what. And although Jimmy had done a lot of great work, you know, in the rock world before then, and I'm sure, you know, was, very adequately compensated.You know, he wasn't sort of like a, an international business superstar in the way that he became as a result of, Interscope. And, you know, Jimmy and Dre both got a lot of money out of it. but I think Jimmy really got a lot more than he would've otherwise. in his, prior iteration of his career and Dre, you know, I mean, Dre has founded a bunch of things, right? And Interscope, you know, obviously he wasn't the founder of Interscope, but, you know, I kind of tied B to Interscope and that whole thing together. So it, Dre had lots of different paths to wealth. and so did Jimmy, but I think Dre had more, and, Jimmy kind of like ultimately got more out of it. [00:54:07] Dan Runcie: Yeah, I think between the two of them, even if Interscope had said no back in 92 or 91, whenever the initial deal was made, I do think that Dre would've likely found a home. Dre and Suge would've found a home. It's still been able to do something similar elsewhere. Maybe it would've made the Tupac thing a little bit more challenging, but I think they still would've figured that out too. [00:54:30] Zack Greenburg: Yeah. [00:54:31] Dan Runcie: I don't think the same would necessarily be true for Jimmy though, because if you don't have them, you don't have this. And a lot of this, I'm sure a lot of people listening to this unlikely watch the Defiant ones or maybe you've seen should do a few interviews. I don't know if a lot of that would work. But I think I'll actually take a different approach. I think the person that probably won the most, just from a situation perspective, I know we've talked about him a fair amount, but I'll say Janet with this one because he didn't build this company himself. But the fact that when it's your time to come up, you have this opportunity to be able to step into, you have this much leeway, this much assets that already work in your favor because we just know how valuable the bat catalogs are.You walk into that position and then that has you then. Then that just makes it much more easy for you to have things set up because we know how a lot of this stuff is, right? People leave record labels all the time, espe

Troy Carter shares his experiences and insights as one of the world's greatest talent managers in the music industry, one of the only Black men in Silicon Valley and an early investor and former Global Head of Creator Services at Spotify. He talks about managing artists like Eve and Lady Gaga and shares advice he's received from some of the biggest bosses, such as Steve Jobs. He discusses how Black executives not only can, but need to, advocate for themselves in corporate settings, what it's like to overcome self-doubt and what it takes to build a star. We skipped the segments on this one y'all. This is an episode where, in the words of Troy Carter himself, you just need to shut up and listen. 00:03:13 - Troy Carter talks ADHD, modern day school systems 00:04:34 - Troy Carter on his early music beginnings and learning from Will Smith 00:09:22 - Troy speaks on managing Eve and what he learned from Beyonce's dad 00:11:17 - Some of the best advice Troy ever received 00:14:03 - Ray and Troy on leveling up your energy 00:19:18 - Advice Troy Carter gave Ray Daniels after leaving Interscope 00:24:42 - Troy on how Black executives can advocate for themselves in corporate settings 00:27:43 - Troy talks working in the pop industry as a Black man and managing Lady Gaga during her early career 00:31:28 - Troy shares his experiences and what he learned being one of the only Black men in Silicon Valley 00:35:37 - Troy Carter talks about understanding generational trauma and being a steward for future generational success 00:40:53 - Troy on normalizing and overcoming self doubt 00:53:31 - Troys on consistency and character 00:57:04 - Ray Daniels on the difference between talking to yourself and listening to yourself 01:02:33 - Troy Carter talks being an early investor in Spotify and building out their Creator Services 01:14:57 - What Troy Carter sees for the future of the music industry 01:26:33 - Ray and Troy discuss what it takes to build a star 01:32:11 - How to leverage new tech as an upcoming artist 01:36:49 - Troy Carter shares a conversation he had with Steve Jobs

I had a great chat about the future of streaming and more with Ari Herstand, who isan independent artist who also runs Ari's Take, an education business to teach others artists about the industry. He just released the third edition of his book, How To Make It In the New Music Business.Ari joined me to discuss how artists are navigating new music releases. It's increasingly getting out of the artist's hands in favor of the uncontrollable algorithms powering the likes of Spotify and TikTok. Ari says it's like, “playing the lottery.” While algorithms are taking the human element out of music discovery, that human touch has found itself into new artist monetization tools like NFTs. It has inverted what Ari calls an artist's “pyramid of investment” for an artist growing their fanbase.Ari and I covered a lot of ground on this episode. Here's what you can expect to hear from us:[3:10] Waterfall release method infiltrating Spotify[8:15] Music discovery power shifting away from human, toward algorithms [11:40] DSP's purposely pulling power away from playlist editors[19:21] TikTok isn't for every artist[21:26] Evolving team structure of an indie artist [27:55] Role of music NFTs[31:44] How Sammy Arriaga sold $250k of NFTs to non-fans[40:02] The Pyramid of investment [49:10] Ari the musician vs. Ari the educator [50:05] Updated version of How To Make It In New Music Business bookListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuest: Ari Herstand, @ariherstandLearn more about Ari's book, How to Make It in the New Music Business here: https://book.aristake.comLearn more about Ari's Take here: https://aristake.com/This week's sponsor is Laylo. Join artists like Kodak Black, Sam Smith, and others who notify their fans instantly when they drop merch, tickets, and more. Create your own drop page for free in seconds at laylo.comEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPTION[00:00:00] ARI HERSTANDI'm not a good recording engineer and I'm not a producer. So that's another team member that I'm going to hire when I make a record. Like I'm not Finneas. I'm not going to make a record in my bedroom. Like I can't do that. And that's not what I want to do. Like honestly, that doesn't inspire me. What inspires me is to make music with other people.[00:00:26] DAN RUNCIE INTROHey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more who are taking hip-hop culture to the next level.[00:01:36] DAN RUNCIEToday's episode is a playbook for all the indie artists out there. I had a great conversation with Ari Herstand, who is a musician himself, and he's also the founder of Ari's Take, which is his education business that focuses on how artists can make it today, especially indie artists. How indie artists can make it today in the new music business. And that's actually the title of the third edition of this upcoming book. Ari and I talked a lot about some of the new and updated insights that he has in this edition of the book, specifically around streaming, and how artists are starting to favor and prefer focusing on algorithms and how that can get them more listeners and where playlists currently sit with artists prioritizing them. And we also talk about NFTs, TikTok, and Ari's concept in the book called the Pyramid of Investment. This is a great conversation for anyone that wants to better understand the music industry, especially for the growing segment of independent artists that are carving their lanes out for themselves. Here's the episode. Hope you enjoy it.[00:01:48] DAN RUNCIEAll right, today we are joined by Ari Herstand, who is the author of his new book that's coming out, how to make it in the new music business. He's an artist himself, and I was lucky enough to be a guest on his podcast a couple months back. So Ari, it's great to have you on. And congrats on the book coming up.[00:02:06] ARI HERSTANDYeah, thanks, Dan. Thank you. Thank you. Very exciting. The third edition and get ramped up for that. But it's great to be here with you today. Thanks for having me.[00:02:17] DAN RUNCIEYeah, definitely. And I know for you, one of the big topics of the book is just how artists continue to evolve with how they're releasing music, how they're paying attention to what's going on with streaming right now. I feel like you have a good vantage point for this because you're doing so much of this yourself with your own releases. What are some of the big changes? Because I know that everything post-pandemic has been a little different, and now we're heading into this new phase right now with the new year. What's the big thing for you that you're seeing with the evolution?[00:09:07] ARI HERSTANDRight. So every artist needs to ask themselves what their intentions are with their release. And so, you know, the beautiful thing about the new music business and the scary and daunting thing about the new music business is there really isn't a right or a wrong way to do anything. There is the right and wrong way for you. And that could be the wrong way for me. So everyone, you know, it's based on your intentions and what your goals are for the release. If we just go, you know, more in the mainstream realm or let's just say your intention is to be successful on Spotify. Because that's a metric that most artists these days are kind of using to gauge the success of their release. And they want to have the best chance of, you know, grabbing that Spotify, being being blessed by the Spotify God, I guess. So to do that, there is a very specific release strategy that has been studied and now tested and now used by everyone from Lizzo and Krungman to Maggie Rogers to Robert Glassberg. And that's the waterfall release method. And Indie artists, you know, that are just releasing their first few singles are using this as well. I mean, this is the waterfall release method. And I'll break this down a little bit on what this means. This has started to get used a few years ago, but it really picked up last year in 2022. And now 2023 is I think going to be the year of the waterfall. But basically what it is is that, you know, you release singles leading up to the album. That has been happening for years now. However, here's what gets a little bit more where where it gets a nuance on how those singles are released. It's you don't just release a single song anymore as a single. You release your first single one song. That's just the one song released one second now your second single is that the new song is track number one. And the previous single that you released is track number two. So it's technically your second single, but it's kind of like a two song album. If you really go that way, if you're tuning it up, if you're an artist is to the artist asking this all the time. Well, how do I do this in my district? back end or whatever, like doing it's a two song album. And the way that the streams maintain for the previous single and that you don't lose your playlist inclusion, all that stuff is you use the same highest or C number. And so it's if you use the same highest or C number that used when you released that track, a month prior, it will be identical stream counts. And then a month later, you release your third single, but that's now a three track album. You know track number one is the new single track number two is the single you release a month ago and track number three is the is the single you release two months ago. And as long again, use the same highest or C numbers, it'll be included in the same playlist. They will be identical tracks, wherever they're included on people's algorithm, personal playlists, all that stuff. You can do this. People are doing five or six singles that way. And then the album and this release method, you know, this could take eight months, essentially, if you want to do one single every four to six weeks, and then the album. How you can kind of look at it, is you're building the album. And so it doesn't have to go on order, you can pick whatever order you want based on your singles. And then the final album is the album order, no correlation doesn't have to be the single order, you can pick whatever order you want each time. The track art can be different each time. I've seen it, people do different single art for each release. I've seen people just use the album cover for every release. So you know, at the end, you might have like six singles released that each have a few different songs on them. And then the full album, some people pull those previous singles down. So if they want to get a clean discography going up there, you just have a final album at the end of the day. And the previous singles with like the two song album, a three-song album, the four-song album before they pull those down. But you're not going to lose any playlists, you're not going to lose any stream counts because you're using same iris to scene numbers each time. So that is a release method, and the reason people are doing it this way is for the Spotify algorithm because Spotify likes to have regular releases. And if you send somebody say, hey, here's my new song and you send them the link, they're going to listen to that song. Now, if there's nothing, no other songs following that song to listen to, after your song finishes, Spotify is going to recommend them something to listen to or they're going to jump off and listen to something else. Now, if you give them the songs to listen to that after your previous releases, they'll stick around and keep listening to it. So the reason people are doing this is for the Spotify algorithm, but also to keep their fans engaged. So like say, here's your single number four and they listen to it and like, oh, cool. What now? I'm going to go back to listening to my favorite artist. Unless you have singles three, two, and one also there. And like, oh, I'll just keep listening to the other songs on this essential playlist. You think of it, whatever you want, a four-song album, a four-song single, a playlist of your new singles. However, you want to think of it, the user is just thinking, oh, I'm clicking on this link or new music Friday, or I'm in my release radar. I see this new single come out by this new artist I like. And then Spotify is going to start to recommend those songs through the algorithm. And the best thing about continuing to release the and the waterfall method is like those previous singles stay included in release radar. So this is like what has been figured out by labels and managers and artists over the last few years. And based on what Spotify wants to see and basically what they're being rewarded for with the algorithm from Spotify. And you know, I think a few years ago, everybody was chasing the playlist editors and like, oh my gosh, if I can just get included in the rap caviar, then like I'm set forever. Whatever the playlist inclusion, the editorial playlists are not as powerful right now as the algorithmic playlists are. That is a big change. Is like three, four years ago, people were like, oh, it's all about the official editorial. Now you want to trigger that algorithm because that is now personalizing every single user's playlist based on what Spotify thinks that user likes to hear. And you want to get your songs included in that. And people are just letting Spotify feed them now based on the algorithm versus seeking out playlist[00:09:27] DAN RUNCIEAnd why do you think that that shift happened from the playlist prioritization to the algorithm? Was it something internal with Spotify or is it just a natural decline in the power of playlist?{00:11:40] ARI HERSTANDYeah, I mean, the main thing is is let's think about what Spotify's intentions and goals are. Their goals are to keep users on their platform as long as possible. And they've discovered that if you feed users songs that they want to hear and have a higher success rate of them continuing to listen and stay on Spotify, then they're going to follow that. Then Spotify is going to do more of that. So they've been AB in this for years. They're like, OK, do people stick on our platform on Spotify longer by listening to our editorial playlists that human beings employed by Spotify are creating? Or do they stick on our platform longer by the algorithmic playlists that are internal robots are curating for them, the algorithm is curating for them. And what they found is that people are sticking around longer with the algorithmic playlists. So they're now doing more of that and realizing that this is what it is engaging users to stay on Spotify longer, because that's what users prefer. The algorithm has gotten a lot better at learning people's tastes, music tastes, than any singular playlist editor. And the other thing is, when we're talking about indie artists, is that why indie artists need to refocus their efforts into more of the algorithmic lane versus the editor lane, is that playlist editors, I mean, it's like playing the lottery to try to get an official Spotify editorial playlist. For one, with 100,000 songs being uploaded every day, you have a very, very hard chance of getting selected being one of those songs that is going to get included on. The very select few Spotify editorial playlist spots. But the algorithm, there's billions, literally billions of playlists that theoretically that they can put you on, or the algorithm will insert you into various people's radios or discover weekly or whatever. You have a much better chance of getting there. And then if users respond, well, do your song there. I mean, you pop up on someone's discover weekly, and they click save. I like this song. I want to hear more of it, and they don't skip it. That sends signals back to the Spotify algorithm, like, oh, this song is performing well. Let's try it in more algorithmic labels. Let's try it in more radio. Let's try it in more of these. And then theoretically, you'll just get included more and more, and then it'll just kind of snowball onto itself.[00:12:46] DAN RUNCIEYeah, I think the algorithm getting better, that what you mentioned, is likely one of the big drivers of this, because if I think back to the days of, let's say, like the mid 2010s, the algorithm still felt a bit similar to those old Pandora algorithms where after the seventh song, you start hearing the same thing over and over. And if you're comparing that to, let's say, what Tuma Basa was doing at Rap Caviar at the time that, of course, yeah, I think Tuma is going to be the better curator of what you have. But if you're shifting things to now, where these algorithms just get better and better and better, then, and I think as well, over time, a lot of the playlist also had that alert. There was a bit of the, oh, this is the new radio. This is this, but then, yeah, when the playlist is better and better, even as a Spotify user over time, you can see that, okay, they do have a better sense for where things are. So naturally, it did shift the behavior. And I think you kind of saw this more broadly with, you know, outside of music as well, with movies or TV shows and other things. I think the algorithms do get better over time.[00:16:02] ARI HERSTANDOh, absolutely. Yes, we're seeing that, you know, absolutely across the board with Netflix and Hulu and Prime and all that stuff. But, I mean, you bring up a good point about, you know, the human and the human playlist editors and what, you know, the power has shifted away from these playlist editors in part because Spotify is pulling the power from that. Because, you know, they're not giving the playlist editors free reign. It's kind of like if we can compare it to, you know, radio stations back on the day that the DJs had the power and they could play whatever they wanted. And that was like, you know, when the 70s and the 80s and maybe even a little bit into the 90s, you know, the DJs could play whatever they wanted. And they were all powerful because that's how people discovered music. Then Clear Channel took over and bought up all the radio stations and was like, oh, guess what? These are the only songs that you're allowed to play now. Here's the list. And then every week Clear Channel would update that list and send the list to all the DJs and say, you can choose, but you have to play these songs. So then the DJs became less powerful because that power was removed away from them by the overlords, which was the owners of the station, which was Clear Channel. The same thing has started to happen on Spotify. The editors used to be the all powerful DJs. They used to be all powerful playlist editors. Now they're overlords, they're owners, Spotify has come to them and be like, well, guess what? Your playlist is not keeping people on this, on Spotify and on the playlist long enough anymore. So you're only allowed to do three new songs a week. And in those three songs don't really perform well, then you're either gonna lose your job or you're not going to have the liberty to choose the song anymore. And of those three songs, they actually have to be from this list, which is the song that have already been pre-tested on the algorithmic side. So it's kind of like we see the same thing as it's like, instead of clear channel dictating the list based on their private marketing rooms and studies with surveys of listeners like they used to do when they would test songs with radio with market groups, now Spotify's testing songs with the algorithm and then they send those songs to the editors and be like, okay, these songs are proven. So when Tua was selecting the song for Rap Caviar, he was at the start of it. But as it got later on and on and what's happening with today's topics with Rap Caviar and all of them, he's just not one person anymore that's shooting. I mean, when Troy Carter was at Spotify and kind of in charge of all this, he said this and this was mind you four or five years ago, this was happening to them. It's like with those big, big playlists, he's like, it's no one person that is deciding this. These songs are tested and then we decide that it was going to go into those big playlists. But now that's happening on every playlist top to bottom.[00:16:25] DAN RUNCIERight. And circling back to what you had said at the beginning that this, of course, is shifting artists to that focus on how they're releasing music, the waterfall strategy, but tweaking that specifically for what they're doing with singles leading up to the album. But I also have to assume that to a certain extent, some of this does become table stakes in that everyone, as you mentioned, is doing it that knows what they're doing right, whether it's you or it's Lizzo or others. So once that's kind of the lay of the land, are there additional things that, you know, artists that you're at least suggesting that artists should or shouldn't be doing or at that point does become more and more dependent on things that are independent of the release, whether it's the artists fandom, the quality of the music and so on.[00:19:21] ARI HERSTANDAbsolutely. And this goes back to the intentions. And so, you know, it's no secret that in 2020, 2021, if even a bit last year in 2022, the Tiktok was, you know, a massive driver of streams. And so it's like, for some artists, that was where they found success. But, you know, and this is where we get into what are your intentions and who is your fan base? If you're making kind of straight ahead rock and roll, that's going to appeal to like 35 year old plus or you're making like throwback traditional R&B, that's similarly going to appeal to a 35 - 40 year old audience and up. Your marketing methods should not be Tiktok. So like if somebody's like, oh, you got to do a Tiktok, well, like, no, you don't have to do it. You know, you have to understand who your audience is, if your audience is on Tiktok, then maybe. And if your music that you make could be tiktokified, it's like, you know, it's like it's funny, you know, and all that and with Lizzo's song About Damn Time. You know, the thing that went viral on Tiktok was like the seven seconds of the first line of the second verse. It's like the most random shit that catches on Tiktok that you just like don't even know and oftentimes it's just like, you just never know what's going to catch or not. And it's like, so yes, Tiktok that can be a strategy. Absolutely. And it's like buying lottery tickets. So like the more you post, the more, you know, tickets that you're buying the higher profitability you have of something catching and then people using that bit, of course, there's deeper strategies that you can implore if you really want to study this. If you're like Tiktok is the method and the way that I want to go, totally like you can, you can work influencer marketing. That means, you know, get hundreds of influencers with varying audience sizes, micro influencers, macro, whatever kind of budget you have, pay them a little bit of money to use your song or your snippet of your song, your 15 seconds of your song in their video. Have everybody do it in the same week. And hopefully that gives you a chance that inspires more people to use that same 15 seconds in their videos. Sometimes it works. Sometimes it doesn't. It's kind of like back in the day, you know, when labels would work a radio campaign and spend $300,000 on promoting a single at radio. Sometimes it worked. Sometimes you lost $300,000. And that's what we're seeing right now with influencer marketing campaigns because Tiktok is so fickle and random that you don't know if it's going to work. And if you spend $100,000 on an influencer market, so that is one way.[00:19:38] DAN RUNCIEYeah, I think the Lizzo point is key with that because I know that she spent and her team spent a lot of time focused on trying to make that whole album special pop on Tiktok. So to your point, the fact that they probably thought it would have been the bad bitch of clock live but then ends up being a completely different line that ends up going completely viral because don't know how exactly it's gonna go but the fact that the team put in work means that something was able to pop there.[00:21:26] ARI HERSTANDThe beauty of TikTok is that you can test and test and test and test and test for free, especially like indie artists are doing this all the time. So like yes, Lizzo has millions of dollars behind her and a full team of people that can do this. I'm seeing this with indie artists doing this all the time where they're just testing on their own, you know, they'll post a few videos a day or a week or whatever with different snippets of their line, of their songs rather, and seeing which ones respond best. And then like, oh, okay, it's this part of the song. Like, you know, if they were Lizzo, they were like, oh, it's the first line of the second verse responded better than the other previous 15 snippets that I posted over the last three weeks. So let me do 10 more videos of just that first line of the second verse and see if it was a fluke or if this is actually about a pattern that I'm on to something and they're like, oh, that is what's connecting. And like, oh my gosh, 20 people just posted videos using that the first line of the second verse and they're like, all right, let's keep doing that. And then you kind of, you know, this is how you discover what work is just trial and error, whether you have a label of, you know, 20 social media experts doing this and a million dollars behind it to like, throw gasoline on the fire by hiring influencers to do this. Or if you yourself and your best friend in your bedroom figuring this out, it's the same strategy.[00:21:46] DAN RUNCIEYeah, that makes sense. And especially with the fact that Indie artists can tweak it, it is free to essentially tweak on TikTok. But I'm curious to hear your opinion on just how the Indie artists specifically can have the ideal team structure. Cause like we said, on one end, you have Lizzo's million dollars behind you on the other end, you have, yeah, it's you and maybe your friend can help you do this. But somewhere in the middle is that successful Indie artists that doesn't have the, you know, major record label resources, but it's still tweaking things. So even if we think a bit more broader than social media, what does that team look like? Like maybe even for yourself, like what does that team structure look like to make sure you have all the pieces in place to run a successful Indie business?[00:27:12] ARI HERSTANDTotally. I mean, it's a great question. And I talk about this in the book. I've updated the new team. I call it the new team. Because there's been the traditional team that's been around for decades. And that's what everybody understands. Like your art manager, your personal manager, your record label, your booking agent, your publicist, your attorney, you know, a publisher like this. That's the traditional team that, you know, you'll read about in the other music business both written by lawyers that were written 30 years ago. Most in the industry on that level, they haven't really updated that team. But when it really comes down to what we're looking about in the new music business with Indie artists, especially before you get those big players on your team, you still have to run your own business yourself. And sometimes we've seen a lot of NDRs that don't ever want a record label. And that's totally fine. So, you don't need that scene, remember necessarily. But what you do need is to be putting out regular content that's representative of who you are as an artist. And so what does that require? Well, it requires video content. Okay, you need someone on your team that can make really good video content. If that's you, cool. But sometimes it's not the artist. And so having someone on the team that's good at video, videographer, whatever, an editor, that is a key number of the new team that is extremely necessary. Say with a photographer, you know, it's really important to kind of have regular, new high quality photos or any kind of photos, whether it's your, you know, candid photos when you're around, when you're on tour, photos from the stage, from behind you with the audience there showing what you're about, promo photos, press photos. So like a photographer. It doesn't need to be a full time member on the team, but I think doing regular photoshoots and having people that are regularly pumping out photos. Again, it doesn't need to be as formal as like a record label or a team member like that. It's like, oh, you're my best friend. You have a new iPhone and you're really good at taking photos. Let's like take a lot of photos all the time and continue to post them. And that counts too, you know, and same with like a designer, like a graphic designer, you know, there's so many used cases where graphic design is gonna be necessary, whether it's designing your album cover or it's merch items or it's show posters or, you know, any other cases where you need something design. Again, it doesn't need to be a full time member of the team. It could be someone you enlist over Upwork that you hire to do that or it could be a friend of yours. That wants to help out. And then there's this role that I call the digital specialist. And, you know, managers and labels of column, it's like, are they calling digital? They're a digital person and it's like, oh, you know, we're going to send it over to digital. Basically, what that is, is like they specialize in social media advertising. This is something that is is really crucial when it comes to the release strategy that we're talking about previously. Virtually every single record label, it be label up to the majors down to individual artists that are releasing music on their own on that have a little bit of a budget are now running social media ads. It takes a lot of time to learn all this and it's a specialty for sure whether you're running ads on, you know, via the meta ads manager with Instagram and Facebook or Tiktok ads manager, YouTube, Google ads, all that stuff. That's what a digital specialist can do and then they kind of monitor everything and then they gather all the assets and then they help kind of guide the strategy. And so all this being said is like these are team members that are important to every indie artists career right now. They don't need to be individual people that handle these roles. I've seen indie artists that do all these roles themselves and they're their own team right now and that's cool. If they can figure that out for me personally like I know that I'm not a good recording engineer and I'm not a producer. So that's another team member that I'm going to hire when I make a record like I'm not Finneas. I'm not going to make a record in my bedroom. Like I can't do that. That's not what I want to do. Like honestly that doesn't inspire me. What inspires me is to make music with other people. So like I'm the type of artist that I'll get into a studio with eight other musicians and we'll track something live, you know, and like that's what I like doing them inspires me. But I need a producer. I need an engineer. I need a mixing engineer. I need a mastering engineer. These are all team members that I might enlist for that one recording. You know, but other people like Finneas was Billie Eilish's first team member. And he was her recording engineer and producer and like she had that built-in team where they could be pumping out music to Soundcloud regularly early on. Whereas like a lot of artists don't have that but some do. It's like again, what are your intentions? What inspires you? What kind of music do you want to make? But there are certain roles that can be filled by either your brother in down the hall, in the bedroom or by someone halfway around the world and Upwork. But these are the roles that can be filled and the jobs that need to get done.[00:27:55] DAN RUNCIEThat makes sense. I know another thing for these teams is someone that is always keeping their eye on the new big thing or the new small thing to be able to test out just being able to figure out what's there. And the past couple of years, Web 3 and NFT specifically have guy and even more traction and I think maybe in the most recent year got a little bit less traction to just a more overall transaction level. But as we're heading into 2023 now, how do you look at NFTs as part of your strategy and how do you look at Web 3 more broadly for what artists are doing and any examples that you may have of like yes, this person that is an indie artist that wasn't just a mature artist like did it and they've done it really well.[00:31:44] ARI HERSTANDAbsolutely. I don't see Web 3 slowing down anytime soon. I still see that this is as a digital society is heading. It's evolving for sure. Bitcoin isn't kind of what is all encompassing anymore like it was five - six years ago. It's not even just the mouth crypto currencies and it's not even just about NFTs like NFTs. The reason that it's lost a lot of its initial luster and sheen is because when it first kind of caught on, you know, early 2021 or so. It was like that was the sexy new thing that nobody quite understood but once you got it you're like well, this is crazy at the digital collectible.Cool I collected playing cards when I was growing up, I get it, sweet, that's what this is the digital collectible one of one okay cool I understand it so that was like. And people are trying to find used cases like you know we initially heard about Kings of Leon was like one of the first that did like an NFT album and they tied you know physical experiences to their NFTs like you get front row tickets that you were one of the NFT holders for life and you could redeem the NFT for proper tickets. So that was like the first way by say now we're seeing is more used cases and people that are creating them independently so like I had on the podcast on my podcast the name is Business Podcast. Sammy Arriaga, he's a Latin country artist and he's a really great, really cool crossover artist. He is a country musician but it's kind of with Latin infused country music it's really cool. He had a deal with Sony, he was signed to Sony as an artist and any of the publishing deal for a while they you got dropped up. It wasn't up to the major label success standards that they were hoping for. I got dropped. Then he actually had a little bit of success on TikTok in like 2020 and then he pivoted to NFT's in 2022 actually, I believe. And just cut to the headline, he made over $250,000 on his NFT of his album or actually of his song. Just one song to be honest. And how he did it, what was really interesting, it wasn't because of his fan base because the vast majority of music fans right now still have not come around to NFTs. They're not really in the metaverse. They're not in the crypto web 3 community yet. But the web 3 community is still very, very strong. It is thriving and kicking. If you can tap into that, then you can actually have a lot of success there right now, currently today. Now in five years, I do believe that most music fans, there will be used cases and every artist will have something to do with NFTs and Web 3 and micro and bastine which I'll get to in a second. But what Sammy did was he went to that Web 3 community and where do they primarily? Just at the time and still really is on Twitter and specifically Twitter spaces. What he did is he went into these Twitter spaces rooms. These are like the audio, Twitter spaces, the audio, new version of clubhouse and any space that was talking about NFTs and Web 3, he'd pop in, he'd listen for a little bit and then he'd raise his hand and I asked to come up and speak. They'd invite him to speak and he's like, hey, guys, you've been talking about NFTs for the last hour. I play you a song that I wrote, actually about an NFTs and it's called Metagirl and it's a META Metaverse Metagirl and they're like, oh, okay. So essentially, then he played the song. He's like, you can actually get that song right now as an NFT, the links in my, you know, pin the link right here and they were like pin the link in the Twitter space and that's how we did it. And he made $250,000 just from doing essentially by busking on Twitter spaces.[00:32:18] DAN RUNCIEHow many Twitter spaces did he do to make that happen? [00:35:05] ARI HERSTANDIt was a lot, you know, because some of the 100 people, some of the 1000 people, but you did it for a while and like, that's a way, you know, that's not a scalable method necessarily that I'm encouraging people to like go busking on Twitter spaces and make an NFT. But he was able to do that and by finding that community, now, you know, Baratay is another indie artist. She was one of the first to kind of start experimenting on NFT platforms and selling NFTs. What she also did early on that we're now starting to see more widely adopted was she not only would release NFTs tied to her songs, but she would tie royalties to the NFTs, meaning you don't just buy an NFT as a digital collectible that you're hoping to resell and make a little money on. You're actually buying a percentage of ownership of the song or like a royalties as I should say of the song. So like she had one time, you know, auctioned off, I guess, you know, and it was through a blockchain platform. I believe she used royal at the time, which is NAS's platform. She like gave away 40% or sold 40% of one of her songs to people. So you could buy whatever percentage you wanted and it was valued at a certain level. And then you can buy that. Now, those platforms are starting to pop up like I'm on the advisory board of label coin and they're a new platform that, you know, started by a booking agent, Mark Miller, who I've known for years. And he approached me and he's like, Hey, here's what we're doing. And it's essentially it is the same concept. Using blockchain technology, but essentially being able to sell a percentage of royalties for your song. So you could theoretically like say, I'm going to sell 50% of the royalties of my song. And it's like, I'm going to sell it to a thousand people. So you could buy like, you know, a half a percent or a quarter of a percent or a small percentage. It's like buying stocks, essentially. It's like, you know, like the Robin Hood from music. So we're starting to see that and the blockchain technology that the whole infrastructure is built on because it's just more streamlined that way. And so like, we're moving to in the future when these platforms likely, book, coin and royal and the others like really start to break into mainstream is the fans are going to think, Oh, I have to learn cryptocurrency and I have to get a wallet and, you know, buy some of Ether, you know, from the Ethereum and buy some ether and like. You know, that is the heavy lift that why it prevented so many people from getting the NFTs. Like I want to learn how to do this and pay gas fees and blah, but like all the shit that it takes hours and hours and hours and hours just for one person to buy like one NFTs. It's like we're getting a little away from that and it's gonna be like a fan is like, oh, I'm gonna get 10% of royalties of Ari's new song and it's done in 10 seconds. And like they don't even know[00:36:33] DAN RUNCIEYeah, it needs to be as easy as like buying something called the Amazon, right? Like it needs to be instant. And I think that I agree there. I think that was probably one of the biggest gaps for a while. There was all these things. And some of it I think is natural with any new technology. There is an adoption curve. It's always gonna track the enthusiast which at least in this recent era congregated mostly on Web 3 corners of Twitter and we're discussing things. So I think it's really smart, you know, for artists to, you know, jump in on Twitter spaces the way that they did. It was really interesting to hear that in a lot of ways yeah, they weren't even reaching, they're like die hard fans. They were just reaching people that were interested. But that said, I think so much of this rings true with something else that's a concept in your book, the purement of investment. And I think I look at this a lot of ways, almost like a inverted sales fund if you will, address in terms of building awareness, the decision intended and actually getting people to act on it and knowing that you can obviously generate revenue at each level of those streams. But NFTs, especially if they're used the way that they could is something that does sit at the tip of that pyramid. It's not gonna be everyone, but it is something to monetize the die hard fans that you have. But even there you could adjust where it sits based on what you price it, how many drops you have and so many other things.[00:40:02] ARI HERSTANDAbsolutely, yes, the pyramid of investment on this concept that I have in the book, I'll just kind of break it down a little bit so people understand. It's like, you think about it, you know, this is financial investment. I also have a pyramid of engagement, which I'll get into a second, but what just investment at the bottom of that pyramid, we have the people that don't really spend any money on you directly, they might stream your song, they might stream your music, you might make a little bit of money from what their actions that they're taking like the stream of your music, but they're not like spending money on you directly. So that's the bottom of the pyramid and that's where the vast majority of the music of fans, audience, listenership lives just across the industry. But as we go up the pyramid, you know, then there's like, those that might attend your live stream and like tip you over that or they might just like tip you here and there and you know, in the digital realm, sure, it's a live stream, it's on Twitch, or whatever, or like, you know, they can tip you in real life or something, they're going to your shows and they'll tip you. So it's like the tippers essentially, then you go up a little bit higher, that people are actually buying tickets to your shows. Now they are actually directing money directly to you and they're coming to your concerts, they're your ticket buyers, your concert goers, then you look a level higher, they're the merch buyers. They're the ones that buy merch at those shows or buy merch online, but you know, your store or from your Spotify profile or whenever they're buying merch directly from you, they're like, I'm a real fan, I want to buy merch. Then we go higher and then we're into that category of fan clubs, crowdfunding campaigns, you know, investment, NFT, three point, you know, with that whole realm of like, I'm like such a big fan that if they're on Patreon, I'm going to be their patron. If they're running a Kickstarter, I'm going to back their Kickstarter. If they're selling a percentage of their royalties of the new song, I want to buy that. And then at the very tippy tippy top of that, it's kind of a little bit of out too, but it's like those that are buying the VIP packages. So it's kind of like a combination of it all. It's like that, am I going to, you know, go to the show and I spend the $250, you know, do a 10 sound check and get the merch package and do that whole thing. So it's like that's all at the top. And so you think about this as the pyramid of investment, you're going to have fans at every level of that and you want to make sure that you cater to all of them and that you don't exclude some. So it's like, you know, I think people can kind of have understood this concept when, like, I first got this like six, seven years ago when Patreon kind started to hit after Kickstarter. And I saw some of my friends that were running Patreon campaigns and Kickstarter campaigns, I know simultaneously. And to me, that seemed counterintuitive. I was like, wait a minute, your fans are only going to do one or the other. It's like, they're going to either back your crowd and bring you an album or they're going to be your patrons, right? No, I was wrong. What it was, was really like Kickstarter was below on that pyramid. There were more people that are willing to drop a hundred bucks this one time, this one year to back your Kickstarter, but then there's fewer people a little bit higher up on that pyramid that are going to pay you $10 a month on Patreon or Substack or whatever it's going to be, Band Camp, any subscriber service that are a level higher that will be your subscribers and then it just kind of keeps going up from there.[00:40:28] DAN RUNCIEYeah, I think that makes sense. And the thing that I've often thought about the model too is that of course the revenue that you get per fan does increase as you go further up that period. But if you were to multiply that by the number of fans in each of those tiers, do you think that the tiers do start to equal out roughly or what does that look like for you?[00:41:39] ARI HERSTANDThat's a really great question. I don't really need data to back that up, but that's a really great experiment and something that should be studied, I think like an artist that kind of, yeah, I'm going to work on putting those numbers together. That's a great idea. It's kind of like along the lines of the Thousand True Fans Concept, where this concept is, you know, they say that if you can get a thousand people to pay you $100 a year every year for the rest of your life, rest of your career, now you have a career and that's all you really need is a thousand people to pay you $100. However, if you break that down a little bit differently on the government of investment, you don't need the thousand people to pay you $100. You could get a hundred people to pay you $400, you could get 200 people to pay you $200. You could get, you know, 400 people to pay $50, you could get 700 people to pay you $20 a year, you know, and you could really break that down a little bit differently. And so it's like, how are you going to get to that $100,000 a year mark if that's your goal or a million dollars a year, if that's your goal. And it all these fans are going to fall somewhere. All this money is going to fall somewhere on that pyramid of investment.[00:43:12] DAN RUNCIEYeah. I think about it this way too, maybe from like an example perspective. Let's look at someone at the top. Look at someone like Beyonce. I could see her. I would need to do the math. But let's just say ballpark speaking, she gets $30 million a year revenue from her music, right? Purely from streaming. I could also see her getting $30 million a year from, let's say she does a few concerts that year or a few special one offs. She could also get $30 million a year from doing two private shows of performing at a wedding or something like that or performing at an Uber private event. So each of those things can equal that amount. But yeah, I think that way to break down the thousand true fans, I think is important too. Because I think when that theory came out, Kevin Kelly's, I think it's back in 2018, but it made a bunch of sense. But I think for most people putting things out, yeah, even that requires a bit of segmentation there. So it's fascinating. And I'm sure so much of this is fascinating for you as well. Because I feel like you kind of have two examples of this with the businesses that you're running. You have Ari Herstand, the artist and you have your own, pure, mid of investment. You also have your visit of this podcast, the courses and the book as well. And for you, I'm sure I know you have a team that helps with each of these things, but do you look at it any differently between the two, you know, yourself as an educator that is sharing this information combined with yourself as the musician?[00:49:10] ARI HERSTANDYeah, I mean, absolutely. Like, I think, you know, why people have responded to the artist take business and my book and the artist take account of me and the music, the podcast and all the stuff that like, I do on the music business education front is because I am a musician. I have that musician's empathy. I've, you know, lived it and living it and it's like, I understand how hard everything is. It's like, you know, I'm not just saying it to say it like NN because I read it somewhere. Like, I'm living it. I'm interviewing people that are living it. You know, I put on two different hats like I look at myself almost now as like part journalists and like kind of, you know, in the lane that you're in where by interviewing more people, we learn more and that's great. Like, I know my perspective and everyone's perspective can be limited to their own experiences. So I try to widen my experiences by widening my information base by talking to more people. So the whole point of the podcast honestly was just to talk to more people, smarter people than me that are doing bigger things and more successfully than I was doing. So I could learn from them and then share that information. Like I've always interviewed people from like artist take and writing for other publications and I then made the podcast basically public. With my own music career, you know, the intentions have shifted. But when I started Ari's take as a blog 10 years ago, I made 100% of my money from my music. I was like a full-time artist, touring artist releasing music, all that stuff like touring most of my year, going on plenty of national tours. The intentions have shifted when I realized where I can be most useful and necessary. So like I don't tour anymore. You know, I'll do one-offs here in there. Like when I'm with my new funk project, Rasmentisdrake, it's like I do in a kind of an immersive funk experience. And I want to keep that in one place like we did in L.A. in like last summer, we did, you know, a 16-show run in L.A.. That's like my creative outlet. Like I do in the intentions of that, I want to top the Spotify charts and like go on tour. So like why I keep going back to like what are the intentions for every artist is like they're different. So my intention for that was like I wanted to sell out all those 16 shows and like that was my own function for the off thing. Or I wanted to at least, you know, get people a good experience and have a good time doing these things. Like I released a solo album last year under my own name. And the intention of that was honestly not I want to go on tour or I want to, you know, and get millions of streams. It was just like I went through a break out and I needed to write these songs and release them for my own mental health and just like honestly just for my own well-being and like get these songs out there. And people connected with them. And that was wonderful. And like I heard from tons of people that really resonated with the songs. Like that was something that you know gave me some perspective to is like, my focus right now is not making a living just for my soul of singer songwriter project like it used to be. That being said, there's a place for everything. And so, you know, I covered this concept of like the multi-hyphenate. Everyone's a multi-hyphenate. Everyone from Beyonce down to me and any other indie artist that is working at a day job or whatever, everyone's a multi-hyphenate. Like, your job title can start with musician and then it can be, you know, what else? Like, some people are musician, lift drivers. Some people are, you know, musician, entrepreneur, CEOs like, you know, Dre as Beaks, headphones is like, oh, he's an entrepreneur and a business person. And so it's like, I don't think the artists need to feel like shameful or insecure about their other hyphenates, their other job titles. You know, at the end of the day, you want to do what inspires you. And so for me, you know, my idea of success is making a living, supporting the kind of lifestyle that I'd like to live doing what I love and offering value and meanings to people. And so I've kind of structured my own life in a way where I go to where I feel like I'm needed and then where I can bring value to people. And that I've found, you know, most useful in kind of the artist take blame and the music business lane of everything I'm doing. But at the same time, like, I'm an artist. Like, I'm never not going to be an artist. Like, that's just like who I am. That's like what my soul is. And so it's like, I can't ever stop doing that. Like if I don't want to force myself to ring out as much money from that, there's no shame in that. Like that's, you know, sure, you know, I always say it was all the time to be, it was like, if you're happy making music from home and putting it online and you're making like 50 grand a year by doing that. And that's like what you figured out how to do. You've got some same theory, you're on some ads, you got some streaming, whatever. And like you're doing that and you're happy. Wonderful. Could you make a hundred, 200, 300,000 dollars more if you like one on tour or up your merch operation or like, you know, started a Patreon or launch an NFT or something like that? Maybe. But do you have to? But no, of course not. Like do what makes you happy. Like if that's going to make you unhappy because you're chasing more money and like why? Like you don't need to do that. Like do what makes you happy. And that's the big thing. And so it's like, you know, I'm constantly figuring that out for myself and I encourage other artists that figure it out for themselves.[00:49:30] DAN RUNCIEYeah. And I think that's a good way to put it, right? There's so much action now. You know, there's so many opportunities in everywhere. It isn't multi-high fit. It is really up to you how many hyphens you have behind that name and how heavily you want to push all of them. And I think the other one for you is author. And of course you have this book coming out in a couple of weeks. So yeah, before we let you go, let me just do one more close to let people know the updates with the book and when to expect.[00:50:05] ARI HERSTANDYeah. So It is out January 17th, 2023. You can get it wherever you find books with its Amazon or Barnes and Noble or your local bookstore. And I don't know when this is airing or gonna go live, but if you're in L.A. on January 17th, join me at Barnes and Noble up at Grove and we're doing a book signing and a live podcast recording there. But yeah, I've added a hundred new pages to it. I've updated stuff in every section. I've rewritten chapters, but scratch, of course. A lot of stuff we talked about today is in the book like NFTs and Web 3 and TikTok and live streaming. A lot of stuff that didn't exist three years ago. So I've completely rewritten the majority of the book. So you know, if you have the first or second edition of the book, I encourage you to check out this third edition. It's very, very different and updated.[00:50:46] DAN RUNCIEGood stuff, man. Excited for you. Thanks for coming on. This is great. {00:50:50] ARI HERSTANDThank you. {00:50:54] DAN RUNCIE OUTROIf you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple Podcast, go ahead, rate the podcast, give it a high rating and give a review. Tell people why you like the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.

1.5.2023 #RolandMartinUnfiltered: Chaos on Capitol Hill continues; Cop killings spike; CT Rep. Quentin Williams dies in car crash The craziness on Capitol Hill continues as we are on day three without a Speaker of The House. The House of Representatives made history today by moving to a tenth ballot as a solid core of some 20 Republicans say they will continue to oppose him because he is the establishment. We will break down what this means with Rep. Troy Carter. We have breaking news about Connecticut State Rep. Quentin 'Q' Williams, as he was killed in a car crash earlier today. We will tell you what happens in that fateful crash. President Joe Biden addressed the increase in immigrants at the border. We will explain how this will impact the border states and current immigration laws.  Police Killed more people this year than ever before. We will talk to mapping police violence founder Samuel Sinyangwe about how to change this sad phenomenon.  Losing belly fat is one of the most challenging things to do. We will talk with New York Times best-selling author JJ Smith about how to lose belly fat in 30 days.  Support RolandMartinUnfiltered and #BlackStarNetwork via the Cash App ☛ https://cash.app/$rmunfiltered PayPal ☛ https://www.paypal.me/rmartinunfiltered Venmo ☛https://venmo.com/rmunfiltered Zelle ☛ roland@rolandsmartin.com Annual or monthly recurring #BringTheFunk Fan Club membership via paypal ☛ https://rolandsmartin.com/rmu-paypal/ Download the #BlackStarNetwork app on iOS, AppleTV, Android, Android TV, Roku, FireTV, SamsungTV and XBox

At the end of November, Louisiana representative Troy Carter was elected to serve as the Congressional Black Caucus' Second Vice-Chair – the body's third-most senior position. He joins Louisiana Considered's Managing Producer Alana Schreiber to discuss taking on this significant role in his sophomore term. The holidays are just around the corner – and so is the potential for another COVID-19 surge. Dr. Catherine O'Neal, Associate Professor of Clinical Medicine and Infectious Disease at LSU Health Sciences Center in Baton Rouge, joins us for more on the latest tools for COVID safety.  But first, on Saturday, Baton Rouge environmental activist Davante Lewis soundly defeated three-term incumbent Lambert Boissiere III to become the Public Service Commissioner for Louisiana's 3rd district. WRKF's Capital Access reporter Paul Braun tells us about the state's first openly LGBTQ Black elected official. Today's episode of Louisiana Considered was hosted by Karen Henderson. Our managing producer is Alana Schreiber and our digital editor is Katelyn Umholtz. Our engineers are Garrett Pittman, Aubry Procell, and Thomas Walsh.  You can listen to Louisiana Considered Monday through Friday at 12:00 and 7:30 pm. It's available on Spotify, Google Play, and wherever you get your podcasts.  Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to. Louisiana Considered is made possible with support from our listeners. Thank you!See omnystudio.com/listener for privacy information.

Rich Homie Quan was one of the defining rappers of the music era that preceded the industry's shift to streaming. He — along with the likes of Future and Young Thug — made “mumble rap” a hot commodity in the mid-2010s. But while Future and Thugger continued their careers, Quan took a hiatus from the game, until now.Quan dropped his first project, “Family & Mula”, in almost three years back in October. During the long layoff, Quan admits he lost both his confidence and heart for rapping. He refused to quit on himself during the down period, which only spurred him artistically and business-wise. That's because the eight-track EP is also the first under his independently-owned Rich Homie Entertainment label. Now ten years into his career — most of which spent under a label — Quan felt now was the time to go independent. Not only for the creative freedom, but also for the CEO role that comes with it. I caught up with Quan to reflect on his 10-year music career up to this point and how he envisions the next ten playing out as an independent artist and a CEO. Here's everything we covered:[2:41] Reflecting on the loss of Takeoff[4:07] What Quan misses about his “come up” years[5:16] Why Quan went independent at this stage of his career [5:40] Taking on a CEO role[7:57] Why Quan doesn't like his hit record “Flex”[10:33] New partnership with Troy Carter and Suzy Ryoo's Venice [14:44] Differences between Quan the CEO and Quan the artist [15:54] Rising as an artist before the streaming era took off[17:25] Distinctions between album, EP, and mixtape [20:16] Quan's non-music business pursuits [21:56] How pandemic re-motivated Quan to do music[24:00] Quan wants more credit for influencing Atlanta sound[31:14] Quan's 10-year vision for himself [35:54] Did Quan start “deluxe” project drops?Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Rich Homie Quan, @RichHomieQuan Download The Culture Report here: https://trapital.ck.page/a23b7a6a4a Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo.TRANSCRIPTION[00:00:00] Rich Homie Quan: I was kind of afraid of my creativity on that song. You know what I'm saying? If that makes any sense. Like, I don't know. Cause I make a lot of music, man, and it's a lot of songs that's probably similar. That's like that. That will never come out only because of my mind. But that's why lately I've been letting the team I create, decide, you know? Pick which ones they feel like that needs to be heard. You know what I'm saying? So that's why I've grown as an artist slash CEO.[00:00:31] Dan Runcie: Hey, welcome to the podcast. I'm your host and the founder of Dan Ruey. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level. [00:00:51] Dan Runcie: Today's guest is the one, the only Rich Homie Quan. R.H.Q came through to talk about his partnership with Venice and how this is a new start for him as an artist. He's independent now. He's seen what it's like on the label side. He's seen what works, and what doesn't work. But this is his opportunity to have more creative control. To see more of the money that comes in and out, and ultimately have more of a say on what makes the most sense for building his career and moving. So he talks about the benefits of the Venice partnership. He also talks about some of the other things that he's working on as well. We talked about his real estate game and how he made over a million dollars this past year from his real estate business. We also talked about where he sees himself in Atlanta's influence. He says he's top three and not three from the city. So you have to listen to hear the name chops that he has in here. Some of the other multimedia projects and a whole lot. Quan also recorded this one while he was getting his hair braided, so I gotta give him credit for multitasking. Shout out to Quan. Hope you enjoy this episode. All right. Today we got the one and only Rich Homie Quan with us. Man, before we get started with any of this stuff, let's just do a quick check, man. How are you? How are you living? How are things right now?[00:02:03] Rich Homie Quan: Oh man, I'm good man. Mentally, better than ever. I'm just in a good space right now, man. I love the space I'm in, probably better than ever, man. I'm good, man. Yeah. How about you, man? How are you, you know what I'm saying? Mentally, you know what I'm saying? You know, spiritually how you feeling? [00:02:021] Dan Runcie: Yeah, I mean, I'm good. I mean, things have been good getting ready for the holidays and everything right now, but, I feel like it's kind of been a tough week, I'm not gonna lie. Thinking about take off and just thinking about artists passing so young. I mean, I mean, I know that this isn't anything new necessarily, but it just feels like it's been so much recently, so I've been thinking a lot about that.[00:02:41] Rich Homie Quan: That part, you know, like I've been trying to get it out my mind, man. Cause like me and Takeoff wasn't close, but I have worked with him, you know what I'm saying? On numerous occasions, on numerous occasions. And with him being from Atlanta, man, it just hit, that one hit a whole lot different, man. That one touched me, man. That one hurt me, man. That hurt a lot of us, man. You know what I'm saying? Like I think I was walking say the best man, like hip hop took big ill man that that was a humongous ill man.Humongous.[00:03:10] Dan Runcie: Yeah. And there were so many of you that came up right around the same time. I feel like you came out and then they had the moment, like there were so many of y'all from Atlanta that rose up.[00:03:22] Rich Homie Quan: Yes. Yeah. So that's why it's like, I, I kind of felt a different, like I saw, I saw before, um, they were with QC all us sitting on Gucci couch before we, before we got our first million, when we still were grinding and grind mode. So like, just to see that and know like, man, that could have been me, that could have been any of us. You know what I'm saying? Like, so that, that one definitely like hit me. Alright man, real hard.[00:03:47] Dan Runcie: Yeah, for sure. And I mean, you were just talking about it, you going back to being I QCs couch. I was just looking back at the double like cell cover, the freshman class for you on the cover. And man, it was such a moment. I mean, when you think back to that moment when everything was rising up, like what do you think on the most, what memories stick out to you the most about that time?[00:04:07] Rich Homie Quan:  Uh, what memories stick out about the most? I would just say more so recording in the music, being so. Because at that time we didn't have all those eyes on us. So then, you know, like we could say whatever and when, and no one, you know, we can say how we really felt. You know what I'm saying? Because you was in that grind and it just, you know, once you get to a certain level and certain things, you can't say no. Cause you know what I'm saying? You got certain people looking at you and that dissecting your words every, every type of way. So I would just say, man, just a recording process, man. Then man, the way we record the way, it'll be all five of us in the booth at one. Or maybe you should say it this way or this way. And it was just a know, just a vibe man. And the learning experience, man. Cause we were so young at that time, like we didn't know we'll be here 10 years later, you feel me? So yeah, that's the beauty of it all. [00:04:56] Dan Runcie: And I mean, for you 10 years later, you've done a few interview recently. You talked about why you wanna be independent and what this next chapter looks like for you? What has been the big thing that's made you wanna have this next chapter? Be independent, be on your own terms as opposed to how the last decade was up to this point?[00:05:16] Rich Homie Quan: Would say the most important part about being independent and what I wanted about it, what I wanted, uh, from it more so, it was just the fact that I had tried everything else. I had tried being with the other independent labels and I just thought it was my turn. I had saw every side of the sword, but just this side of the sword and it's just been so much more fun.Just when I say fun, it's more so from a business side. And I say that because at first I was such an artist mode. It was hard for me to be a CEO, but to continue to say I'm a CEO when I'm not doing none of the CEO shit. And I say that to say like, I'm not in tune with the conversations, or I'm not on every phone call. I'm not CC'd in those emails and those important emails. So now man, with me being a ceo, I'm more in tune. You know what I'm saying? I'm knowing, I'm knowing what the budget is for this. Uh, just understanding the budget, know what I mean? Understanding, so, you know, just taking this a whole lot more serious, being independent, knowing now, like it's really the, that's why I'm probably in this such great space because I know the opportunity I have, I know what I've done.[00:06:27] Dan Runcie:  You talked about seeing the money and just being able to see what the costs are looking like, what the money's coming in. What was the biggest surprise there? Cause I know you didn't see a lot of that as the artist, but now that you're being CC'd on those emails, now that you're seeing those things, did anything stick out to you?[00:06:40] Rich Homie Quan: The most? To me, uh, it was just more so of money I would see go without videos and stuff like that, and I would have no knowledge on my input when it's my money that's paying for these. That made me just put my, you know, like, damn, I would've rather shot the video with so and so and so, and maybe, you know, it could have been better for a cheaper number than a number of, uh, someone who's big, big, like, you know what I'm saying? So it just started making me like, way more in tune man, just way more in tune and like, how can I call my c myself a CEO if I'm, if I don't have those last say sos on, you know what I'm saying? Who, who, who I think should shoot the video. So it's like, yeah, I just want to stay in tune, man. And stay at it. Stay at it. Yeah. All the way around the boy, man. Like I'm getting older now and I still got people I look up to and I'm looking at some of the transitions they had to make. You know, sometimes you gotta realize everybody can't go with you. Right. And that's part of better. [00:07:40] Dan Runcie: And I feel like you're talking a lot about something I've heard you talk about at other interviews too. Creative control, being able to have more say so over the process. And I was surprised it stuck out like a song like Flex, which was a hit that people liked. Like you really weren't feeling that song as much. [00:07:57] Rich Homie Quan: Oh, oh. Like one of mine like, because I felt like at the time Flitch came out, I was such, I was more so of, I don't wanna just say a street rapper, but those were my fans. My fans were like the people who came up from similar situations to me. And I just didn't want my fans to ever think like I was crossing over or making crossover music. And, cause that was one of them songs. Like it wasn't a, I was known for making pain music, you know what I'm saying? So to say. And uh, that was one of, one of those still good different records, but it made, it was, it was a gift and a curse to me cause it made me realize. It's not what I like, it's what people want, and it's all about the fans. And that was my biggest song, like solo to this day. So it's just, it, it just made me realize like co you just, just focus on making the music and let the people decide for you, which is which man, you know what I'm saying? But it turned into a good situation, man. To this day, I still patrol. I still perform Flex Man, you know, so still getting paid off. So, you know, that's. That's one of the perks, man. You know what I'm saying? Trust your team. Definitely trust. Trust your team. The ones that love you, who love you, that you keep around.[00:09:13] Dan Runcie: Yeah, and I feel like that's a balance I hear from even the folks that have been doing this in entertainment for years. I feel like Denzel was someone who had said, he's making all these equalizer movies, right? But he's like, those movies pay the bills so that I can do these August Wilson plays and all of these things that really mean something to him. So I feel like Flex might be that for you, that gives you the ability to do the stuff you really wanna put out so…. [00:09:38] Rich Homie Quan: And that's what it was like. I was kind of afraid of my creativity on that song. You know what I'm saying? If that make any sense. Like, I don't know. Cause I make a lot of music, man, and it's a lot of songs that's probably similar. That's like that, that will never come out only because of my mind. But that's why lately I've been letting the team, I create, let the team decide, you know? Pick which ones they feel like that needs to be heard. You know what I'm saying? So that's why I've grown that as, as an artist slash ceo, know what I'm saying, getting outta the artist mode and going step back. I trust these guys enough. You know what I'm saying? Not, they're not gonna make me look bad, let alone make themselves look bad cause they're part of this. This represents them as well. [00:10:15] Dan Runcie: Definitely, definitely. And if we fast forward a few years, here you are now you have R.H.Q Entertainment, you recently have the joint venture launch with Venice. Shout out, uh, Troy and Susie, the folks over there. Talk to me about this. What's the vision for that joint venture? Where are things going? [00:10:33] Rich Homie Quan: Oh man, where are things going? I think, uh, the world is starting to see, and we haven't even got started yet. That's the crazy part. Like we haven't even got started yet, but like, you know, it was one of those situations. The distribution was nothing I hadn't had. You know what I'm saying? So like I said, it's all about me, like always throwing new things and never want, try nothing twice. You know what I'm saying? Like I still don't know like what my future holds, but I just know like, man, Venice has just been such a tremendous help to the RQ brand and for what I got going on, it just fit perfectly. And it wasn't one of those, or we just jumped straight into it. I think like a big shout outta Red man. Cause red, like he did not give up man. And it might have took us six months to get everything just done the right way where everybody's comfortable. And most importantly, everybody wins, man. You know what I'm saying? Big shout out Detroit. I was just with him last night. He flew down here, man. It was tremendous. Every time I'm, I'm big on energy and energy last night. Created a crazy vibe, man. You know what I'm saying? At the vintage man, Susie, everybody, the whole team Alyssa. I don't wanna eat nobody out, but man, uh, I love it, bro. I love it man. And it was the best situation for me. And like I always like to say, I don't wanna encourage no younger artists or anybody upcoming who wants to do music. I'm not saying independence may not be for you because at the same time, music takes money and sometimes a label situation may be the best for you. It just wasn't the best for me anymore. Cause it's something I. You know what I'm saying? And with me being in the game 10 years, like kind of saw it all. And now I know what's best for me, man. The creative control, you know what I'm saying? And like, and I still have a partner, you know, I still have a partner, man, but now man, I'm, I'm really boss ceo and I'm, I'm loving it.[00:12:24] Dan Runcie: So now that you do have a partner, but like you said, they're not a record label, it's more on the distribution side. What are the things that they are gonna be doing for you and like what does that partnership look like in terms of your role, in terms of Venice's role? [00:12:37] Rich Homie Quan:  Okay. You got a partnership, man. It's more so of a, uh, like a lot of things I didn't know, like on the technology side of things and stuff that's showing me, man, you know what I'm saying? Even with more opportunities outside of. You know, I'm, I think that's the biggest thing now, man. You know, opportunities outside of meals, you know what I'm saying? Movie ventures and stuff like that that I had no idea that I thought I could tap into, but you know what I'm saying? It's showing me, man, it's beautiful man. It's beautiful man. Feel top priority. It feels better. You know what I'm saying? Like I've been in label situations. The team we got over there, they're working hard on 80% of these labels I saw, and I.So that, that's what I love and that's what it's been, that being able to show me, man, that like they ain't playing, they ain't, they ain't playing. You know what I'm saying?[00:13:26] Dan Runcie: Oh yeah. Cause, cause I mean, Troy gets it and I know just seeing the way that they've structured things, a lot of it is thinking about how to think beyond streaming too.Right? Like what does web three look like? What do NFTs look like? [00:13:39] Rich Homie Quan: Exactly. So that's what I'm saying. It's stuff that I had no knowledge of. Of course I hear it, but now I. A person who can show it. And that's what I told him last night. Like, man, it's different when you, everybody that's talking, but you, you've shown and prove everything you said, man. So, and that's a big, and with me being able to have a direct line to him to be able to talk to him, you know, like, and no showing on the labs.[00:14:29] Dan Runcie: No dope. No, that's for sure, man. So yeah, it's been good to hear you just talk about the ownership and just what it means to be a ceo. And I know it's two different hats you gotta wear. Do you feel like Quan the CEO is any different from Quan the artist? [00:14:44] Rich Homie Quan: I would definitely say according to CEO is a whole lot different from the, uh, from the artist. And that's only because as an artist, I be in my mind a lot. You know what I'm saying? I be in my mind a whole lot. But as a CEO, I get it. Where you gotta get out your mind. It, it ain't about your mind or your feelings, man. It's business. You know what I'm saying? It's, it's business and, and that's why I have to separate. It's what they're totally. And is only corn as an artist with the microphone, whatever. When I'm not the microphone, it's about the family and it's about the beast. You know what I'm saying? In that order. In that order, and God, of course, first with him being first, you know what I'm saying? I'm backing up. You know the son. [00:15:23] Dan Runcie: Yeah. No, that makes sense. That makes sense. Yeah. And thinking back just about your career, I feel like we're just talking at the beginning of the conversation, right? Whether it's you, Migos, Rockos, a few of you that came up in this same timeframe, but I feel like y'all were a little bit early then when streaming really took off. And I often wonder like, man, like they obviously all had successful careers, but would things look any different, and maybe it was like two or three years later when you saw how streaming was streaming really copied what y'all were doing.[00:15:54] Rich Homie Quan: I remember, yes. I remember that. Like when the first, like my biggest records, like those were so hard copies, you know what I'm saying? It's been like, it wasn't no streaming, it was just like, but a lot of my packs packs. You know what I'm saying? Me and record sold like no, like, you know, physically. So it is different. Like there was still city players then and stuff, you know what I'm saying? So it was, when they first started talking streaming, I was like, I can get paid out that, nah man put, I wanna sell money just now. Like you said. I really feel like they got something from the numbers we were doing and, and turned it. All the way. So I love it, man. And that's why this run here is more important. Cause I'm gonna get me some of that. No money, I promise you that.[00:16:37] Dan Runcie: Oh yeah. A whole lot. Yeah. The thing. Yeah, the thing. I feel like that you all. A lot was just dropping in the frequency of when the mix tapes came out. Right. It was like you didn't let up.[00:16:49] Rich Homie Quan: Like all Now and now Mix Tapes are album, they're no more mix tapes, you know what I'm saying? Like I think I saw something from He is gonna bring mix tapes back and it's like even now Mix tapes are album, then there was still mix tapes. Right. You know what I'm saying? Like come on. But yeah, it's ok. I got something. [00:17:07] Dan Runcie: I know, man. I know. So, yeah. So you had the recent release that came out. It was an EP For you though, how do you distinguish or make a distinction between EP versus albums versus Mix tapes now? Just given that everyone is putting out music and however they wanna label it, maybe. [00:17:25] Rich Homie Quan: Yeah. Yeah. To me, I differentiate 'em only because man, like, so what? I just put out the little EP man or mix tape. I feel like EP mixtape, same. Mix tape. I'm doing, I'm, uh, I would say I'm rushing the music, uh, album. I'm gonna take a little more time. You know what I'm saying? It's gonna be a little more thought out. It's gonna be, cause I still look up to my favorite albums coming from your, coming from your tis first album. You know what I'm saying? I'm looking at the structure of those and the instruction of those can't be within a month, two month process. That process may take a. You know what I'm saying? Because you know, I need the content to rap about, but that's the only way I differentiate towards the time I put out a man. You know what I'm saying? Time. [00:18:09] Dan Runcie:  Yeah, that makes sense. And I feel like for the most part, you can hear that from a lot of artists. Once in a while you'll hear a mixed tape that people feel like it's just as goods an album, but for the most part, The more effort that you hear or you hear to the production quality, you hear it in the bars and yeah.[00:18:25] Rich Homie Quan: And they last longer.You know that last longer. That's why I feel like a lot of the music is here, you know, today and gone in two weeks because it's so much similarities and that's why I've been trying to stay creative with the process. Stay corn, don't change my style, but I can't evolve in my sound. And when I say what I mean, it's like, you know, I don't see the same stuff I used to see. Now I'm rapping about the things I'm seeing now. Cause I'm old. I'm trying to put my peers and the, uh, the younger generation on real estate, man, that's probably less jewelry. Let's be, you know what I'm saying, little less flashy and get the things that really matter. You know what I mean? We, we screen the block, let's go buy a couple of properties on the block. So now, now we have a reason to, you know what I'm saying? Stuff of that nature, man, you know, and me just, you know, respecting my position and, you know, playing it.[00:19:13] Dan Runcie: Yeah. You been getting more real. [00:19:16] Rich Homie Quan: Oh man. A whole lot. Whole lot. And I think last year, you know what I'm saying, a million plus on real estate, you know what I'm saying? And not a music checking ball, you feel me? Just last year. So I definitely getting into a whole lot more, man.[00:19:31] Dan Runcie: Nice. Was that a rental property or a sale property to be here? [00:19:37] Rich Homie Quan: Uh, rental. A couple of flips and me selling my first. Nice. You know what I mean? Yeah. So it's like, yeah, I did a million plus in real estate. No rap, no rap cap. And is this mostly in Georgia or is it El you got,  uh, not only in Georgia, you know, like I'm born and raised here, now I'm getting on. Now I have, I'm getting to the level I'm going out, you know, in different states and, you know what I'm saying, going to buy, you know, smaller, smaller stuff and just, uh, revamping them, doing resell. I'm doing a clip flipping and stuff like that, man. [00:20:08] Dan Runcie: That's what's up man. That's what's up. Appreciate that, man. Yeah. Are there any other businesses that you've been getting involved with outside of music? Uhuh, you? [00:20:16] Rich Homie Quan: Yes, sir. Uh, also with the 18 wheelers, got a couple of 18 wheelers, you know what I'm saying? We got box trucks, you know what I'm saying? A couple of car lots and stuff like that. Car mechanics, some stuff like that. It's every type of way to keep it. Keep it rolling man. Keep it moving, man. You know what I'm saying? The pandemic opened my eyes up a whole. And I really had to take advantage of that time opposed just sitting in the house making babies.[00:20:42] (Mid Ad) Dan Runcie: Let's take a quick break to tell you about a podcast I am sure you'll love. It's called nineties Now, A show all about the music, movies, tv, pop culture, and more from the nineties with a twist of what's happening. It's hosted by two radio vets, Kelly Alexander and Sharon Highland, along with their millennial producer Alex Brisson. The three of them navigate all that is and was the nineties, and you'll hear a wide range of nineties music. They had a really interesting episode about Diddy and Bad Boy and him starting a new record label. They had another breakdown on Beyonce, especially with Renaissance coming. And they look back at the decade that was the film, the TV, and so much more. And you'll also get to catch up with some of the beloved actors and actresses and entertainers that made that decade what it is. You can find nineties now on all of the major podcast platforms. Also check out their website nineties now.com or follow them on social media at nineties. Now fm[00:21:44] Dan Runcie:  I hear you on that man. I hear you on that. What was it like for you during the pandemic? Obviously you couldn't tour. I know that gave you an opportunity to explore these other ventures, but what was it like for you. [00:21:56] Rich Homie Quan: uh, the pandemic? Uh, what was it like for me? Uh, I would say that's definitely the moment I caught my groove back in the music. Opposed when I had took that long break. You know what? Being here. Cause I had just moved at that time. I had just moved and got me another house. I had bought my, uh, the house for something. And when I moved, I didn't set the studio equipment up for like close to a year. Just I, I'm syn like, come on man. And I think, I think the Migos might have had a just drop sign. I'm had my employees just dropped, but I'm hitting like in a competitor mode. Like I go drop me one two with just like, man, get up off your ass and go. Go get up off your ass and go do something. And since that day, man, I haven't started recording. I built, I built the studio back at the house. A new one, A dope one. That's where I'm at now. And get here, get it done. And it's just like my whole mindset changed like, nah man, we ain't giving up. We ain't quit right now. Nah, man, I'm from Atlanta. We, we don't throw in any white flash. You feel me? It's going hard. I think, um, it started with that then from dropping some music, uh, in Lincoln with Ben and them trusting my plan and wanting to have my back, you know? [00:23:05] Dan Runcie: For sure. What has it been like for you with live music just coming back in general? Have you been going and doing as many shows as you were doing before the pandemic?[00:23:17] Rich Homie Quan: I would definitely say I'm doing more shows than I was doing before the pandemic, and that's probably because of the new music we've been dropping. But I've been trying to get like a little more social, social active on the social media a little bit too, man, that's, that's played a part and me just, you know, like I say, taking it a whole lot serious, more serious now realizing that the game don't need me, game doesn't change the players do. And realizing that I need the game, so let me act like I need this shit like you. Changing my mindset shit, man. That's, [00:23:49] Dan Runcie: Yeah, no, that makes sense. And in other interviews too, you've talked about your place in Atlanta hip hop and your respect in Atlanta, hip hop ain't you say you feel like you don't get the credit you deserve.[00:24:00] Rich Homie Quan: Nah, I don't, I don't, I don't get the credit. Uh, I don't, uh, like I say, I feel like the sound, like the Atlanta sound today. I feel like I should be one of those ones in that heavily influenced sound. You know what I'm saying? But I wasn't vocal about it then. So I don't respect them. But they know, like we know, like we know and they know, you know what I'm saying? Like you can't mention the Atlanta sound today without mentioning corn. Corn, period. Period. You know what I'm saying? That's why I'm, you know, top three and I'm not three. And that's, that's, that's what it's been. And I'm gonna show, I'm gonna show these people that I'm gonna show you. I'm gonna let the music show you. It ain't just me saying it. I know what I, I know what we've been working on. They gonna see what I'm top three.[00:24:44] Dan Runcie: And so top three are not three. Who? The other two? I don't know. That's what the people decide. I didn't know three because, like I, but cause it's really like a five in hour. Like I got like a. And the five will be, um, no order. Savage is up there and it's just for today. It's not all time. You know what I'm saying? Bro. You got Savage up there. You got Future Up, you got Thug up there, baby up there, and myself up there and I'm just, you know, I'm top three and three. That's for everybody else. [00:24:47] Rich Homie Quan: I don't know. That's what the people to decide. I didn't know three because, like I, but cause it's really like a five in hour. Like I got like a. And the five will be, um, no order. Savage is up there and it's just for today. It's not all time. You know what I'm saying? Bro. You got Savage up there. You got Future Up, you got Thug up there, baby up there, and myself up there and I'm just, you know, I'm top three and three. That's for everybody else. [00:25:16] Dan Runcie: Yeah, no, I hear that. And I mean, just here are the names you think about, thinking about you and a thug. I mean, I feel like lifestyle is one of the most influential songs of the decade.[00:25:27] Rich Homie Quan: For sure,  for sure. Yeah, for sure. Or lifestyle and definitely that the uh, the rich game mix tape, the rich Oh yeah. Tape as well as the still going in. And I promise I never stopped going in that influenced the sound that influenced the sound man. Cause that's when the differences came. The some type of wave and, oh man, that room was crazy that that decade did. It definitely influenced the sound.You know what I'm saying?[00:25:56] Dan Runcie: Yeah. And I mean, even just the way that you see that artists are trying to do multiple things on a track, whether they're trying to sing, they're trying to real like the, I feel like you dug a lot of you were doing that early. So you combine that. You combine with the frequency that people are released in music. We, a lot of these pop stars just, you know, try to do different things on the, at all.[00:26:23] Rich Homie Quan: You know what I'm saying? Like Yeah, I think, I think we showed it like they ain't gotta be a single, the hold the tone. And I think it more people just want to go try like that. Cause I know I can't sing, but I can hold a decent song where I can make you, I can, I can trick your mind. And I think a lot of people want to try that and that's why, that's why you hear it so much. It's an unorthodox sound. We ain't trying to sing, but it does sound, we try to hold a song and you hear that in 80% of the music you on the radio today. If you weren't hearing that then 10 years ago, that's all I'm saying.[00:27:09] Dan Runcie: Yeah, no, you see where the trend is for sure. But yeah, I mean, For you. I do know that, you know, even though you had that moment, there was a period where you know, you weren't released in music and there was, I know that in past interviews you've talked about how it was a bit of a difficult time for you. What was it like for you to be able to come back from that? I know you talked a little bit about how the pandemic was an opportunity for you to reset things. What was it like for you to really be able to come out of that and then still be in the place that you, you are today? [00:27:42] Rich Homie Quan: Oh, man. To come outta it, I think it was just like amazing. Took a whole lot of praying for one, stand down and like I said, man, not wanting to give up, man. You know what I'm saying? Knowing like, I think I, I started something beautiful and it's still so. So many pages I've yet to get to, and I know I'm capable of getting to, I get to scratch the surface and like me being such an asshole to myself, you know what I'm saying? Like on days I would just make up, I would wake up mad just for no reason and like the people around me didn't deserve it. You know what I'm saying? Like. I'm the leader and a lot of times like, man, I just know, like I couldn't, I couldn't continue to live like that and call myself a child of God, man. You feel me? So once I got that cloud, my head, man, it felt, it felt amazing, man. But I had to take it a day at a time like it. I wouldn't be talking the way I'm talking now if I didn't get filed over. Like it was some tough, tough, tough nights. Like I think, like I said, I went a year without getting in the. And I've always kept me a studio, like at my house, like a nice, yo, I didn't, I didn't listen to the radio three years, you know what I'm saying? But I'm still doing shows. Like I never stopped doing show, but my, my heart wasn't in my mind, was there, but my heart wasn't it. And I think like in this bitch heart gotta be in anything. And I like for my shit genuine and you know what I'm saying? My heart just wasn't in it. So sitting back in this house for that, Um, reminiscing on a lot of things, a lot of memories, those good ones. And waking up one day is like, well, this is how you gonna hear your story. And I myself telling myself like, you better than all these niggas. But in order to say that, you gotta go put in the work to be able to show, show that. And that's what it was, man. And I ain't got, I ain't got, I did in room since I do everything down here. I sleep down. You as you see, I'm getting my hair braided down here. We play the game down, the vibes down here, it your energy out. Don't even come down here. You know? And that's just what it been, man. [00:29:58] Dan Runcie: And I've imagine that some of that exact competitive nature too, right? Yeah. You don't listen to the radio for three years. You're focused, you're locked in, but you're still performing. When you start listening to the radio again, I'm sure you're hearing what's popping off and you're like, no, I'm better than these.[00:30:13] Rich Homie Quan: Oh yeah. Like when I'm hearing, I'm like, oh, this what people going crazy about. Oh no. We got to, we got to go to work.To go to work. And it was like, and when I started going to work, like at first I didn't, I felt like, um, cause I, I was so used to doing songs fast, like going crazy. And when I got back in there, it wasn't like I just got back in there and was the, it was the corner I am today. Oh no, it took time. It might have took six months before I got back to playing my songs back in the car from my, for the people around me. You know what I'm saying? So still I had to gain my confidence back, man. I had to get it back man. But I got it. Oh, I got it. I got it.[00:30:50] Dan Runcie: And I know too for you, I feel like there's a few things, cuz obviously it's you as an artist, like we're talking about Wanda artist building that up. You've got the confidence and you got the swag back with that. But I know that you've talked a lot about how 10 years from now you want Wanda CEO to be doing more of the work and you don't necessarily wanna be making music as much. You talk to me about what you see that 10 years from now looking like.[00:31:14] Rich Homie Quan: Uh,  10 years from now is a long time and I try not to see that. Like, and when I said. Cause I try to make like real short term goals that are real possible. But I do know and I like 10 years from now, I'll be 43 and I probably said 12. Cause 45 sounds like a better number just to leave it alone. It um, I won't be focusing on Coin the artist, but as far as point the CEO coin, the CEO may start writing more. Cause I just love music that much, but I still can never not see myself created. So, uh, I've been even dipping into it now, like more writing. Writing more, but I would probably doing, writing more, focusing on, cause I been trying, I've been doing models moderat lately when they do the fashion show, I'm walking the runway. It's the first time I did that, I had just did the fashion week. So I'm already trying how that?[00:32:05] Dan Runcie: How did you like doing the runway for the fashion show?[00:32:07] Rich Homie Quan: Well, I haven't done that yet. I, I do that next week. But just the fashion snow itself, just going to fashion week in new. Aw man. Amazing man. Like, just being around people like, oh my, like, I was almost like, I didn't want my phone. I, but I was, man, that's the boy from my show out. You know what I'm saying? Just like seeing Cal coo, no, see, uh, you saying boat? Amy? What's her name? Amy W Winnie. Winnie Harlo. Yeah. Winnie Harlow. Man. Like just seeing her in person, just made and being. Front next to talking to court a like, dang. It just gets you in different room. I'm, and I'm saying like, I maybe could do this. I maybe we could do this for the next 20 years after rap. You know, I'm saying stuff like that. So it's just like, you know, other stuff. Even like being an author, I wanna come out with a memoir. I'm ready to write my book, you know what I'm saying? Cause I do want to get in movies and I, uh, wanna come out with a autobiography movie one day. So, not even me playing myself, but at least writing it. I'm trying to get in directing, trying to get in. I see 10 years from now I see myself, that guy, man. [00:33:11] Dan Runcie: Yeah. Okay. I feel like we're gonna see you at the Met Gala next year or something.[00:33:15] Rich Homie Quan: For sure. For sure, for sure. I'm gonna be at, uh, try to be at a whole lot more of a man, a whole lot more and all this stuff that's clean. I just gotta let 'em know I do this shit too.[00:33:26] Dan Runcie: The memoirs are good. I mean, Gucci's was good. Ross's was good. I mean, there's so much, and I mean, you're obviously gonna be able to tell stuff that no one's stole before. You're gonna have the …[00:33:35] Rich Homie Quan: Yeah, and I got stories that, I got stories that I know like, I mean, I just don't give that, I think that would be dope into a book. Like, especially me being real, I think it'll be more raw. Cause I love to read, so I would definitely give more, more details on my book, you know what I mean? I would definitely, yeah, it get spicy, it get spicy.[00:33:55] Dan Runcie: Have you done as much on TikTok lately? Just, you know, whether you are the on camera, off camera and, and I'm have a lot of opinions about it.[00:34:03] Rich Homie Quan: Yeah. I'm, I'm still adjusting. I'm still adjusting. I'm still adjusting. So now a lot of my TikTok has been like, like stuck on the music, but I'm starting, I'm, I'm gonna start, I'm, I'm gonna get a little more personal show, show the fans a different side of me. Cause that's what I'm transitioning to now. Like I am a rapper and that's what fans love. I'm transitioning just to showing them a little bit of, a little bit more of my personal side and just decide deciding which side of my personal side and what I'm willing to reveal. No, that makes sense. Cause I want to be authentic. I don't just wanna get on there cause everybody's doing it. I wanna have something different to offer and that, you know, it's authentic. You're getting a real me.[00:34:42] Dan Runcie: Yeah, like, I can't see you trying to do some like trick, like, you know what I mean? Like everyone trying to do these visual tricks.[00:34:48] Rich Homie Quan: Like no, never, never, never, never, never. That, that, that goes against my morals and ethics, you know what I'm saying? Like , you know what I mean?[00:34:57] Dan Runcie:  Yeah. No, for sure man. Well, no man, I'm excited for you, man. I feel like this is a good chapter. I feel like whether it's a pandemic or other things, like these triggers that happen in life, give us a good opportunity. Just pause, reset, and come back stronger. And I feel like you got the infrastructure there to keep moving, man. So proud of you. Excited for you for what's coming, but man, before we let you go, give us a heads up of what to look out for. What should we look out for the next couple months coming? [00:35:25] Rich Homie Quan: Uh, next couple of months coming from me. We In November. Yeah. Oh shit. Some weeks after this, man, you can look for us to be reloading the family in Moula. You know what I'm saying? We're not gonna call it a deluxe, we're just gonna reload it. Cause I feel like the reloaded is a deluxe anyway. And I think like that's a trend I started years ago. So they, they, they say deluxe, but we reloading it with seven new songs.[00:35:51] Dan Runcie:  Wait, wait. So, so you started the deluxe. [00:35:54] Rich Homie Quan: Yes. I'm not gonna say that, but it was called Reload. No, God, I'm not gonna say I started, but I think I did. You know what I'm saying? I think, I think men, I think Men Thug, what's the first artist doing? You know what I'm saying? The Duo Mix tape that they name the album. You know what I'm saying? So it's like a, you know what I'm saying? You know, history beats yourself. [00:36:18] Dan Runcie: Yeah. So dope man. We'll look out for that and we'll look out for the rest of this stuff coming from you.[00:36:23] Rich Homie Quan: And more videos. Yeah, more, more videos in your face. A whole lot more. Yeah, man. More RQ, the brand, more RQ Time, Venice and more of us going up putting it in they face. Man. I'm on the way. We're here now. We're here now. [00:36:39] Dan Runcie: Love it man. I love it. Quan, it's been a pleasure, man. Thanks for joining. [00:36:44] Rich Homie Quan: Thank you, man.

Troy Carter is the CEO and Co-founder of Earthshot Labs, a startup building the technology and expert guidance to develop and finance nature based carbon projects globally. Their mission is to restore nature at the planetary scale. Seizing the unprecedented opportunity of the carbon market, Earthshot is building the technology and operational capacity to scale carbon credits globally in alignment with regenerative principles. LandOS is a tech enabled platform that guides land stewards step-by-step guidance through the carbon development process. Biome uses the smartphone's augmented reality capabilities, whether based on IR or LiDAR, combined with the camera in order to create a three dimensional map of all the trees surrounding the user. Connect with Earshot Labs Website | LinkedIn

Congressman Troy Carter joins Scoot to talk about the new dirty "C" word in politics: COMPROMISE!

Dan Lux is running for Louisiana's 2nd Congressional seat.  In this interview he shares his thoughts, ideas, and plans to help improve this district and the lives of the people who live in it. The bonus content in the begining tells an interesting history of the district.

A new law, known as the CHIPS Act, provides over $50 billion to existing, profitable companies to fund new semiconductor production facilities in the United States. In this episode, we examine why Congress decided to gift these companies our tax money now and explore the geopolitical implications of this funding decision. Beyond semiconductors, the law provides further corporate welfare for the creation of things that many of us tax payers likely support. This law is complicated; let's get nuanced. Please Support Congressional Dish – Quick Links Contribute monthly or a lump sum via PayPal Support Congressional Dish via Patreon (donations per episode) Send Zelle payments to: Donation@congressionaldish.com Send Venmo payments to: @Jennifer-Briney Send Cash App payments to: $CongressionalDish or Donation@congressionaldish.com Use your bank's online bill pay function to mail contributions to: 5753 Hwy 85 North, Number 4576, Crestview, FL 32536. Please make checks payable to Congressional Dish Thank you for supporting truly independent media! View the show notes on our website at https://www.congressionaldish.com/cd259-chips-a-state-subsidization-of-industry Background Sources Recommended Congressional Dish Episodes CD230: Pacific Deterrence Initiative CD218: Minerals are the New Oil CD215: COVID-19 Testimony CD205: Nuclear Waste Storage CD187: Combating China CD186: National Endowment for Democracy CD128: Crisis in Puerto Rico Semiconductor Industry “Pass the CHIPS Act of 2022 Fact Sheet.” July 2022. Semiconductor Industry Association. “Global Semiconductor Incentives.” February 2022. Semiconductor Industry Association. “2021 State of the U.S. Semiconductor Industry.” September 2021. Semiconductor Industry Association. Taiwan Bansari Mayur Kamdar and Medha Singh. Aug 2, 2022. “Chip stocks slip as Taiwan tensions mount.” Reuters. Karen M. Sutter. Mar 7, 2022. “U.S.-Taiwan Trade Relations” [IF10256]. Congressional Research Service. Yimou Lee, Norihiko Shirouzu and David Lague. Dec 27, 2021. “T-DAY: The Battle for Taiwan.” Reuters. PRISM Program Derek B. Johnson. Aug 27, 2018. “Court case puts PRISM back in the spotlight.” FCW. Wealthy Shareholders Juliana Kaplan and Andy Kiersz. Oct 19, 2021. “The wealthiest Americans now own almost all of the stock market — 89% to be exact.” Insider. National Endowment for Democracy “Board of Directors.” National Endowment for Democracy. National Science Foundation Directorate Mitch Ambrose. Mar 17, 2022. “NSF Stands Up Directorate for Technology, Innovation, and Partnerships.” American Institute of Physics. “Chairwoman Johnson and Ranking Member Lucas Welcome NSF Director Panchanathan's Announcement of New Directorate Aligned with Bipartisan Committee Proposal.” Mar 17, 2022. House Committee on Science, Space, and Technology. Fusion Research “Nuclear Fission and Fusion.” Diffen. “Client Profile: Commonwealth Fusion Systems: Summary.” Open Secrets. “Client Profile: Commonwealth Fusion Systems: Lobbyists.” Open Secrets. “Barton Gordon: Partner. K&L Gates. American Exception Book Aaron Good. 2022. American Exception: Empire and the Deep State. Skyhorse Publishing. The Law H.R. 4346: CHIPS Act of 2022 / Research and Development, Competition, and Innovation Act / Supreme Court Security Funding Act of 2022 GovTrack Overview Congressional Budget Office: Estimated Budgetary Effects of H.R. 4346 Bills Later Added to the CHIPS Act S. 3740: Micro Act of 2022 The one hearing H.R. 4863: Partnerships for Energy Security and Innovation Act S. 1359: Partnerships for Energy Security and Innovation Act of 2021 Audio Sources President Biden on Taiwan Sept 18, 2022 60 Minutes Scott Pelley: What should Chinese President Xi know about your commitment to Taiwan? President Joe Biden: We agree with what we signed on to a long time ago, that there's a One China policy and Taiwan makes their own judgments about their independence. We are not moving, we're not encouraging their being independent. That's their decision. Scott Pelley: But would US forces defend the island? President Joe Biden: Yes, if in fact, there was an unprecedented attack. Scott Pelley: [overdub] After our interview, a White House official told us US policy has not changed. Officially, the US will not say whether American forces would defend Taiwan. But the Commander in Chief had a view of his own. [interview] So unlike Ukraine, to be clear, sir, US forces, US men and women would defend Taiwan in the event of a Chinese invasion? President Joe Biden: Yes. Senator Bernie Sanders' Senate Session Speech Jul 27, 2022 Jen's Highlighted PDF The Future of U.S. Policy on Taiwan Dec 8, 2021 Senate Committee on Foreign Affairs 30:45 Sen. James Risch (R-ID): A unilateral change in the status quo regarding Taiwan would not only threaten the security and liberty of 23 million Taiwanese, but also significantly damage vital US interests and alliances in the Indo Pacific. We would lose a model of democracy at a time of creeping authoritarianism. It would give China a platform in the first island chain to dominate the Western Pacific and threaten, indeed, US homeland. The consequences for Japan security, and therefore, the US-Japan alliance, are hard to overstate. Semiconductor supply chains would fall into China's hands, and it would emboldened China in other territorial disputes, including with India, and in the South China Sea. Fostering a New Era of Fusion Energy Research and Technology Development November 17, 2021 House Committee on Science, Space, and Technology, Subcommittee on Energy Witnesses: Dr. Troy Carter, Director, Plasma Science and Technology Institute, University of California, Los Angeles and Chair, Fusion Energy Sciences Advisory Committee Long Range Planning Subcommittee Dr. Tammy Ma, Program Element Leader for High Energy Density Science, Lawrence Livermore National Laboratory Dr. Robert Mumgaard, CEO, Commonwealth Fusion Systems Dr. Kathryn McCarthy, Director, U.S. ITER Project Office Dr. Steven Cowley, Director, Princeton Plasma Physics Laboratory Clips Robert Mumgaard: However, from where I sit, I see three reasons why I'm very optimistic the US can create a definitive lead in this new industry. First, the growth of the private sector. Over $2.4 billion in private capital has been invested in the fusion companies that now number nearly 30. This is a similar amount of capital as in all the nuclear fission small modular reactor companies. This is coming from a large range of investors across venture capitalists, to university endowments, to large energy companies. And they're putting capital at risk in fusion because they understand that the world needs a fundamentally new source of clean energy if we are going to meet our decarbonization goals. And these companies are highly ambitious, with a recent survey stating that 84% of them believe that fusion will be on the grid in the 2030s or earlier. Robert Mumgaard: We will proceed with the commercialization of our first fusion pilot plant called ARC. We hope to have that online in the early 2030s. Robert Mumgaard: The second reason I'm optimistic is that the public program has produced a consensus plan. Detailed in the National Academies and FESAC (Fusion Energy Sciences Advisory Committee) Recommendations is a transition of the public funded program towards the US developing commercial energy. We need to stop some activities and transition to others. But the researchers are enthusiastic and they are ready. We have a new generation of leaders at national laboratories and universities hungry to develop that technology. And that plan has been authorized but has not yet been implemented. Robert Mumgaard: And we're not alone. The other companies like TAE and General Fusion, Helion, Tokamak Energy, are looking at similar timeframes and experiencing similar growth. All these companies are looking to see which governments are going to be the best partners. And unfortunately, we are already seeing defections, with a major facility that could have been built in the US, instead being built in the UK. It'd be much better if the US public program leveraged the private sector, aligning with the technical goals and timelines to keep it happening here. Robert Mumgaard: The third reason I'm hopeful is the movement towards public private partnerships and we know that when the public and private sectors work together and recognize what each side is good at, we create vibrant ecosystems. We saw this in commercial space, with NASA and SpaceX. We saw it even more recently with the COVID-19 vaccine Supply Chain Integrity October 1, 2020 Senate Committee on Armed Services, Subcommittee on Readiness and Management Support Watch on CSPAN Witness: Ellen M. Lord, Under Secretary of Defense for Acquisition and Sustainment 1:22:10 Ellen Lord: I believe there may well be a lot of this, frankly: not continuing to engage with these Chinese companies on sensitive issues, but in turn, developing industrial bases here that makes us not reliant on that back and forth. There's quite a bit of discussion within the inner agency right now about constraining Chinese involvement from everything from investments to specific commodities. But again, I think one of the areas where we could have the most impact on China broadly, is reshoring microelectronics. And right now, my team is working very closely across DOD, as well as the inner agency to come up with a very specific recommendation for some public-private partnerships in order to develop the capability here domestically. We at DOD are only about 1% of the overall microelectronics market, however, we have some critical needs. Attorney General Barr's Remarks on China Policy at the Gerald R. Ford Presidential Museum July 16, 2020 15:20 Attorney General Bill Barr: “Made in China 2025” is the latest iteration of the PRC's state-led, mercantilist economic model. For American companies in the global marketplace, free and fair competition with China has long been a fantasy. To tilt the playing field to its advantage, China's communist government has perfected a wide array of predatory and often unlawful tactics: currency manipulation, tariffs, quotas, state-led strategic investment and acquisitions, theft and forced transfer of intellectual property, state subsidies, dumping, cyberattacks, and industrial espionage. Cover Art Design by Only Child Imaginations Music Presented in This Episode Intro & Exit: Tired of Being Lied To by David Ippolito (found on Music Alley by mevio)

Have you ever wondered how much money your favorite artist is getting from you listening to their song on repeat? This episode, Nicole talks about the monetization of music with Troy Carter.    Plus, not only can Troy pick artists to invest in, he also has an eye for emerging companies. Nicole asks him about his work as an angel investor, and what lessons he's learned that we can apply to our own investments.See omnystudio.com/listener for privacy information.

Humans have been exploiting the planet's natural resources since the dawn of civilization. This week's guest on Before IT Happened, Troy Carter, would argue that even the term ‘natural resources' is exploitative in and of itself. Co-founder and CEO of Earthshot Labs, a venture-funded non-profit backed by the National Science Foundation, Troy Carter joins host Donna Loughlin on the show to talk about his work repairing the planet through nature restoration, forest protection, and the conservation of ecosystems. Before any world-changing innovation, there was a moment, an event, a realization that sparked the idea before it happened. This is a podcast about that moment — about that idea. Before IT Happened takes you on a journey with the innovators who imagined — and are still imagining — our future. Join host Donna Loughlin as her guests tell their stories of how they brought their visions to life.  JUMP STRAIGHT INTO: (02:22) - Troy Carter, a man of nature - “My relationship with nature has always been a really strong part of my life.”  (07:19) - Troy's mission at Earthshot Labs - "We do nature restoration projects all over the world. And we work with tribes, community groups, governments, and NGOs that are doing nature restoration projects." (14:15) - Humans, science, and Artificial Intelligence come together to save the earth and "understand the past and understand the current ecological state, and then predict the future under different interventions, different climate scenarios and understand the risks of what's going to happen." (17:29) - Nature restoration's impact on other areas of development - "If we can heal the relationship with the whole and each person feels connected, feels belonging on the planet, that will change everything about the way humanity develops in the coming centuries." (24:10) - Nature's independent right to exist - "That is the deeper motivation for why we're building an organization to restore nature: to address climate change, to restore human livelihoods, to restore indigenous land agency." (28:11) - Hope for the future - “Resilience is a word that's thrown around a lot. And what it means is that human lives and humans can thrive, and ecosystems can thrive independent of macro factors. So let's build resilient systems.” EPISODE RESOURCES:  Connect with Troy Carter on https://www.linkedin.com/in/troybear/ (LinkedIn) and https://twitter.com/TroyCarter?s=20&t=rQUWGkEYEQ7YMuYiN79k4w (Twitter) Learn more about https://www.earthshot.eco/ (Eartshot Labs) Follow Earthshot Labs on https://twitter.com/EarthshotLabs?s=20&t=2MBWsi1WNH41KfyEKXMn6Q (Twitter) Learn more about https://www.earthshot.institute/ (Earthshot Institute) Get Paul Hawken's bookhttps://www.amazon.com.mx/Drawdown-Comprehensive-Proposed-Reverse-Warming/dp/0143130447 ( Drawdown: The Most Comprehensive Plan Ever Proposed to Reverse Global Warming) Watch the trailer for https://www.youtube.com/watch?v=2PMsiXkAmFk (Reviving Rivers, with Dr Rajendra Singh the Waterman of India) Thank you for listening! Follow https://www.beforeithappened.com/ (Before IT Happened) on https://www.instagram.com/beforeithappenedshow/ (Instagram) and https://twitter.com/TheBIHShow (Twitter), and don't forget to subscribe, rate and share the show wherever you listen to podcasts!  Before IT Happened is produced by Donna Loughlin and https://www.studiopodsf.com/ (StudioPod Media) with additional editing and sound design by https://nodalab.com/ (nodalab). The Executive Producer is Katie Sunku Wood and all episodes are written by Susanna Camp.

Troy Carter joins Tommy to talk about marijuana and disaster recovery in Louisiana. 

Troy Carter rose to prominence representing and nurturing global superstars including Lady Gaga and John Legend as founder & CEO of Atom Factory. He is the former Global Head of Creator Services for Spotify and the current founder and CEO of Venice Music and Q&A, a technology + media company focused on powering the business of music via distribution, services, and data analytics.His latest venture is the Venice Music Collective; an independent membership music community for creators where members are given access, opportunities, and the ability to achieve greater wealth as independent artists. Born from the idea that the current industry models for independent artists are limited and/or broken, the goal of Venice Music Collective is to empower and support independent artists and their careers in a more equitable way than what currently exists.SUBSCRIBE TO OUR NEWSLETTER & STAY UPDATED > http://bit.ly/tfh-newsletterFOLLOW TFH ON INSTAGRAM > http://www.instagram.com/thefounderhourFOLLOW TFH ON TWITTER > http://www.twitter.com/thefounderhourINTERESTED IN BECOMING A SPONSOR? EMAIL US > partnerships@thefounderhour.com

In this episode of the One More Time Podcast, we interview Redd Push who talks about the remix for Money Mu's "Hittin" going viral, being the best A&R in Atlanta, Troy Carter as a CEO, and more!Redd Push is one of the top movers and shakers in Atlanta's music scene and is someone who values relationships more than money. Currently, he manages Money Mu and is Sr. Director of A&R at Venice Distribution company founded by the legend Troy Carter (yes, the guy who was on Shark Tank). Redd got his start as a party promoter and ended up playing an integral role in helping artists break into the ATL market. Eventually, Redd found himself managing Sy Ari da Kid and really started to prove himself as an A&R by being extremely hands on with the music. What he ended up doing with Money Mu's "Hittin" record is proof that artists need to stand on songs they made and not give up on them so easily. This is an episode jam-packed with gems so be sure to take notes! WATCH this episode on YouTube:https://youtu.be/vxRJzBYcf2sFOLLOW Redd Push on Instagram:https://www.instagram.com/reddpushWATCH music video for "Hittin (Remix)" by Money Mu ft. Moneybagg Yo and Foogiano:https://youtu.be/j7tHktqr_sAThe One More Time Podcast is hosted by H3NRY (music producer and mixing engineer) and Playback Ben (music manager and marketing consultant). We created the show to have genuine conversations with genuine people about music. It is a platform for people in the spotlight and those behind the scenes in music to tell the stories about where they've come from, where they're at, and where they're going.FOLLOW and TURN ON notifications to make sure you NEVER miss an episode!FOLLOW One More Time, H3NRY and Playback Ben:https://www.instagram.com/onemoretimecasthttps://www.instagram.com/h3nrywitha3https://www.instagram.com/playbackbenhttps://www.tiktok.com/onemoretimecasthttps://www.tiktok.com/h3nrywitha3https://www.tiktok.com/playbackben

The founders of Venice Music have extensive experience in the music industry.Troy Carter is the founder and CEO of Q&A, the parent company of Venice Music. Formerly, Troy was the founder and CEO of Atom Factory, where he rose to prominence, nurturing the careers of global superstars, including Lady Gaga and John Legend. He most recently served at Spotify as its Global Head of Creator Services, overseeing the company's growth strategy for artists and record labels.Suzy Ryoo is the Co-Founder & President of Q&A. Suzy's also passionate about investing in mission-driven founders and supports companies including Therabody, MobileCoin, Catalyte, Ready, Seed, Yumi & Blueland.Now, they're building the future of music in web3.Join ONE37pm as we chat about how Venice Music started and how it is changing the music industry with an all-in-one solution to distribute music, manage royalty payments, & more.Thank you for joining ONE37pm as we chatted about how Venice Music started and how it is changing the music industry with an all-in-one solution to distribute music, manage royalty payments, & more. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this Episode Shanta is talking with the CEO of EarthShot Labs Troy Carter about Nature based climate solutions.Troy Carter is the CEO of Earthshot Labs, which is building the technology for planetary-scale ecological restoration. He is also a co-founder at RIZOME, which is pioneering the use of bamboo engineered lumber as a climate-positive alternative to wood, steel and concrete. He is bringing the audacious scale and vision of startup methodology to the planet's ecological and climate crisis. He graduated from Stanford University with a degree in economics, was an early employee at Airbnb and E la Carte, then founded and scaled Troy Cider and exited after a successful acquisition 2015. He has focused on carbon finance and renewable energy and agriculture projects for the last six years.Websitehttps://www.earthshot.eco/LinkedIn URLhttps://www.linkedin.com/in/troybear/Facebook URLhttps://www.facebook.com/troybear12Twitter URLhttps://twitter.com/troycarter**********************************Connect with Host:AuthenticTalks2.com https://www.amazon.com/s?k=jamm+with+me+a+journey+to+your+higher+self&crid=22Z88QKC2GKRC&sprefix=jamm+wi%2Caps%2C548&ref=nb_sb_ss_ts-doa-p_1_7

Troy Carter has managed the careers of some of the world's icons all the while being the best dad, husband leader and friend to so many.  Opening his home and heart for great causes to help heal our nation and of course, his big passion, changing the way digital music expands.  His class, experience and true grit are admirable. Troy is quick, sharp, a game changer and the true meaning of a conqueror and friend. Troy is the founder and CEO of Q&A, a technology and media company focused on powering the business of music via distribution, services and data analytics.  Formerly Troy was founder and CEO of Atom Factory where he rose to prominence nurturing the careers of global superstars including Lady Gaga and John Legend.  He most recently served at Spotify as its Global Head of Creator Services overseeing the company's growth strategy for artists and record labels.  In 2017 Troy was also named Entertainment Advisor to the Prince estate.  His interest in the intersection of technology and culture resulted in the formation of AF Square investments.  Early investments include Uber, Lyft, Dropbox, Spotify, Warby Parker, theSkimm, Blavity, Gimlet Media, Thrive Market, PlayVs, and FazeClan. What You Will Hear: What inspired Troy to take on the world of music. Advice for 15 year old Troy Carter. Early experience in the music industry. Financial advice and becoming a real business man. Troy's Why and what keeps him motivated. Fear of failure vs. field of possibilities. Humility and Philanthropy. Best advice received and best advice given. Understanding and capturing value. Financial literacy.  Access. Changing financial awareness in America. Understanding the credit system, compound interest and tech investing as platforms. Financial PTSD: Getting past stigma and embarrassment around money. Worthiness and survivor's guilt. Quotes: “When you make some money from music, buy real estate.” “My why is more of a why not.” “What you do speaks so loud I can't hear what you say.” “As long as the cat is bigger than the shit you keep the cat” - Jimmy Iovine “Showing up is 65% of the battle and most people don't show up.” “You can't ask directions to a street you don't know that exists.” “The music industry has done a lot for me, but investments have done a way more in terms of platform.” “Your credit is an investment tool to build wealth.” “When you invest yourself in understanding how something works and how it can work for you there is so much you can do.” Mentioned: DJ Jazzy Jeff and Fresh Prince Kenny Gamble Philadelphia International Records Jimmy Iovine The Atom Factory

THANK YOU! THANK YOU! THANK YOU for your continued support! WE recently picked up "Best Podcast of the Year" - Radio/Large Market from the Louisiana Association of Broadcasters. It does my heart well to know that our message is being heard loud and clear. We are here to open the line of communication and to continue to bring resources to empower one another every chance we get. Today on the #TanLine we are chatting with Congressman Troy Carter! He has been busy getting the job done! Join the conversation and be sure to hit me up @LaTangelaFay ************************************************************************************** NEW MUSIC ALERT NEVER KNEW - LaTangela Fay NEW BOOK ALERT P.O.O.F. (Power Over Obstacles Forever) - LaTangela Fay Sherman ************************************************************************************ THE LATANGELA SHOW RADIO - WEMX- Baton Rouge, La. Mon-Fri 10a.m.-3p.m.CST KTCS - Beaumont, Tx. Mon-Fri 10a.m.-3p.m.CST TV - WLFT - Baton Rouge, La. KGLA - New Orleans, La. The Louisiana Film Channel YouTube - #LaTangelaFay Podcast - ALL digital platforms www.LaTangela.comSee omnystudio.com/listener for privacy information.

Peter discusses Web3, NFTs, DAOs, the Metaverse and the Creator Economy (and how they will transform the media, music and entertainment business) - and artist/fan relationships - at the Burbank Tech Talks (1-26-22). Follow Peter on Twitter @pcsathy - subscribe to his "Fearless Media" podcast on all platforms - and learn more about Peter's firms CREATV Media and music-focused Deep Cuts Media at creatv.media and deepcutsmedia.com.

Troy Carter is the co-founder and CEO of Q&A, a technology and media company focused on powering the business of music via distribution, services, and data analytics. He has also produced his own music, managed some of the biggest artists like Lady Gaga and Eve, and worked for Spotify as its Global Head of Creator Services. In today's show, we talk about trends in the music industry and how things need to change moving forward. We also discuss the role that record labels serve, Web3, Troy's work with Venice Innovation Labs, and his approach to angel investing.If you want to learn more about IP distribution, the economics between labels and artists, and what streaming can look like, this is the episode for you!Episode Highlights[02:42] What Troy learned while starting Q&A [08:02] Why Kanye's path is very similar to how tech founders run their companies[11:22] Troy's forecast for major and indie record labels and their relationship with artists[16:00] His thoughts on sourcing from data, Taylor Swift's deal with Republic Records, and the matrix of partners that artists should have[22:52] How artists have benefited from the age of digital downloads and streaming[27:10] Why Troy is a little scared for the streaming industry[31:08] What artists should think about before releasing new music[35:48] Troy's insights from working with the Prince Estate and his angel investingListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuest: Troy Carter, Q&A Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. Advertising Inquiries: https://redcircle.com/brands

Every year, it's becoming more and more obvious how climate change is impacting our planet. From increasingly frequent and more devastating natural disasters to horrific pollution to animals becoming endangered and going extinct, there is a lot to be concerned about. What can we each individually do to help the planet? How can we push corporations to minimize their carbon footprint and their damaging effects on climate change? On our enlightening new podcast, we spoke with Troy Carter and Patrick Leung, the co-founders of Earthshot Labs, an organization that is building the technology for planetary-scale ecological restoration. Troy Carter is the co-founder and CEO of Earthshot Labs, which is building the technology for planetary-scale ecological restoration. Patrick Leung is the co-founder and CTO of Earthshot Labs, and was previously a senior engineer lead at Google and CTO at Two Sigma Private Investments. They are bringing the audacious scale and vision of startup methodology to the planet's ecological and climate crisis. Together, they have focused on financing renewable energy and agriculture projects for the last six years.To begin our discussion, Troy and Patrick tell us more about what they do and how Earthshot Labs helps the planet. They describe the incredible vision they have, the specifics of what they're doing, and how their team works together to forge a better, cleaner future. But let's take a step back now. On a wider level, how should we be addressing climate change as a society? To be fair, this is a hard question to answer in broad strokes. Indeed, solving climate change requires both individual commitment and corporate commitment. Governments must make it a priority, but we also need to see a cultural shift in how we all think about our planet. Fundamentally, how can we make it so people simply and genuinely care about Earth and nature? If people truly care about our environment, they'll be far more likely to treat it better. Read more at https://petite2queen.com/category/podcasts/ Support the show (https://p2q.link/donate)

Join LaTangela for another round of #RandomResearch - The results are in! This week on the #TanLine : Congressman Troy Carter (D) - Louisiana - District 2 WATCH HERE Roland S. Martin - Roland Martin Unfiltered - Black Star Network Author Brandy Colbert - Black Birds In The Sky - AVAILABLE NOW ************************************************************************************** NEW MUSIC ALERT NEVER KNEW - LaTangela Fay NEW BOOK ALERT P.O.O.F. (Power Over Obstacles Forever) - LaTangela Fay Sherman *********************************************************************************** THE LATANGELA SHOW RADIO - WEMX - Mon-Fri 10a.m.-3p.m.CST TV - WLFT - Fay @ 5 - Mon - Fri 5a.m. & 5p.m.CST WGMB/FOX44 - WEEKENDS PODCAST- ALL digital platforms YOUTUBE - #LaTangelaFay **************************************************************************************** Special Thank You: DUDLEY DEBOSIER INJURY LAWYERS B.R. Dental Care - Dr. Carlos Suadi Hair Queen Beauty Super Center John @ Premiere Nelson RockdellaSee omnystudio.com/listener for privacy information.

Troy Carter and Patrick Leung of Earthshot Labs discuss how compelling visualisations through their simulator impact our regenerative transition on a global scale. ---------------------------------------------------Join our Gumroad community, discover the tiers and benefits on www.gumroad.com/investinginregenag. Other ways to support our work:- Share the podcast - Give a 5-star rating- Or buy us a coffee… or a meal! www.Ko-fi.com/regenerativeagriculture. ----------------------------------------------------THIS EPISODE IS PART OF THE LANDSCAPE TECH SERIES. FIND OUT MORE ABOUT IT HERE!More about this episode on https://investinginregenerativeagriculture.com/troy-carter-patrick-leung.Find our video course here:https://investinginregenerativeagriculture.com/course/----------------------------------------------------For feedback, ideas, suggestions please contact us through Twitter @KoenvanSeijen, or get in touch through the website www.investinginregenerativeagriculture.com. Join our newsletter on www.eepurl.com/cxU33P. The above references an opinion and is for information and educational purposes only. It is not intended to be investment advice. Seek a duly licensed professional for investment advice.Support the show Support the show (https://www.gumroad.com/investinginregenag)

Restoring Land And Saving The Environment with Troy CarterRestoring land and saving the environment are important things to do, what if you could do them and also get paid for it? In today's Move the World Podcast you'll meet a man that is building the technology to make it happen.  https://www.earthshot.eco/ Important information from Homeowners Be Aware:We are excited to be listed in Feedspots 40 best Homeowner podcasts : https://podcasts.feedspot.com/homeowner_podcasts/ Here are ways you can follow me on line:Instagram: https://www.instagram.com/homeownersbeaware/ Website: https://homeownersbeaware.com/ LinkedIn: https://www.linkedin.com/in/george-siegal/ If you'd like to reach me for any reason, here's the link to my contact form: https://homeownersbeaware.com/contactHere's the link to the documentary film I'm making Built to Last: Buyer Beware.

Join LaTangela and Congressman Troy Carter as they discuss the ongoing road to recovery and restoration for the state of Louisiana. Help Lines: 211 - Resources 311 - Report Debris/Trees 511 - Road Conditions & Closures across the state of Louisiana www.dcfs.la.gov/preregister www.disasterassistance.gov 1-800-492-7585 FEMA CHIME IN with Congressman Troy Carter & LaTangela Fay www.LaTangela.comSee omnystudio.com/listener for privacy information.