Podcasts about TuneCore

« J'ai jamais été friand du contrat d'artiste, je suis vraiment issu de l'indépendance »

Support Good Morning Gwinnett $5.99 A Month https://www.spreaker.com/podcast/good-morning-gwinnett-podcast--3262933/support________________________________________________In this episode, we explore how DistroKid simplifies music distribution for AI music creators. Learn why DistroKid is the go-to platform with its affordable pricing, unlimited uploads, and speedy distribution to over 150 platforms like Spotify and Apple Music. We'll compare DistroKid with competitors like TuneCore and CD Baby, and share tips to optimize your music releases for success. If you're ready to distribute your AI music globally, this episode is packed with actionable insights! Become of our AI Community www.AIFounders.network

« Chaque épisode de RapBoss nous coûte 4000€ »

At our Trapital Summit, we had to talk about Founder Mode vs. Manager Mode. We were joined by the founder and CEO of Believe, Denis Ladegaillerie. Believe is global music company that owns TuneCore and had its IPO in 2021. But in 2024, a consortium led by Ladegaillerie tried to take the company private, while fending of a takeover attempt from Warner Music Group.We talked about that experience, Believe's plans to 2025, and more.Note: This conversation was recorded on October 3, 2024, before Universal Music Group's claims for copyright infringement from Believe. The topic was not discussed in our conversation.This episode was brought to you by Amy Allen, who is shaping today's music one hit at a time. For your awards consideration.Listen in for our Chartmetric Stat of the Week.

Abonnez-vous à la Newsletter : mailchi.mp/372ce005d7cc/explizik Cette semaine dans Explizik, Je voulais vous parler des ressources mises à disposition par les distributeurs ou encore les plateformes pour aider les artistes à adopter les bonnes pratiques lors d'une sortie. Nous allons nous concentrer sur ce que Tunecore a mis en place avec Youtube Music pour accompagner leurs clients. Pour aller voir, cliquez ici : https://artists.youtube/intl/fr_ALL/tunecore/

What's your story, and how does it shape your brand? In this episode of Transformative Leadership Conversations, I sit down with Maria Ho-Burge, Vice President of Communications at TuneCore, to dive deep into the art of building a personal and professional brand. Maria shares how authenticity, storytelling, and strategy come together to create a brand that not only stands out but also drives value in any industry.From her work in the music industry to her insights into leadership and communications, Maria reveals practical steps to align your unique story with your industry's needs while staying true to who you are. Whether you're a seasoned leader or just beginning to think about your brand, Maria's advice will inspire you to take action and craft a narrative that leaves a lasting impression.Listen in as we discuss:Communications as a bridge: How branding, marketing, and partnerships intersect to create meaningful impact.The power of authenticity: Why being true to your story is the foundation of a strong personal brand.Incorporating personal details: How sharing your unique life experiences can make your brand stand out.Aligning with your industry: Strategies for tailoring your narrative to fit your company's goals and the broader market.Spotting opportunities: Identifying areas where your skills and experience can fill gaps and add value.Evolving your brand: Why personal and professional growth is an ongoing process—and how to embrace it.Crafting a legacy: Building a brand that evolves with you while remaining authentic and impactful.ResourcesMaria Ho-Burge on LinkedIn | TuneCoreWinnie da Silva on the Web | LinkedIn | Substack | Email

What does it take to drive change in a male-dominated industry while staying true to your vision? In this episode of Transformative Leadership Conversations, I sit down with Andreea Gleeson, CEO of TuneCore, to hear her remarkable story. Andreea shares how she transitioned from retail to music, the challenges she's faced as a woman in leadership, and her mission to empower artists at every level of their careers. From tackling gender inequality in the music industry to fostering innovation at TuneCore, Andreea's journey is one of determination, grit, and vision. Her insights aren't just inspiring—they're actionable for anyone looking to lead with purpose and drive change.Listen in as they discuss:Breaking barriers: Andreea's work to bring gender parity and representation to the music industry.Supporting artists: How TuneCore helps musicians, from beginners to global stars, build their careers.Lessons in leadership: The mindset and skills Andreea honed to grow into her role as CEO.Empowering growth: The importance of doubling down on your strengths while addressing challenges.Overcoming obstacles: How Andreea navigated challenges in both her career and in the industry to create lasting change.The power of confidence: Why confidence is a critical factor for success, especially for women working in competitive spaces.The art of adaptation: Andreea's advice on how to stay adaptable and innovative in a constantly changing industry.ResourcesAndreea Gleeson on LinkedIn | TuneCoreWinnie da Silva on LinkedIn | on the Web | Substack

In this week's deep dive, Seeno and Dan dissect the recent unraveling at Hybe, the entertainment giant now facing a 99% profit drop and major backlash from a leaked internal document. From plastic surgery mandates to underage talent concerns, they explore the company's missteps and whether this points to corporate espionage or sheer negligence. As the music industry undergoes massive shifts, they cover the impacts of layoffs, catalog sales, and the latest power moves by labels like Atlantic and distribution giants like TuneCore and Believe. Wrapping up, they dive into how shifting economies, manipulated investment cycles, and the latest Trump-related market trends impact everyone. Get ready for an episode loaded with industry insights, market strategy, and a call for artists to take control of their futures.

Hello everyone, it's Bill Thompson – T Bill. Some of the things covered on today's session include: The stock market's good week.  The aftermath of the stock market crash of 1929. The Federal Reserve cuts interest rates by ¼ of a percent. UMG suing Tunecore and Believe for ‘Industrial Scale Infringement.' Corporate earnings up from a year ago. 

Abonnez-vous à la Newsletter : mailchi.mp/372ce005d7cc/explizik Cette semaine dans Explizik, On va parler du procès que font Universal, Abkco et Concord à Believe pour violation de copyright.

« Il y a avait peu de cabinet d'avocat géré par des femmes »

« Une banque croira toujours plus en toi qu'une maison de disque »

« La signature entre M3lo World et Atlantic, c'est pas un deal d'argent c'est un deal de vision »

Elegir la mejor distribuidora no es una receta que aplique para todos. Cada artista deberá evaluar según sus necesidades. Para ayudarte en la decisión, hacemos un comparativo cara a cara entre DistroKid, ONErpm/OFFstep, CDBaby, Symphonic, TuneCore, Amuse y Ditto, en base a los factores más relevantes a considerar a la hora de decidir en manos de quién pondrás tu música.00:00 Intro04:08 Costo y comisiones09:36 Cobertura (plataformas incluídas)13:26 Content ID de YouTube14:39 Verificación de perfiles y canal oficial de artista17:25 Elegir fecha de lanzamiento18:14 Split de regalías (división de pagos)22:05 Manejo de covers23:54 Mostrar colaboradores a nivel principal27:13 Herramientas de marketing, gestión de contenido y recursos informativos30:54 Atención a cliente34:04 Administración editorial (Publishing)36:16 Posibilidades de crecer - Servicios de sello40:56 CierreRECURSOS Y ENLACES

In this episode of The Balcony Show, we are super stoked to bring you music and interview with The Robert Paul Band! Tune in as Robert Paul and Tim McGeary join us to talk about their new album “Lucky Number Seven” and more! Our dude of all things awesome Madcat has the single “Winter Sun” from ReverbNation selectee Oliver James, Bo is talkin Tune Core, Donna is featuring the new single “Guilty” by Moses and Mike is talking what's trending in The Balcony Show News! All this and more! #catchingrisingstars #thebalconyshowrocks #indiemusicsupport #radioshow #therobertpaulband #LikeFollowShare Hosted on Acast. See acast.com/privacy for more information.

#Entertech Street 音楽プロデューサー山口哲一が世界のエンタメ✖️テクノロジーの最新ニュースをお届け⏩経産省の音楽産業の未来を考える報告書が公開されました◆小山田圭吾 炎上の「嘘」◆中野区、「中野サンプラザ」を3Dモデル化◆毎日新聞、富山県内への配送を9月末で休止へ◆TuneCore親会社のBelieve、中東欧最大の独立系音楽会社と提携

El Lic. Alexiomar Rodríguez entrevista a Cristian Pachon de Believe (empresa matriz de TuneCore) sobre qué buscan las disqueras (sellos discográficos) para firmar artistas emergentes, y cómo puedes llamar su atención.

Ep 41 - Here We Go...Again Cole starts the episode talking about Bronny James getting drafted and why it's not that big of a deal. The conversation shifts into new releases this week as Cole talks about Meg thee Stallion's new album "Megan" (11:08), then he gets into Lucky Daye's new album "Algorithm" (20:15). In the news, Caffeine TV is gone and Cole tries to figure out why when they have a $300 million fund sitting in the bank with no platform (26:58) and finally, TuneCore has a tool where you can master your songs for $5 per song (35:40). If you have used this tool email Cole your before and after music to colejackson@bynkradio.net Follow Cole On IG: https://www.instagram.com/colejackson_bynk/ On X: https://twitter.com/ColeJackson12 --- Send in a voice message: https://podcasters.spotify.com/pod/show/thestemsociety/message

What if your debut music release could exceed all your expectations? Join us as we uncover the secrets to navigating the music industry's complex landscape with strategies that transform dreams into reality. We guarantee insights into achieving commendable streaming numbers while demystifying the elusive world of playlist placements. Forget the myths about New Music Friday; our focus shifts to the power of genre-specific playlists and the crucial role of specialized distributors like CD Baby, TuneCore, and DistroKid in pitching your music effectively. Discover the nuances of engaging Spotify's algorithmic playlists and the importance of genuine playlist growth to avoid the traps of fake streams and algorithm disruption.Our episode takes a deep dive into building a strong social media presence from the ground up on platforms like Instagram and TikTok. We provide actionable strategies for crafting consistent, quality content that drives long-term engagement, even when immediate follower growth might seem elusive. Hear from debut artists about their release experiences and learn what to realistically expect in terms of streams, social media traction, and press coverage. By sharing these stories, we foster a supportive community of artists learning from one another's journeys. Subscribe for more insights and let us guide you through your musical debut with confidence and clarity.

Welcome to another episode of You Had to Be There, the podcast where we deep dive into the crowds of concerts, festivals, the music industry, and more. I'm your host, Julia Gomberg.This week, we're thrilled to have not just one of the industry's best, but also a dear friend and former colleague – Alyssa Byrne! Alyssa is a pro's pro regarding music publishing and rights management. She's the Senior Publisher Relations Manager at TuneCore, a powerhouse in the independent music distribution scene. We talk about all things publishing but also deep dive into her love for metal, pop punk, and emo music, so be sure to also check out her You Had to Be There curated playlist for the podcast, which you can find on our instagram, @uhadtobetherepod.You can find Alyssa on Instagram at @alyssaxbyrneAlyssa's playlist: https://open.spotify.com/playlist/1ZiBrGXQtUwXwRmcKER6qc?si=fbebaac8e2d94b49Song outro: Dull by Microwave

MAZI is joined by Mazi's World Alumni BANKREAUX and they discuss BANK's BEST WEEK EVER, Selena and Nip's recent anniversary of their passing, TUNE CORE being shady, Uncle JUVI bringing BACK a classic! as well as SPORTS TALK. THANK YOU FOR TUNING IN!

Linktree: https://linktr.ee/AnalyticNotorious Mass Effect: Deep Dive Discussion with Analytic DreamzJoin Analytic Dreamz for an in-depth exploration of the latest happenings in the world of hip hop. This segment dives into the hype surrounding Bfb Da Packman's upcoming album, "Forget Me Not."Unpacking the Drake Feature Drama: We'll analyze the initial excitement around a potential Drake feature on Packman's track "Olympic Sh*t Talkin," followed by the confusion caused by reports of its removal.Fake News or Distribution Delays?: We'll dissect Packman's response, addressing his dismissal of the reports and his explanation regarding updates with TuneCore.Sabotage or Standard Hiccup?: This segment delves into Packman's concerns about potential sabotage and explores the possibility of technical reasons behind the feature's delay.Independent Powerhouse: Despite the confusion, the discussion highlights the significant anticipation surrounding Packman's album, solidifying his status as a powerful force in independent hip hop.Tune in for a deep dive into the industry, artistic vision, and the road to success for independent artists!Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Esta es una revisión actualizada sobre los 15 aspectos más importantes sobre TuneCore y sus funcionalidades, herramientas y servicio en general.Es nuestro programa de la serie donde analizamos detalladamente las distribuidoras de plataforma abierta más relevantes para los países hispanohablantes.00:00 Intro02:35 Costo04:03 Comisiones05:06 Cobertura06:03 Facilidad de uso07:14 Verificación de perfiles y canal oficial de artista09:07 Elegir fecha de lanzamiento09:37 Split de regalías (división de pagos)10:28 Manejo de covers10:10 Mostrar colaboradores a nivel principal12:16 Herramientas de marketing y recursos informativos15:35 Manejo de playlists16:16 Facilidad para hacer cambios en lanzamientos17:00 Atención a cliente17:47 Posibilidades de crecer - Servicios de sello18:55 Administración editorial (Publishing)RECURSOS, ENLACES Y PROGRAMAS MENCIONADOS

This week I speak with Randall Michael Tobin in Part 2 of our conversation. Randall founded his Theta Sound Studio way back in 1977 and has worked on thousands of projects in various genres including Jazz, Pop, R&B, Classical, Hip Hop, Country, Ragtime, Gospel, Ballet, Alternative, Film Score and Spoken Word. Besides offering just about every audio service you can think of, he also offers art and graphics, online marketing and promotion, video production and editing, and website design and maintenance. As I said last week, there's more to Randall's story than just audio. His interest in artisan cooking led him to baking sourdough bread loafs that he gave to clients and friends as gifts. This eventually led to a side business called Random Acts of Breadness, where as an artisan baker, Randall sells sourdough bread along with raw farm butters, honey spreads, jams and organic extra virgin olive oils. And as I also said last week, I eat at least one piece of Randall's most delicious sourdough just about every day. During Part 2 of our interview, we spoke about how some house concerts started his side-career in cooking and baking, the similarities between food and music, using gorilla marketing to start his bakery, the importance of pivoting when opportunities present themselves, and much more. I spoke with Randall from his studio in Burbank, California.  On the intro I looked at Warner Music looking to buy Tunecore parent company Believe Music, and the most popular hardware synthesizer by country.

Únete a este canal para recibir respuesta prioritaria a tus comentarios, y más:https://www.youtube.com/channel/UC-BuQscBRRi1OUTezwICm-w/joinMuchos artistas están desilusionados de su distribuidora, pero al revisar bien las causas, me doy cuenta de que el error son las falsas expectativas. En este programa verás qué puedes esperar si trabajas con una distribuidora de plataforma abierta, como DistroKid, ONErpm, CDBaby, Tunecore, Symphonic Starter, Amuse o Ditto Music.00:00 Intro02:02 La esencia del servicio de una distribuidora de plataforma abierta02:32 No me dan apoyo de marketing03:58 Me dijeron que manejan playlists…05:59 Apoyo en manejo de perfiles y cuentas07:05 Apoyo para subir música07:45 Atención a cliente09:32 Recomendación finalRECURSOS Y ENLACES

¿Estás buscando la mejor distribuidora digital de música para ti? En este video, el Lic. Alexiomar Rodríguez, abogado de música y entretenimiento, entrevista a Bruno Duque, Head of TuneCore Brazil & LATAM. En este episodio aprenderás sobre los nuevos planes de TuneCore, sus precios, tecnología disponible para artistas y sellos, métodos de pago disponibles, y las diferencias con otras alternativas en la industria de la música, para que puedas tomar una decisión informada al seleccionar la mejor distribuidora digital de música para ti.

Conocer en persona y poder grabar esta conversación con Bruno ha sido una gran experiencia. Es un hombre apasionado de corazón por la música y nos ha compartido información muy importante y de gran valor. Tunecore una de las distribuidoras más legendarias e importantes de la industria, comenzaron desde la época de iTunes, antes de Spotify. --- Send in a voice message: https://podcasters.spotify.com/pod/show/checkingconmauro/message

Happy New Year 2024 and welcome to episode 48 of The DJ B-12 Deep Acid House Experience. We hope you are doing well and thank you for joining us for this New Year's Special. We hope you had a great Holiday Season. This mix contains 78 tracks and has a runtime of just under 3 hours, so buckle up and get ready for an amazing journey of timeless music, sounds and emotions. This mix features tracks going all the way back to 1992 through present. There's oldskool, nuwskool, house, deep house, breaks, acid, progressive, vocal house, bassline house, techno and much more. There's a lot of unexpected twists and turns inside. The set starts out with with Craig Armstrong's Green Light (feat. The XX) from the 2013 film The Great Gatsby soundtrackstarrring Leonardo DiCaprio and has some of the films memorable samples added. Later in the mix, it also features Lana Del Rey's Young and Beautiful from the film. This one to remember, so please share this with everyone you know who likes this sort of stuff. Thanks for your listenership.   This episode contains tracks by the following artists and on the following labels: Craig Armstrong, The xx, Interscope Records, Aldo M., Superordinate Music, Gero Campo, Sounds and Frequencies Recordings, Kolter, Cinthie, Shall Not Fade, Framewerk, Soul Minority, Homero Espinosa, Kolour Recordings, DJ VIBE, Fragoso, Nervous Records, Gerald Peklar, India, PAWA, Andorfine Digital, Ruff Stuff, Miura Records, Trutopia, The Pressure, Night Mayors, Sonique, Altra Moda, Dan Zamani, Tim Taylor, YANTRA, Missile Records, Deee-Lite, Elektra Records, Real Deep, Jaidene Veda, Mdcl, Papa Records, Jay Kay, Urban GorillazY, Ander B , Moulton Music, Amy Dabbs, Distant Horizons, Alan Dixon, Running Back, Force Mass Motion, Force Mass Motion Recordings, Mariah Carey, David Morales, Columbia, The CableGuy, Contact Recordings, Rabbit City Records, Gai Barone, Luke Brancaccio, Sudbeat Music, Mark Farina, DIRTYBIRD, Grant Nelson, Swing City, Lynsey Moore, Paul Rudder, Denham Audio, Dance Trax, Dusky, Running Back, Kevin Yost, Peter Funk, Col Lawton, I Records, Koldar, W&O Street Tracks, t e s t p r e s s, Shall Not Fade, M People, Sasha, Deconstruction, Allegra Bandy, Nacho Marco, Yerba Buena Discos, Kirby, Tango Recordings, Solo, TuneCore, Hernan Cattaneo, Jody Barr, Sudbeat Music, Because of Art, Jody Wisternoff, James Grant, Anjunadeep, Bicep, Ninja Tune, Marsh, Icarus, Jansons, Future Disco Dance Club, Kerri 'Kaoz' Chandler, Arnold Jarvis, Freetown Inc, Dabbs Traxx, Franky Wah, SHÈN Recordings, Cristian Volpe, Ziggy (IT), Groovy Riddim Records, Tour- Maubourg, Carlo, Baldo, Aterral, Johnny Dharma, Cromarti Records, Coastlines, HEFE, AllezVed, Immersed, Lana Del Rey, Water Tower Music Interscope, Holo, OceanLab, Above & Beyond, Genix, Anjunabeats, Todd Terry & Junior Sanchez, DJ Master, Inhouse, Oval 5, Doi-oing, Spooky, Gee Zone Records, Hurlee, Silent Predia Tracklist01. Craig Armstrong - Green Light (feat. The xx) [Interscope Records]02. Aldo M. - Mercury [Superordinate Music]03. Gero Campo - Distinctive Indicate [Sounds and Frequencies Recordings]04. Kolter - Up in the Sky (Cinthie Remix) [Shall Not Fade]05. Framewerk - What I Never Knew (Framewerk Edit)06. Soul Minority - N.A.S.T.Y. (Homero Espinosa Remix) [Kolour Recordings]07. DJ VIBE, Fragoso - Don't Stop [Nervous Records]08. DJ VIBE, Fragoso - Don't Stop (Dub Mix) [Nervous Records]09. Framewerk - Floribunda (Framewerk Rewerk)10. Gerald Peklar - Pacifistic Loving (Feat. India) (PAWA Remix 2) [Andorfine Digital]  11. Ruff Stuff - Green Circus [Miura Records]12. Trutopia - Leave This All Behind (feat. The Pressure) (Extended Mix) [Night Mayors]13. Sonique - It Feels So Good (12" Breakbeat Mix) [Altra Moda]14. Dan Zamani and Tim Taylor (YANTRA) - The Birth of Stars (Original Mix 1995) [Missile Records]15. Deee-Lite - Music Selector Is The Soul Reflector [Elektra Records]  16. Real Deep, Jaidene Veda, Mdcl - You Got This (Homero Espinosa Remix) [Papa Records]17. Jay Kay - Spirit [Urban GorillazY]18. Ander B - Mind Tricks (Homero Espinosa Stripped Mix) [Moulton Music]19. Deee-Lite - Bittersweet Loving [Elektra Records]20. Amy Dabbs - Mellowday [Distant Horizons]  21. Homero Espinosa - In My Soul (Vocal Mix) [Moulton Music]22. Alan Dixon - Moments (Original Mix) [Running Back]23. Ruff Stuff - Green Circus [Miura Records]24. Force Mass Motion - OYeah [Force Mass Motion Recordings]25. Mariah Carey - Fly Away (Butterfly Reprise) [Columbia]26. The CableGuy - Cable City [Contact Recordings]27. Force Mass Motion - Deeper [Rabbit City Records]28. Gai Barone, Luke Brancaccio - Memory Child [Sudbeat Music]29. Deee-Lite - DMT (Dance Music Trance) [Elektra Records]  30. Mark Farina, Homero Espinosa - Falling Forward [DIRTYBIRD]31. Grant Nelson - Frequency [Swing City]32. Grant Nelson - Resist [Swing City]33. Deee-Lite - River Of Freedom [Elektra Records]34. Grant Nelson feat. Lynsey Moore - Hurt You So (House Mix) [Swing City]35. Framewerk - Closer To Me (Framewerk Dub)36. Paul Rudder - Late Nights [Miura Records]37. Deee-Lite - Somebody [Elektra Records]38. Denham Audio - White Label [Dance Trax]39. Dusky - Wildfire [Running Back]  40. Kevin Yost, Peter Funk - Trust (Col Lawton Remix) [I Records]41. Koldar - Don't Hold Back [W&O Street Tracks]42. t e s t p r e s s - tell ya [Shall Not Fade]43. Dusky - Tea Cake [Running Back]44. M People - How Can I Love You More (Sasha Qat Mix) [Deconstruction (Sony)]45. Force Mass Motion - In To You - Vocal Mix [Rabbit City Records]46. Homero Espinosa Featuring Allegra Bandy - Then You Smiled (Nacho Marco Remix) [Yerba Buena Discos]47. Kirby - Dancin In The Night (Homero Espinosa Remix) [Tango Recordings]48. The CableGuy - Belief [Contact Recordings]49. Grant Nelson - In The Dark [Swing City Records]50. Solo - Late Night [TuneCore]51. Amy Dabbs - No More Distractions [Distant Horizons]52. Hernan Cattaneo & Jody Barr - Airglow [Sudbeat Music]53. Because of Art, Jody Wisternoff & James Grant - Free (Extended Mix) [Anjunadeep]54. Bicep - Apricots [Ninja Tune]55. Marsh - All Night Long (Icarus Extended Mix) [Anjunadeep]56. Jansons - Sugar [Future Disco Dance Club]57. Kerri 'Kaoz' Chandler Presents Arnold Jarvis - Inspiration [Freetown Inc]58. Amy Dabbs - Ghosts [Dabbs Traxx]59. Grant Nelson - Fly High [Swing City]60. Framewerk - Together (New Year Special) [Framewerk Rewerks]61. Franky Wah - Da Capo [SHÈN Recordings]62. Cristian Volpe - Call It Love (Ziggy (IT) Remix) [Groovy Riddim Records]63. Tour- Maubourg & Carlo - Synchrony (Baldo Remix) [Aterral]64. Deee-Lite - Party Happening People [Elektra Records]65. Johnny Dharma - With All Our Love (Homero Espinosa Remix) [Cromarti Records]66. Mark Farina & Homero Espinosa - Everybody Dancing [Moulton Music]67. Homero Espinosa - Sounds Of The Triton (House Mix) [Moulton Music68. Deee-Lite - Call Me [Elektra Records]69. Coastlines, HEFE, AllezVed - Crowded Room (Extended Mix) [Immersed]70. Lana Del Rey - Young And Beautiful (DH Orchestral Version) [Water Tower Music Interscope]71. Holo - Juniper [Shall Not Fade]72. OceanLab, Above & Beyond - Beautiful Together (Genix Extended Mix) [Anjunabeats]73. Paul Rudder - Tell A Story [Miura Records]74. Todd Terry & Junior Sanchez - Figure of Jazz (DJ Master) [Inhouse]  75. Oval 5 - Vertigo (Doi-oing Vs Spooky Thumper Mix) [Gee Zone Records]76. Hurlee - Get Movin' [Miura Records]77. Silent Predia - Sound Of The Forest [Nervous Records]78. Deee-Lite - Bring Me Your Love [Elektra Records]

In this episode of #SyncMusicMondays, host K. Sparks discusses the following: "I tell you everywhere you need to register your songs to earn royalties, get protected, and legitimize yourself as an artist. In this Ultimate Guide, I explain what every entity does, what types of royalties they pay out, and which companies have you covered...and which don't. Distrokid vs. TuneCore vs. CD Baby. Which is the best? I will help you answer that question". K. Sparks is an American rapper and producer from Queens, New York City. He has been active in the music industry since the early 2000s and has released numerous albums, mixtapes, and EPs over the years. His experience with Music Licensing dates back to 2007, K. Sparks has valuable industry experience and insight that is not to be missed, brought to you through Rhythm Couture. K. Sparks Instagram - https://www.instagram.com/ksparksmusic/ →Sound of Success← https://www.eventbrite.com/e/sync-music-success-get-your-music-in-film-and-tv-conference-tickets-662628679217?lang=en-us&locale=en_US&status=30&view=listing →Follow On Social Media← YouTube @rhythmcouture Podcast - https://audioboom.com/channels/5090014-sync-music-mondays Instagram - https://www.instagram.com/rhythmcouturebiz/ Facebook - https://www.facebook.com/RhythmCoutureBIZ Our mission here at Rhythm Couture is to help purpose-driven musicians attain their goals doing what they love and making an impact through the power of music. ️FREE TIPS: Download our FREE TV/Film Sync Music Licensing Tips: https://www.rhythmcouture.com/mlb ️RC UNIVERSITY: Check out our online university that provides direct knowledge in regards to music licensing https://www.rhythmcouture.com/rc-academy ️COURSES/ COACHING / MASTERMINDS: Learn about our online courses, coaching, and one on one personal Music Licensing Master Mind Classes designed to help every musician reach their goals. Schedule a consultation via the contact page on our website. https://www.rhythmcouture.com/contact (Host) K. Sparks: https://www.instagram.com/ksparksmusic/ (Engineer) Es-K: https://www.instagram.com/beatsbyesk/ #musiclicensing #musiclicensingtips #bedroomproducer

Hello and welcome episode 47 of The DJ B-12 Deep Acid House Experience. I hope you are all doing well out there and I appreciate your support and listenership. This show is for the month of September 2023, and it is dedicated in memory of Ainsley Talbot, my 10-month 3-week-old kitten who passed on August 29, 2023. She had a terrible condition that left her disabled after she was about 2-3 months old. Although she was born normal with her surviving sister, Arianna and her brother, Jackson, it seems, her mother, Gracie (who was a stray cat I took in 3 weeks before they were born), contracted a virus while she was pregnant, which resulted in only Ainsley developing a condition that caused her cerebral cortex to not form properly. It started out with her motor skills diminishing and eventually led to her being only able to lay on her side and needing help doing everything. She was a true fighter, and she will always be my little hero and my best friend, but her broken little body just had enough.  She was the most beautiful, precious, and loving soul I've ever known.  As you can imagine, this was a bittersweet episode for me to do with losing her so young, which is one of the reasons it took me so long to get out, but I wanted to get a fresh mix out with new tunes that I could also dedicate to her. Although this set was worked out ahead of her passing, some of the tracks took on a special meaning because of lyrics and titles. RIP Ainsley girl. I will love you forever and always, until we meet again, my angel. Ainsley Talbot October 3, 2022 - August 29, 2023.This mix has 76 tracks and a runtime of 2 hours and 38 minutes. This set contains the best in house, breaks, progressive, melodic house and techno, techno, deep house, acid, piano house, vocal house, uplifting house and more. The full 320k mp3 can be downloaded from Soundcloud.  This episode contains tracks by the following artists and on the following labels: Sousa_, 13 Records, Thomas Compana, Drekaan, Embliss Records, Into The Ether, Immersed, Digby & Oliver, Framewerk, Zero Tolerance Recordings, Ika Sile, OSF, Sasha, Because of Art, Last Night On Earth, Dosem, My Friend, Anjunadeep, W&O Street Tracks, Trance Wax, Armada Music, Framewerk Rewerks, Kodiaks, Aubrey Fry, Death Proof Recordings, Mauricio, Big Speaker Music, Paul Rudder, Miura Records, Rhyme Time Production, Skapes, Tim Hidgem, Cleveland City, Solo, TuneCore, Sopp, Pomme Frite, Sweet LA, LW Recordings, T-Bor, Phoenix Music Inc, Nick Muir, Proton Music, Audiojack, Jem Cooke, Michael Mayer, Crosstown Rebels, Suki, Shall Not Fade, Armada Music Albums, Jachmastr, Selsi, Sounds and Frequencies Recordings, Bound to Divide, Lauren L'aimant, Colorize (Enhanced), Nadja Lind, Hernan Cattaneo, Soundexile, City Noises, Muzvio, Capital Heaven, Toriah, Stress Records, Fly Boy Records, Leena Punks, Tom Westy, Monoton, La Fusa, Henry Street Music, Tom Wax, Frank De Wulf, Phuture Wax Records, Nicky Elisabeth, Joris Voorn, Acid James, Amy Dabbs, Athlete Whippet, Aus Music, Ejeca, Toolroom, mpeg, Permanent Vacation, Jay Kay, Play This! Records, Lazer Worshippers, Wild and Taylor, Missile Records, Hehn, Torre, Anthony Pappa, Progrezo Records, Astro, Lost Palms, Florentin, Diynamic, Jaydee, Percep-tion, t e s t p r e s s, Dance Trax, DJ Jeroenski, Alex Vasi, Rubber People, Blockhead Recordings, Ace's Jam Hire, MARINA TRENCH, Hugo LX, Gerd Janson, Sweet State, Andy Bach, Anne Miller, Leftymood Records, Mark Archer, Shadow Child, Swankout, Vataff Project, Saafi Brothers, Liquid Sound Design, State of Grace, Sunscreem, Carl Cox, Bushwacka!, Chuck Roberts, Oblong Records, Sweet LA, Whore House, WeAreTwo, Re:vibe Music, Robert Babicz, Kelch, Bodhi, Hotflush Recordings, Marsh, Sun Ra, LeSonic, Ellie Shantz, Monstercat Silk, Quivver, Dave Seaman, Einmusika Recordings, Rammdomm, Urban GorillazY, Saytek, Apex Recordings, Toni Sauna, Daniel Englisch, Dave Angel, Groom Lake Universal, Hammer, DART, Maruw, WZA, Nuvolve Music.Tracklist01. Sousa_ - Around Me [13 Records]02. Thomas Compana - Keep Progress (Drekaan's 'Better to Live High' Remix) [Embliss Records]03. Into The Ether - Reminiscence (Extended Mix) [Immersed]04. Digby & Oliver - Human (Framewerk Breaks Remix) [Zero Tolerance Recordings]05. Ika Sile - Get To Know [OSF]06. Sasha & Because of Art - Fused [Last Night On Earth]07. Dosem & My Friend - Blue Marble (Extended Mix) [Anjunadeep]08. My Friend - Atomic Burger [W&O Street Tracks]09. Trance Wax - Rhythm Of The Night (Extended Mix) [Armada Music]10. Framewerk - Mooger Fooger (Framewerk Rewerk) [Framewerk Rewerks]11. Kodiaks - Growler (Aubrey Fry Remix) [Death Proof Recordings]12. Mauricio - PHAZE 1 (Extended Mix) [Big Speaker Music]13. Paul Rudder - Findin' My Way [Miura Records]14. Rhyme Time Production - You & Me (Skapes & Tim Hidgem Remix) [Cleveland City]15. Solo - Emotions [TuneCore]16. Sopp - So Good [Pomme Frite]17. Sweet LA - Reset [LW Recordings]18. T-Bor - On The Edge (Extended Mix) [Phoenix Music Inc]19. My Friend - Walk The Walk [W&O Street Tracks]20. Nick Muir - All One Word [Proton Music]21. Audiojack x Jem Cooke - Feels Good (Michael Mayer Remix) [Crosstown Rebels]22. Suki - Phonosynethesis [Shall Not Fade]23. Because of Art - Amnesia 2000 (Extended Mix) [Armada Music Albums]24. Jachmastr - Obsession (Selsi Remix) [Sounds and Frequencies Recordings]25. Bound to Divide & Lauren L'aimant - Tears (Extended Mix) [Colorize (Enhanced)]26. Nadja Lind - Limbus (Hernan Cattaneo & Soundexile Remix I) [City Noises]27. Muzvio - Vortex [Capital Heaven]28. Toriah - Motions (Extended) [Stress Records]29. My Friend - Chicken Lizard [Fly Boy Records]30. Leena Punks - OOO (Out Of Office) (Tom Westy Extended Remix) [Stress Records]31. Monoton & La Fusa - Spirit Of The Inner Circle [Henry Street Music]32. Tom Wax - Electronic Passion (Frank De Wulf Remix) [Phuture Wax Records]33. Nicky Elisabeth - Fading (Joris Voorn Extended Mix) [Anjunadeep]34. Acid James - Queen of Hearts [LW Recordings]35. Amy Dabbs & Athlete Whippet - Milkshake (Extended Mix) [Aus Music]36. Framewerk - When The Lights Are Out(Framewerk Rewerk) [Framewerk Rewerks]37. Framewerk - Into The Sun (Framewerk Edit) [Framewerk Rewerks]38. Ejeca - In & Out (Extended Mix) [Toolroom]39. mpeg - What's Real [Permanent Vacation]40. Jay Kay - Inspire [Play This! Records]41. Lazer Worshippers - Lazer Worshippers Theme (Wild and Taylor Electro Mix 1993) [Missile Records]42. Hehn - Macro [Torre]43. Dosem & My Friend - Door To Door (Extended Mix) [Anjunadeep]44. mpeg - Dizzy [Permanent Vacation]45. Anthony Pappa - Outback (Lank Lazy Dub) [Progrezo Records]46. Astro - Radiance [Lost Palms]47. Florentin - Cousin Sam [Diynamic]48. Jaydee - Sleepy Head [Percep-tion]49. t e s t p r e s s - HWFG [Dance Trax]50. DJ Jeroenski & Alex Vasi - Get Back Together (Rubber People Remix) [Blockhead Recordings]  51. My Friend - In Flux [Ace's Jam Hire]52. MARINA TRENCH - Ose feat. Hugo LX (Gerd Janson Remix) [Sweet State]53. Andy Bach - Never Felt So Right feat. Anne Miller [Leftymood Records]54. Mark Archer & Shadow Child - I Know You (Swankout Remix) [Dance Trax]55. Vataff Project - Come and Join (Saafi Brothers Remix) [Liquid Sound Design]56. Because of Art - Don't Make Me [Last Night On Earth]57. t e s t p r e s s - U (Extended Mix) [Stress Records]58. My Friend - Into The Night (Extended Mix) [Stress Records]59. Framewerk - Not Over Yet (Framewerk '23 Rewerk) [Framewerk Rewerks]60. Carl Cox & Bushwacka! - Music Is Life feat. Chuck Roberts (Deep Mix) [Oblong Records]61. Sweet LA - Closer [Whore House]62. WeAreTwo - The Rooftop (Sweet La Remix) [Re:vibe Music]63. t e s t p r e s s - Just [W&O Street Tracks]64. Robert Babicz - We Will Never Give Up [Kelch]65. Bodhi - Actuator (Extended) [Hotflush Recordings]66. Marsh - Another Planet feat. Sun Ra (LeSonic Extended Mix) [Anjunadeep]67. Marsh feat. Ellie Shantz - Make (Extended Mix) [Monstercat Silk]68. Quivver & Dave Seaman - Eyes Wide Shut [Einmusika Recordings]69. Selsi - Majestic [Capital Heaven]70. Rammdomm - Vorinclex [Urban GorillazY]71. Saytek - Acid Breakup (Live) [Apex Recordings]72. Toni Sauna & Daniel Englisch - Make Detroit Great Again (Dave Angel Remix) [Groom Lake Universal]73. Hammer & DART - Tint (Maruwa Remix) [Shall Not Fade]74. mpeg - Back To B [Permanent Vacation]75. Framewerk - Perfect Motion (Framewerk Rewerk) [Framewerk Rewerks]76. WZA - I Just Wanna Be Free [Nuvolve Music]

This week, Tristra and Shayli discuss the upcoming Music Tectonics conference and its various panels. We shed light on the positive impact of AI in the music industry, highlighting the panel “Music Meets AI Navigating: a Positive Future” featuring Tuned Global, Endel, and TIDAL. Tristra gives her perspective on Endel's unique approach to creating immersive soundscapes with AI that take functional audio to the next level.    We further explore the conference, highlighting the fireside chat between Andreea Gleeson of TuneCore and Kristin Robinson of Billboard, and the “Untangling Music Data for the Benefit of All" panel featuring Dae Bogan from the MLC and Britnee Foreman from Exceleration Music. Plus Dmitri hijacks the airwaves for breaking news from the Swimming with Narwhals Startup Pitch Competition! Don't miss this opportunity to get insights from the forefront of music technology in this week's episode.    The Music Tectonics podcast goes beneath the surface of the music industry to explore how technology is changing the way business gets done. Visit musictectonics.com to find shownotes and a transcript for this episode, and find us on LinkedIn, Twitter, and Instagram. Let us know what you think!   

Los abogados de música, Lic. Alexiomar Rodríguez y Lic. George Arroyo, explican la controversia entre Believe, empresa matriz de TuneCore, y el nuevo sistema de pago de regalías musicales centrado en artistas profesionales (artist-centric royalties) según propuesto por Universal Music y la plataforma de steaming Deezer.

Catch up with leaders in music and innovation who are deeply involved with the Music Tectonics Conference this October as Dmitri and Tristra sit down with three fantastic guests.  Check in on what's bubbling up in every part of the music landscape and get a taste of the in-depth conversations we'll be having at the conference.  First up, Tristra sits down with Bill Colitre at Music Reports on the state of music licensing now that the AI cat is out of the generative bag, and how Music Reports is responding. Then, Dmitri chats with Andreea Gleeson of TuneCore to talk about how they are simultaneously continuing to support independent artist careers while leaning into how AI can extend artist revenue, such as with their work with Grimes' AI project.  Finally, Tristra returns with a conversation with David Knox of Reactional Music to get a perspective on how innovations in music are converging with the rise of gaming culture to lead to deeper collaborations and more immersive experiences. Preview the excitement of the Music Tectonics Conference in this week's episode! The Music Tectonics podcast goes beneath the surface of the music industry to explore how technology is changing the way business gets done. Visit musictectonics.com to find shownotes and a transcript for this episode, and find us on LinkedIn, Twitter, and Instagram. Let us know what you think!

Welcome to the latest Music Business Worldwide podcast supported by Voly Music.On this 'cast, MBW founder Tim Ingham is joined by Denis Ladegaillerie, founder and CEO of Believe.Paris-headquartered Believe is now well established as one of the largest recorded music companies in the world, both via its Believe-branded artist and label services operation, as well as its subsidiary, TuneCore, which announced the close of last year that it had paid out over USD $3 billion to independent artists to date.Believe currently is valued at around USD $1 billion on the Paris Euronext stock exchange, having turned over around USD $450 million in revenue in the first half of 2023. (Believe reports its revenues in Euros.)On this podcast, MBW's Ingham asks Ladegaillerie all about a number of key topics including: - How the music industry should deal with streaming fraud;- Why Asia is set to commercially explode in music in the years ahead;- What Believe's strategy is to challenge the ‘major' music companies; and- Yep... Artificial Intelligence. (AI is a particularly timely subject at Believe and TuneCore, which recently partnered with Grimes to distribute music created by other artists using an AI replication of her voice.)One other important point: Believe is no longer just a recorded music company. Since March it has also run its own global music publishing operation, housed under  TuneCore, following Believe's acquisition of the $51 million-valued Sentric Music.The Music Business Worldwide Podcast is supported by Voly Music.

Rishi Sunak's government is heading to court to challenge the Covid inquiry's right to demand ministers' unredacted messages, following a row over Boris Johnson's WhatsApp messages. The FT's Whitehall editor Lucy Fisher is joined by columnist Miranda Green and UK chief political commentator Robert Shrimsley to discuss the saga. Plus, the FT's global health editor Sarah Neville tells Lucy why more staff alone won't solve the NHS's problems. And the panel members reveal their musical tastes - with cultural recommendations for your own downtime. Follow Lucy on Twitter @LOS_FisherRead a transcript of this episode on FT.comWant more? UK government takes legal action over Boris Johnson's Covid messagesNHS productivity lags as recruitment fails to keep pace with demandHow the Thatcherites lost their Brexit dream and their partyThe great ‘Brexit' and ‘coalition' taboos are holding the Lib Dems back Clips from Sky News, BBC.”Subterranean Homesick Blues” by Bob Dylan. Written by Bob Dylan. SME, TuneCore (on behalf of Columbia); UMPG Publishing, CMRRA, LatinAutorPerf, LatinAutor - SonyATV, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, SOLAR Music Rights ManagementSign up for 90 free days of Stephen Bush's Inside Politics newsletter, winner of the World Association of News Publishers 2023 ‘Best Newsletter' award: https://www.ft.com/newsletter-signup/inside-politics Presented by Lucy Fisher. Produced by Anna Dedhar and Audrey Tinline. The executive producer is Manuela Saragosa. Audio mix and original music by Breen Turner. The FT's head of audio is Cheryl Brumley. Hosted on Acast. See acast.com/privacy for more information.

Welcome to the Music Business Worldwide podcast supported by Voly Music. How big can an independent artist get without help from a major record label?It's been a fierce source of debate at this point for 20 years ever since the likes of TuneCore launched in the early to mid-noughties.These days, though, we have the receipts to answer the question. Take Bruno Major, a fully independent artist and our guest on this episode of the MBW Podcast.Major, who released his music via AWAL and owns his own recordings, has comfortably more than a billion streams on Spotify, with two of his tracks – Nothing and Easily – racking up over quarter of a billion streams each. He recently released his latest singles, We Were Never Really Friends and Columbo, ahead of his third studio album – also called Columbo – which will be out later this summer.Major is a successful live act, with a tour of Asia, Europe and North America recently confirmed. He's previously toured arenas with Sam Smith. He has a particularly interesting history with the record business: Major started out in the music industry by signing (and then leaving) a major label deal with Virgin Records, then owned by EMI, in Los Angeles.On this podcast, Major discusses his experience of being signed to that major record company as a young man, how that experience has help fuel his career ambitions ever since, and how he keeps himself creatively motivated as an independent artist…The Music Business Worldwide Podcast is supported by Voly Music.

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

In this episode we spoke with Sarah Wilson, Head of Tunecore for UK & Ireland, Australia, New Zealand and Canada. Tunecore is one of the world's leading DIY distributors, working with over 150+ DSPs globally, and working closely with its parent company Believe Digital. It stands strongly for the democratisation of access to distribution for all.We also discuss how Sarah manages her busy schedule and working across multiple timezones.Sarah's experience lies solidly within the music industry, having worked at Universal Music UK as VP, International Marketing and at The Orchard in Artist Services. She spent 13 years at Beggars Group, rising through the ranks within the international department to Director of International working with such celebrated artists as Adele, Radiohead and The National. This episode is such a gem calling on all of Sarah's knowledge.It was long awaited speaking to Sarah and we really hope you enjoy this episode. Please like, subscribe and share with a friend :)Links:Connect with Sarah on LinkedIn: @Sarah Wilson FCIM Hosted on Acast. See acast.com/privacy for more information.

2022 marked the first edition of Music Biz's Bizzy Awards program, a crowd-nominated series of honors recognizing music industry individuals and companies who strive to advance commerce in our industry and make it a better place to work. This ceremony marked the debut of the Leading Light Award, which is given to a company or executive that has supported their staff via internal initiatives aimed at improving mental health, wellbeing and work/life balance. In our first of two episodes interviewing nominees for the 2023 Leading Light Award, we talk with TuneCore CEO, Andreea Gleeson about the company's nomination and how the company has evolved to support its staff!

Shelby Kennedy - Amazing Songs - Shelby Kennedy had his first hit song while he was still in college. He sold that song to Ray Charles. Since then Shelby's has sold numerous songs including “I'm A Survivor” from Reba McEntire's Greatest Hits: Volume III.  I am a Survivor was Reba's theme song from her hit TV show. More than just a songwriter, Shelby has worked in the industry helping companies including ASCAP, TuneCore, Wide Open Music Group, and Disney's Lyric Street Records. Head to Amazing Radio to learn more As the current President of Amazing Radio US, he just launched a new initiative called Amazing Songs—writers upload their songs to Amazing's database which serves as a digital locker that verified publishing execs (like BMG) have access to. They can listen to the songs, like the songs, reach out to the artist directly, etc. Kind of like Instagram and Spotify combined to aid songwriters in getting their songs to a broader network. Please support the Break It Down Show by doing a monthly subscription to the show  All of the money you invest goes directly to supporting the show!   For the  of this episode head to  Haiku Shelby Kennedy He is Reba's songwriter Here to break it down   ​​Similar episodes: Adam Shoenfeld  Stuart Scheller  S. Sheller, Matt Hoh  Join us in supporting Save the Brave as we battle PTSD.  Executive Producer/Host: Pete A Turner  Producer: Damjan Gjorgjiev  Writer: Dragan Petrovski  The Break It Down Show is your favorite best, new podcast, featuring 5 episodes a week with great interviews highlighting world-class guests from a wide array of shows.

The Mechanical Licensing Collective (MLC) is a government organization tasked with collecting your streaming royalties...for free. That's right. You no longer need to pay astronomical fees to distribution companies like Tunecore, Distrokid, and CD Baby for royalty collection. This is huge! There are some caveats, so listen for more...www.themlc.com-----Download Gig Boss app: https://linktr.ee/gigbossJoin the Gig Boss Facebook Group: https://www.facebook.com/groups/gigboss-----------------------------Interested in hearing music made by our awesome guests? Check out this Spotify playlist, which includes music by all our music-making guests! https://open.spotify.com/playlist/63kUrVwtV5tYFsyqLJHO3a?si=7853ba778dff4654------------------------------Intro/Outro music "Far Away From here" : https://adammeckler.hearnow.com/

Adam breaks down the pros and cons of the "big 3" distribution companies. Having used each platform extensively, Adam covers the general cost of each platform, how each platform makes money (because they're all making money on YOU), whether they collect mechanical royalties or not (some plans don't!), whether they collect royalties for covers (some don't!), options for publishing (PROs) and opportunties for sync, buying licenses for covers, and the "bells and whistles" of each platform (promotion, spotify presave, artist verification check marks etc).This is a must-listen for anyone looking to release music and looking for the right path.-----Download Gig Boss app: https://linktr.ee/gigbossJoin the Gig Boss Facebook Group: https://www.facebook.com/groups/gigboss-----------------------------Interested in hearing music made by our awesome guests? Check out this Spotify playlist, which includes music by all our music-making guests! https://open.spotify.com/playlist/63kUrVwtV5tYFsyqLJHO3a?si=7853ba778dff4654------------------------------Intro/Outro music "Far Away From here" : https://adammeckler.hearnow.com/

TOPICS: Lady Gaga sued for $500k by someone charged in connection with the theft of her dog?; the dangers of record deals; TuneCore has splits; launching your music with TikTok; we are joined by blues guitar legend Kenny Wayne Shepherd. You can find out more about his KWS Backroads Blues Festival by visiting www.kennywayneshepherd.net. Rate/review/subscribe to the Break the Business Podcast on iTunes, SoundCloud, Stitcher, and Google Play. Follow Ryan @ryankair and the Break the Business Podcast @thebtbpodcast. Like Break the Business on Facebook and tell a friend about the show. Visit www.ryankairalla.com to find out more about Ryan's entertainment, education, and business projects.”

Entrepreneur/Author/Writer Alana M. Abernethy joins the show again. This makes her our first official “Repeat Guest,” which is another first for Alana! She discusses her life now from where she was the last time we spoke. She talks about her reason for traveling and the joy of being able to travel with zero restrictions. She reflects on an incident with negative criticism due to the title of her recently release book, “Black Veteran Entrepreneur,” in which she co-wrote with Mike Steadman. She also talks about the “most important” message that she believes this book conveys. “Muting your femininity” gets a deep dive from Tisha and Alana. Alana reflects on being falsely accused of having a sexual relationship with a junior Enlisted Sailor (by that Sailor). Alana breaks down her Valentine's Day plans for this year. What is Imposter Syndrome? How's life with two mother figures? What does treating women unfairly look like? Damo asks Alana about a particular time in which she was accused of giving an African American women a position in her department “just because she was a black woman.”  How should Tish have taken that “The People's Champ” comment? She's on her own with the “Mafia” talk, huh? A discussion on culture and the importance of establishing connections with people whom you might not naturally gravitate towards. How does it feel to be asked to be the spokesperson for all African Americans? These topics and more are covered in this episode. Remember to follow the ‘Permission to Speak Freely' podcast on Facebook, Instagram, Twitter, and subscribe on YouTube.     Link to all social media and Youtube - https://linktr.ee/Ptsfpodcast     Links and More from this episode:   Keep up with Alana Abernethy:   Get the book Now! Black Veteran Entrepreneur (Authors: Mike Steadman and Alana Abernethy) https://www.amazon.com/Black-Veteran-Entrepreneur-Validate-Greatness-ebook/dp/B0BHV5799B   Alana's Instagram: https://www.instagram.com/alanamabernethy/   Alana's Linktree: https://linktr.ee/alanamabernethy   Alana's Amazon Author Page: https://www.amazon.com/Alana-M.-Abernethy/e/B0865T9T1C%3Fref=dbs_a_mng_rwt_scns_share   Listen to ‘Permission To Speak Freely” Episode 51: “Icebergs” (Feat. Alana Abernethy) now (well whenever you finish this one).   Intro Music Produced by Lim0   Additional Music Featured on this Episode: Song: Best Part  Performed by: Daniel Ceaser (Feat. H.E.R.) Album: Freudian Label: Golden Child Recording Distributed by: Tunecore  

Es$o & Hynaken go back in forth this week on how Adidas can make a come back, Did Rihanna get paid for the Superbowl?, TikTok partnering with TuneCore, and more!! ➤FUEL UP ON YOUTUBE: www.youtube.com/bagfueltv ➤FUEL UP ON INSTAGRAM: www.instagram.com/bagfuel/ ➤FOLLOW ES$O: www.instagram.com/essowrld/ ➤FOLLOW HYNAKEN: www.instagram.com/hynaken/

Jashima Wadehra is the co-founder and CEO of Ode, a brand strategy, talent management and business development firm catering predominantly to children of immigrant brands, businesses and artists.While companies rely on third-party metrics, Jashima specializes in taking a “lived experience meets data” approach to representing talent and brands. Specifically from communities whose consumption patterns and preferences are often not aggregated by general marketing data firms or cultural nuances that talent agencies are not well versed in.Ode's talent roster has worked with Audiomack, Netflix, Tunecore, Amazon, VEVO, Lincoln Center, Meta, Applaus, Kulture Khazana, Brown Girl Mag, 5XFest, DesiFest and many more on both the talent representation and brand strategy side.With a background in music journalism, consumer psychology and events, Jashima is the link between brands and companies to create intentional and impactful campaigns.chaiversations.org

The newly appointed Head of Hip Hop at Tunecore & artist Papoose sits down with Ebro in the Morning to discuss his new position, how he is helping new artists, and looking back on the accomplishments on his own career.  Discover new podcasts at: https://www.hot97.com/podcasts See omnystudio.com/listener for privacy information.

Dillon Brooks comes to Shannon Sharpe as a Man. Juicy J is making a J Dilla-type album produced by Logic. Papoose appointed head of Hip-Hop at Tunecore. Follow me on Twitter & Instagram: @isiddavis Podcast IG: @thesocialintrovertpodcast Podcast Twitter: @SocialIntroPod Send emails to: thesocialintrovertpodcast@gmail.com Music featured: Intro Song: Stove God Cook$ & Roc Marciano - White Goat Monroe Flow & DVME - What's Best Outro Song: Kota The Friend - PENNYWISE --- Send in a voice message: https://podcasters.spotify.com/pod/show/the-social-introvert/message

Joe and Ish open this episode by sharing their thoughts after both the Giants and Cowboys were sent home over the weekend (9:09). Drake put together an impressive setlist for his shows at the Apollo Theater (19:13), Melyssa reads the list of Oscar Nominations (31:02), and Beyonce performs in Dubai for $24 million as Joe predicts what the future of live shows will look like (39:57). In other news, the pod reacts to Ben Simmons requesting his $800k engagement ring back (1:00:16), Spotify announces layoffs (1:35:20), Papoose has been named Head of Hip Hop at TuneCore (1:51:30), + MORE!   Become a Patron of The Joe Budden Podcast for additional bonus episodes and visual content for all things JBP.: Tap in here www.patreon.com/JoeBudden   Sleeper Picks: Joe | RINI - “Strawberry Blossom” Ice | Kyah Baby - “New Energy” Parks | Grafh, Conway the Machine, & 38 Spesh - “Rain Falls” Ish | Lagoon Wavey - “Occupied” (A COLORS SHOW) Melyssa | ELIZA - “Wasn't Looking”

It's never been easier for artists to release music and find an audience in any corner of the world. Likewise, it's never been more difficult for artists to break through the noise. The Internet and streaming services have created a double-edged sword for rising artists. To discuss this, Tatiano Cirisano joined me on the show. Tati is a music analyst at MIDiA Research and a former reporter at Billboard.Tati released a research piece a few weeks ago that argues the music industry is oversaturated and fragmented — more than ever before. This shift has created a new class system for artists.In Group 1 are artists that reached prominence pre-streaming in a less cluttered marketplace (e.g. Beyonce or AC/DC). Class 2 consists of artists who rose in parallel with the proliferation of streaming. Drake and Taylor Swift fall into this category. And then there's the Class 3, that includes newer artists, who try to cultivate audiences in today's hyper-competitive landscape against the other two groups. Tati believes the trend line for the music industry's fragmentation is clearly pointing up. To understand how we got here, why it matters, and how it redefines success, you'll want to listen to our interview. Here's our biggest talking points: [3:11] Why consumption is now fragmented[8:41] Music superstars losing their reach[10:55] Modern artists valuing fame less than prior generations[13:24] Benefits to fragmentation[14:48] Updated benchmark for artist success[16:50] Active vs. passive listening[18:53] Music industry is still tied to album sales[25:34] Artists segmenting audiences by platform[30:18] Trap of taking users off native platforms[32:59] Content is becoming more important than the creator[37:35] YouTube and other potential outlier platforms for audience-building You can read Tati's full report here: https://midiaresearch.com/blog/music-is-not-a-level-playing-field-it-is-a-field-of-all-levelsListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Tatiana Cirisano, @tatianacirisano  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] Tatiana Cirisano: Fame is actually really low on the list of priorities of artists today. And whether that's because they don't really want it or because they just don't think it's achievable is kind of another layer to that, but the top two things are earning a sustainable income and achieving recognition within their scene. Artists' definitions of success are changing, but I don't know if the music industry is really catching onto that or really supporting that because the music business is a hits business and record labels are trying to create superstars and drive culture.[00:00:38] Dan Runcie: Hey, welcome to The Trapital podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more, who are taking hip-hop culture to the next level. [00:00:58] Dan Runcie: Today's conversation is all about why the stars of today cannot be compared to the stars of yesterday in the music industry. And when I'm talking about yesterday, I'm not talking about 20, 30 years ago. I'm talking about three, four, even five years ago. The era that Drake and even a Post Malone and some of these other artists came up in cannot be compared to what's happening with the artist today and that's as it relates to streaming, as it relates to TikTok, and all the ways that things are fragmented in the creator economy. And it was great to be joined by Tatiana Cirisano. She is a music industry analyst at MIDiA Research, where she has written some insightful pieces and breakdowns on this topic in a whole lot more. We talked about the impacts and the current landscape of the streaming era, what it looks like for artists that are prioritizing their growth and perfecting what they can do on one platform as opposed to spreading it on others. We also talked about some of the trade-offs and some of the challenges for artists in the creator economy and a whole lot more. She does some great research on this topic. So definitely check out the work she does at MIDiA Research if you haven't yet, here's our conversation. Hope you enjoy it. All right, today, we are joined by music industry analyst, Tati Cirisano, who is going to help us solve all of the music industry problems today. Are you ready? [00:02:22] Tatiana Cirisano: One can hope. I'll do my best. [00:02:25] Dan Runcie: So what sparked this conversation was a really insightful piece that you had put out recently through MIDiA Research, and this was about the different levels of artists and where they are specifically in the streaming era. And you had this really good breakdown on how you had the artists that were already established in the streaming era such as your AC/DCs or your Beyoncés, they were established before streaming became a thing. You had the artists that were, folks like your Drakes or even your Taylor Swifts that rose while streaming was really huge. And then you have your artists today. Could you talk a little bit about how that differentiation between those groups impacts success and what achieving success looks like today?[00:03:11] Tatiana Cirisano: Yeah, no, absolutely. And I'll kind of back up a little bit to what is underlying all of that, which is just the fragmentation of consumption. And that's something that we study a lot at MIDiA, and it basically means that, you know, with people able to, through streaming, access all the music they could ever want to and listen at any time that they want to, and also with these increasingly sophisticated algorithms kind of pushing people to niches. It follows that there's kind of less mainstream moments or mainstream stars and more of these stars just for individuals and their communities or their niches. And I think that's something that we've all kind of experienced at some point, like, maybe there's an artist that you're obsessed with and all of your friends love, and you mention it to a friend that is in another circle and they're like, who's that? I mean, I get that reaction. I've gotten that reaction talking about Bad Bunny before, and he is the top streamed artist in the world. So I think we've all had like this anecdotal experience of you think that something is mainstream, but it's not as mainstream as you think it is and that is the fragmentation at work. So this is happening on a really, really accelerated scale now. Just because of how everything is online and on demand and because of these algorithms. So we're in this situation where the artists that are competing today are in a much more oversaturated and fragmented landscape where it's a lot harder to have a mainstream impact than the artists that were even chasing success three years ago, five years ago, ten years ago. So the way that I had kind of broken it down, and I think you could actually break it down way further, which I think we're going to talk about is yeah, the artists that came up before all of this, pre-streaming, really, which are the AC/DCs, even a little bit of like the Beyoncés, and because they built their fan bases at a time before everything was so fragmented and cluttered, they're still, like, building on that today. They're still kind of riding that wave. And then you have the artists who came up kind of in the beginning of streaming and before all the second-order impacts happened. So basically streaming did democratize the playing field. It did make it so that way more artists could find their audiences. And there were all these benefits at the beginning, and artists like Drake, and Taylor Swift, and Ed Sheeran really benefited from that. But now we're at a point where streaming has also contributed to this really oversaturated landscape, this really fragmented landscape. And it's only getting more and more so every year. And so the artists that are competing in that landscape now face really, really unique challenges, yet they're still competing in the same field as the Drakes, as the Beyoncés, as the AC/DCs. So because so much of this change has happened in just, like, 5 or 10 years, we're in a situation where the artists of today have very, very different challenges than, I think, even the artists of 2020, like, the pace of fragmentation is just insane. And I have data on that too, that I can share. [00:06:00]Dan Runcie: Yeah. It would be great to dig more into that 'cause you've mentioned in 2020. I look back on that year, especially, maybe the year leading into that, Billie Eilish was someone that was being talked about more and more, and she, of course, ended up sweeping the Grammys that year. But even when she came up, things are even more different now than back then, to your point. [00:06:20] Tatiana Cirisano: Yeah. I really like the data that BPI pulls on this in their, I think it's called All About the Music. They have this annual report, and they look at, this is only in the UK, but they look at what percentage of total annual audio streams go towards the top 100 tracks? So, like, how much the hits are dominating basically? And that percentage has halved, more than halved, in the past 5 years. So you see that, like, we still have superstars, but their impact is just kind of lessening. And more, more consumption is going towards sort of like the mid-tier of artists, but it's spread across them. So it's just harder and harder to kind of have an impact. So, yeah, I think Billie Eilish is, it's funny, I feel like she's such a tough one because I try to use her as examples all the time, and I'm always like, but she is the exception to every rule because she is, like, such a talent. And, you know, I feel like it's hard to use her as an example in things, but I do think that she even came up in a much less cluttered space. I think that was like, more like 2017, 2018 pre- TikTok. And that's actually another division that I would make, like yes, because of TikTok, the app itself, but also because of the fragmentation that it kind of has fostered and that other platforms are now following the footsteps of.[00:07:38] Dan Runcie: It's interesting because the BPI data is essentially telling us that a superstar has around half the reach that they may be once did, or half of that footprint that they did. And it's one of those things where, of course, there's that cultural aspect of wanting to feel like something is big enough, so that, yeah, you're not asking your friends about Bad Bunny. And even though he's a global superstar, people still don't know who he is, but is this necessarily an issue as it relates to artists? Because a lot of it does reflect on the expectations that someone may have for their career, so I wonder has the industry itself adapted to the expectations, right? I think a lot of folks understand that no one is necessarily going to have that 1960s Beatlemania level of fame, or even 1980s, Michael Jackson level of fame. But do you feel like people have come around to the fact that no one is going to have 2015 Drake or 2014 Taylor Swift level of fame? Do you feel like that has sunk in yet? [00:08:41] Tatiana Cirisano: That's a really good question. That's a really, really good question because so much of this is about, like, how we define success in the first place, right? So at MIDiA, we do these surveys of creators where one of the questions we ask every year is what is your definition of success? And we're finding that, while in the past, the music industry was very much associated with, like, fame and fortune, and like, that was kind of, like, what you're going after as an artist. Fame is actually really low on the list of priorities of artists today. It's the last thing. And whether that's because they don't really want it or because they just don't think it's achievable is kind of another layer to that that I'm not sure the answer to, but the top two things that they choose are earning a sustainable income and achieving recognition within their scene. And I think that's why so many artists are sort of enticed by the creator economy model because that's what you're doing, right? You're earning a sustainable living from, you know, your biggest fans or the people that are recognizing you within your scene. There's a lot of problematic things about the creator economy and maybe that's for another episode, but like, I think that what I'm trying to say is I think that artists' definitions of success are changing, but I don't know if the music industry is really catching onto that or really supporting that because the music business is a hits business and record labels are trying to create superstars and drive culture. And if the mainstream is almost nonexistent these days, like how do you do that? I do think that the sort of silver lining to it is that these sort of like more niche communities behind these, like, smaller stars are more engaged anyways. So it's like, do you want this, like, are you trying to go after this passive majority that, you know, maybe isn't ever going to be that engaged with your music, or would you rather go from a bottom-up approach and kind of find your audience, your niche, and builds from there. And I think that that can be really, really powerful, and we're kind of entering this age of like cult stars rather than superstars in that sense. I forget what you even. Ask me that launch beyond this rant. [00:10:52] Dan Runcie: That was good though. [00:10:54] Tatiana Cirisano: Those are my thoughts on success.[00:10:55] Dan Runcie: Yeah. I feel like that was relevant though that, 'cause cult stars is a great way to capture this because I think shadowing back to the first thing that you said fab and fortune were so linked from the legacy of the music industry. And in many ways, they were linked that you couldn't really achieve one without the other. There was no one that was making 10 million a year from music as an artist that people really didn't know about to a certain level in terms of their take-home pay, not in terms of, you know, the money that they're generating, but today it's completely different. And of course, yeah, we mentioned how someone like Bad Bunny may be unknown to those outside of the circles. But I think we see this even more so because it's easier to achieve some of those fortunes without that same level of fame. I look at someone like Russ who, you know, he shares his TuneCore receipts and how, I forget whatever number he is pulling in, whether it's 6 figures a week or a month, or however much he's getting there, but he's clearly showing that he can pull in millions. And I mean, Russ, his music doesn't hit my circles, and if anything, the more news I hear about Russ is more related to his earnings and how he manages as an independent artist, not necessarily his music itself. And I think that speaks to me not necessarily being in that cult itself, right? But I still think that there is a space and opportunity for those artists that clearly want the fame and the fortune. You know, if you want to be able to perform in an arena and sell it out and gross, however many millions or, you know, doing the same thing in stadiums, you do have to likely follow a lot of the same traditional things from that path level, but still, even fame from that perspective doesn't hit the same way that it did. So it's a really fascinating time, and yeah, I think a lot of it does go back to both artists' expectations and the industry expectations, if the industry and the artists still have these dreams of thinking that artists can reach the levels of fame that artists did even 6, 7 years ago, then that's where people should probably be taking, 'cause I've had this conversation with so many people and they'll mention examples like, oh, well look at BTS. Oh, well look at Bad Bunny. Oh, well look at so and so, and I do think that there's something to be said for just the global aspect of the fame is just how music is reaching in different areas, and maybe that probably reflects that the people that are closest to that global superstar level, maybe just because of how saturated the US is, they're more likely to come from elsewhere, but who knows? [00:13:24] Tatiana Cirisano: Yeah, no. And there's also, like, a lot of benefits to this fragmentation, right? Like I feel like I, the way I'm talking about this is very like doom and gloom. but it's also very beneficial to, like, the middle tier and long tail of artists that, you know, they're actually able to have audiences. The tricky thing though is that it's still so hard to break through. It's such a fascinating conversation to have because whenever we present this data on fragmentation and our thinking around it, the question from labels is always like, okay, but how do we drive culture? How do we create those moments? How do we make something mainstream? And I think there's an opportunity to kind of, like, labels are really top heavy, right? They're focusing on like the top three artists in their roster, making them superstars, and I feel like there's maybe an opportunity to spread resources more evenly across the middle and create those kind of cult stars that we were just talking about. So I think it is about changing your definition of success. I just don't know, you know, if the music industry wants to. But I might have to, I don't know. [00:14:22] Dan Runcie: Yeah, because to your point, it could be potentially even more profitable to reflect the current playing field and invest in the people that have these niches, and knowing that even though it's not going to reach everyone if this person is reaching their tribe of people, then they can double down on that. And it could probably end up being even more successful, you investing all your resources to sell you know, three artists on your roster telling that they can be the next Drake.[00:14:48] Tatiana Cirisano: Yeah, no, and talking about this is reminding me too of I think we both wrote about the Gunna and The Weeknd album release week, like, whenever that was, time is flying. I think that was like earlier in the year. And how, even though the weekend is like objectively a household name, a bigger star, Gunna had this more engaged niche fan base that, you know, latched onto this P phenomenon and it ended up vaulting him maybe into the mainstream. 'cause the album debuted at number one. So it's like, which of those scenarios is success? You know, like the P phenomenon that happened, so many people didn't even know that that was going on. It totally bypassed, like, the majority of the population, right? But for the target audience, it felt mainstream. And I think that that's like, what's so different about this current moment is that something can feel mainstream to that circle, but totally bypass the rest of the population. [00:15:42] Dan Runcie: Yeah. And there's so many factors at play in that that gets into this broader question that I've been thinking a lot about in terms of what does the closest thing we have to a benchmark for success look like, right? Because someone could easily look at that weekend that The Weeknd releases Dawn FM, and Gunna releases his album and Gunna outsells him, and then someone can think, oh, well, look at Gunna, you know, already selling more than the guy that performed at the Super Bowl. But if you look at it another way, The Weeknd is selling out stadiums right now and one of a handful of artists that can do that. And I love Gunna, I think he's had a great rise in everything, but he's nowhere near being able to sell out that much, at least in terms of where he is in his career right now. He could get there someday, but he's not there right now. So I feel like even that makes me wonder, okay, is streaming itself as a predictor for concert tickets or other things becoming harder to inform what it is really reflecting, or is that just its own individual metric that we are looking at? [00:16:50] Tatiana Cirisano: Yeah, I think it is becoming harder to use stream counts as a metric for fandom and for culture because I think those things are building off of streaming platforms. Like, fandom is building on, you know, TikTok or Twitch or wherever, whereas streaming is a lot more of a passive activity. So that's another thing is like, I feel like we need new metrics and one of them is, like, active versus passive listening, which is something that's kind of hard to track. How do you do that as a streaming platform? So yeah, I think streams don't always equal fans and that's becoming more and more true. It's just, it's a lot harder to discern. [00:17:31] Dan Runcie: Yeah. And that goes back into this broader question of the Billboard 200 and how it's trying to both combine streams, and pure album sales, and all these things to get to these numbers that we have. And it's becoming tougher and tougher to use that as a metric of what success is. If anything, these things are more reflecting, marketing budgets than they are popularity of the actual underlying music. And although the marketing was always tied with it, this is another thing that's separating further and further. And it reminds me of something that I know that MIDiA has talked about often in terms of measuring the success for these superstars when they do release albums. Remember Mark had that breakdown about Adele and how it should be, how her album for 30, we can't even compare what she had done when 25 came out in 2015, different era. She did pure CD sales and you could do that in 2015. You can't do that now. Although I think that vinyls have brought back an interesting conversation with some of this, but still it's difficult to do that, and it's making me think again because you had something similar when we looked at Beyoncé and I don't think you can necessarily compare Renaissance's numbers to Lemonade or the self-titled album before that. And we're going to have this conversation again when Taylor Swift's Midnight album comes out in a couple of months.[00:18:53]Tatiana Cirisano: No, it's so true. And I actually, I had that exact conversation with someone recently about, you know, the Billboard 200 and the Hot 100 and how it's not necessarily measuring, there's a lot of places that get left out from that count in terms of how people are consuming music. Like, I think so much of listening is happening and the fandom around it is happening off platform these days or off DSPs. It's happening like on TikTok and all these other spaces, in games, you know, wherever. And I don't know if we're accurately measuring that. I also don't think that, like I said, we're measuring so much, you know, active versus passive listening and these sort of segments of fans on streaming. Like, streaming kind of equates everyone as the same consumer, right, whether you're a super fan or whether you just press play on a playlist and sit back, you're still paying the same. You're still kind of equated as the same thing. So the question is how should we measure success today? Or how should we measure cultural impact? It's so hard 'cause I think in a lot of ways it goes beyond music. Like, if you're an artist who has really had a cultural impact, that impact is transcending music anyway, and that's kind of what it means to be like an icon or to be a cultural icon in that way. So I don't know. It's a really tough not to crack. Like, a lot of these things are qualitative, right? Like, how do you measure the cultural impact that something has? And I don't think that it necessarily parallels with commercial success. Like, you can have something that had a, a huge cultural impact for a certain group, but didn't really hit the charts or change the way that people think about making music, but didn't really hit consumers the same way. So now I'm just ranting and rambling.[00:20:34] Dan Runcie: Let's explore this a bit though. [00:20:36] Tatiana Cirisano: It's tough. [00:20:37] Dan Runcie: Let's explore a bit though because you brought up this point about active versus passive listening. So if I'm understanding you correctly, even if we started there, active listening is Gunna's album's coming out, I'm a Gunna fan, it's midnight. I want to press play and hear this album on Friday morning. [00:20:55] Tatiana Cirisano: That would be a great metric to know is, right, and I guess we have first-day streams as kind of an indicator. [00:21:01] Dan Runcie: But I guess you're saying, that's different from passive listening, which may be it's Friday. I just want to put RapCaviar on and then boom, RapCaviar has eight tracks that are going to be in the first 20 tracks that I just play as I'm going to work or something.[00:21:17] Tatiana Cirisano: Right. Exactly. And I think that's where it's more and more difficult to know, and it would be really helpful information for artists to have as well because if you're going to go this route that we've been talking about of, you know, finding your niche and finding your biggest fans and sort of going from a bottom-up approach in this fragmented environment, trying to become a cult star, you need to know who your most active listeners are, and I think that's really hard for artists to know today. [00:21:43] Dan Runcie: I think part of the other challenge, too, with any type of metric is that the music industry itself is still tied to album sales. So anything that can translate back to that will always be there. So even if streams is how majority of music consumption is happening, as it relates to chart performance, it's always going to be challenging from that perspective because I feel like the resurgence of vinyl brings back an opportunity to push these things. I look at how well Harry Styles' album had performed, but a majority of the sales from that album was because of the vinyl that he had that was sold with it. But given all the shortages, how much of Harry Styles' performance is based on the pure demand that he had, which I know, obviously, he sold them. But because of how high his number is relative to, let's say some other artists that are signed to Sony and Columbia, what if they had the same type of inventory? I think that I had similar questions thinking about whether it was a Beyoncé or even a Kendrick Lamar. If they had the amount of vinyl inventory that he had, would it be a completely different discussion? I feel like the two of them maybe had around 300,000 or so first-week album sales, Harry Styles was over half a million. But if we were to still give them all the same inventory on that perspective, what that would look like? So there's all these ways that when you look at the data, it's telling you completely different things, but people are still just responding to the top line revenue number, and it brings us back into this whole thing that we just talked about with Gunna versus The Weeknd where it's like, okay. Yep, these numbers may tell you something, but when you really dig in, it's something completely different. So it becomes a mess to try to quantify. [00:23:37]Tatiana Cirisano: Yeah, exactly. You hit the nail on the head.[00:23:39] Dan Runcie: Yeah, because the comparison I've always had as a joke is like let's say that the music industry was still stuck on trying to measure everything by DVD and VHS sales, right? So they had some amalgamation of some calculation that had whatever percentage of streams that you had on Netflix that was weighted with this, plus how many VHS sales you had, plus how many DVD sales, and this gives you a DVD equivalent unit. If you presented that metric to someone, someone would be like, that is the most ridiculous thing I've ever heard in my life. [00:24:13] Tatiana Cirisano: Right, right. [00:24:13] Dan Runcie: They would laugh at you out of the door, but that's what we've normalized in the music at this time.[00:24:19] Tatiana Cirisano: That's what we're doing. Isn't that just a metaphor for so much? Yeah, it's true. I also think it goes back to exactly what you're saying about, maybe these charts are more indicating the marketing budget and you know, how they decided about bundles or we're going to sell vinyl or whatever we're going to do to try to make it to the top of the charts. And I wonder what these charts would look like weighted differently, or we are talking about fragmentation. It's so fascinating to look at, you know, the charts across different platforms and see that they're totally different. So I do wonder a lot, like what are we actually measuring when we're looking at, you know, the Hot 100 or the Billboard 200.[00:24:57] Dan Runcie: Great question and great segue, too, 'cause I wanted to chat with you about this, how you look at a lot of these platform charts, especially the non-digital streaming providers and the artists who are on the top look completely different. You even see this a little bit with some of the DSPs as well, where some of the artists on top of your Amazon and Apple music may look a little different from what you see on Spotify. What's your take on that overall and do you think that artists themselves should be keeping this in mind when they are focusing or when they are thinking about how best to build an audience? [00:25:34] Tatiana Cirisano: Yeah, no. I mean, I think that it's just another really apparent reflection of the fragmentation that's happening. And I think it does make sense knowing all this as an artist to rather than try and dominate every platform, which is next to impossible, trying to kind of find where you fit in and dominate there. And that is sort of like that bottom-up approach, but from a platform perspective, and also might, like, reduce the feeling from artists that they need to be, you know, popular everywhere and they need to be churning out content on every platform and all that. I think the risk though, is that, especially when we're talking about non-DSP, there's artists that maybe have the most followers on TikTok, but they're not being followed for their music. They're being followed 'cause they make funny videos or their song has the most uses because it's become a joke that people are sharing around and not as many people are streaming it offline. So I think it is a good idea as an artist to maybe figure out what platform fits you best, but you also need to understand, like, the particular sort of idiosyncrasies of each of those platforms. I also think, I think you've written about this a lot like segmenting your audience across platforms as a strategy. And I think that's another way that you can kind of use this information as an artist if you know that you have an audience on one platform that is looking for this specific thing and another, that's looking for another, why not, you know, release your full album on Spotify, but you know, the deluxe edition only on Patreon for your biggest supporters or something like that. Or even, there's this indie artist mxmtoon, who I think is a really interesting example of like a modern-day sort of artist slash creator where she has a presence on pretty much every platform. YouTube, she has a podcast, she's on TikTok, she has like a Discord, I think. But every single one of those is used for something totally different. And she has audiences that kind of funnel through all of them. But YouTube is where she does ukulele tutorials and, like, TikTok is where she does Q and As, and the Discord is where the true fans go to congregate. And that's also a path that may be unsustainable for a lot of artists, and I don't like, I'm not trying to suggest that everyone should be on every platform, you know, there are eight octopus arms, like doing all the things. I think that's one of the, like, things that's problematic about the creator economy, but, but yeah, I do think that it's really valuable for artists to understand this fragmentation and how it plays out on different platforms because I do think there are ways to navigate that and kind of use it to your advantage. [00:28:07] Dan Runcie: There's definitely a benefit to focus here. And this, as you mentioned, spans beyond artists. It does look at everyone that is a creator. And maybe just for clarity for the folks listening, when we're talking about DSPs, we're specifically talking about the ones that a lot of people are paying monthly subscriptions to, so your Spotify, Amazon, Apple music. When we're talking about non- DSPs, we're talking about the place where you could still hear music and artists can still build platforms, but they're not in the same type of way as the other. So we're talking about TikTok, we're also talking about YouTube and maybe some of the other platforms there, although YouTube does have some hybrid tendencies there, but to level set that piece of it. I do think that focus helps a lot because I look at someone like an NBA YoungBoy and how he's been able to just blow up and dominate on YouTube. That takes time of really understanding the algorithm, understanding what works here, and just given how big the platform is that did help him grow and have traction on Apple music, on Spotify, and on other places. So I've heard a lot of people refer to this 80-20 rule. That's a lot of content creators, which I think could be helpful for artists as well, where if there was a platform that you're focusing 80% of your time to try to focus on and just understand, especially if there's an advantage there where others that are in your niche, maybe aren't necessarily doing as much. And then you're still having your feet in the others to just understand what those opportunities could look like. I feel like that type of approach could work well because that's how you get to the levels of, you mentioned the independent artists who essentially tailored so much of the content for each area. And while there's a lot that benefits there, obviously, it isn't completely scalable, but I feel like that's how you get to these things. And we've seen other examples of how people have just focused on a particular platform or just doubled down the risk of that. Of course, when we can talk about this in a minute, is that you do relinquish a lot of your power to any decision that that platform does make, especially if you're relying on so much of it for your business when you necessarily own anything underneath that. So there's definitely trade-offs, but there's benefits too. [00:30:18] Tatiana Cirisano: Yeah, no, that's a huge issue there. Which we'll get, yeah, we'll get into more of that, that stuff in a minute, but this approach of like focusing on a platform also means that you're seeing these non- DSP platforms as a form of consumption in their own right, rather than just using them as a funnel to streaming, which I think is like a trap that the music industry has kind of fallen into is, oh, make something go viral on TikTok and then push everybody to Spotify. And it's like, if the fandom and the culture and a lot of consumption is happening on TikTok, you're leaving that on the table when you're pushing people to Spotify. And you know, I think that there's a lot to be gleaned there, and we should start thinking about these platforms as their own consumption platforms in their own right.[00:30:58] Dan Runcie: Yeah. As a content creator myself, I've heard a lot of people use that analogy of give, give, give, give, give, and then ask. So it's not like you're just going there and asking and trying to transport folks over. You're still making some enough effort to make sure that you're connecting authentically with the folks on the platform, but you still know that when there was time for an ask, you're thoughtful about how you're doing, and you're not doing it all the time because trying to take people off the platform, especially TikTok, which has grown in so many ways because of passive engagement, it's even harder. [00:31:31] Tatiana Cirisano: Yeah, yeah, no, I think this is something that you wanted to get into anyway, but just, like, the objectives of the platform and the creator are totally different because the platform has the best-case scenario when there is all this passive viewing and people are just scrolling endlessly and they're spending a lot of time on the platform, but that's not the best case scenario for the creator. So the audience and the platform get all the benefit. And the creator kind of falls to the wayside. And I think that's a big issue that we're seeing in the creator economy. [00:31:57] Dan Runcie: Yeah. And this is a big issue that I know that people have had about Web 2.0 more broadly and just how this can be improved. The challenge I've seen though is that any type of platform I've seen that does try to be more creator-focused and doesn't try to do the same things that marginalize the content that the creators make, a lot of those platforms struggle to gain traction, or they're only used in these niche type of ways. So it creates a bit of this double-edged sword where the creators themselves feel like, well, if I focus on the platforms that are solely built to cater to me and prioritize me over the content, then it's going to be hard to get the users there because it isn't designed in a way to keep the users engaged, just thinking about the extent that the more popular platforms do and more popular platforms are the ones that prioritize the content over the creators. So it's one of these unfortunate situations that has continued on and on, and that's why we're at the point we are now.[00:32:59] Tatiana Cirisano: Yeah, I think that we do see that happen more often than not. And before we even got to this point where content is becoming more important that the creator, which I could talk about in a minute the objectives are just totally, like I said, misaligned, like the platforms need scale. They need to monetize. All of the combined audiences of these individual creators. But the creators are looking more so for fan bases and engaged followers than they are looking for, you know, these passive audiences. So it actually, I think a lot of the struggles that creators are having with these platforms sort of echo issues that artists have had with streaming platforms in really interesting ways. Because it's similar to how like rights holders, like labels are monetizing scale of being able to own all of the songs and therefore all of the audiences of dozens, if not hundreds of artists, but those artists individually will never have enough scale to earn a meaningful income from streaming. And I think the same sort of thing is playing out with creators now where the platform is getting all the benefit because they get the combination of all these audiences and it's best for them. If people are just mindlessly scrolling, whereas creators have just totally different objectives and a different way of earning money. And then the current algorithm, or like the one that everyone's trying to kind of copy, which is TikTok, is making matters worse because there's no need to even actually follow anyone or, you know, really engage that much with the platform because you're going to be served content that is tailor-made for you regardless. So we're kind of teaching people with that kind of discovery-focused feed, not to actually follow individuals and more to just expect this constant flow of content. And again, going back to the parallels with streaming, it's interesting how we went from a few years ago, talking about TikTok as this amazing democratizing force to now talking about how well, yeah, it's democratized 'cause everybody can post anything, but it's impossible for anyone to get heard. We've gone through the same trajectory with streaming where, 5 years ago, we were all saying, oh, my God, streaming is great. It's democratized the industry. And in many ways it has, but now we're seeing all these second-order impacts where it's really, really hard for anyone to break through the noise, and it's really, really hard for anyone to earn meaningful income, so, yeah. [00:35:14] Dan Runcie: The pattern is clear. You laid it out perfectly. [00:35:17] Tatiana Cirisano: It's crazy. [00:35:17] Dan Runcie: And one thing about TikTok, everyone talks about how quick it is to grow a following, how favorable the algorithm is when you start off, and all those things are intentional. It is the easiest platform to be able to gain tens of thousands of followers and even more, but it's the hardest to be able to translate those followers into actual fans because it's more likely that they are going to be passive folks that are engaging versus active ones. And we're going to see more and more of that, especially given to goals to try to expand into so many other places, and then additionally, every other app trying to copy what TikTok is doing, because they see that being the norm. And now that that's what they see as the standard operating procedure for how to keep people's attention and engagement, everyone is trying to have their own version of that.[00:36:09] Tatiana Cirisano: Yeah, you know, and I think that people do have an appetite for, like, wanting to follow individuals. I mean, that's what everything has been based on up until now. And people were annoyed when Meta changed its algorithm and said, it's all going to be discovery-focused now because you go to Instagram to see updates from your friends and people that you follow, not to just get this feed of things that you've people you've never heard of. So I think that there is still, like, an appetite for that. And there's sort of a chance to recalibrate and allow more ways to actually follow creators and not just make it all about each individual piece of content. But I think that we're kind of in a critical window right now to preserve that. And I don't know if we're talking about this enough. Yeah, it's just the situation, like to kind of bring it back to artists is really difficult because you need every individual thing that you post to do well. It's not enough to just have one thing, draw someone in because they might not even follow you from there. And they're just consistently scrolling and getting more and more content. So there's just this endless churn of content happening. And it's just, yeah, it's benefiting audiences and it's benefiting platforms, but it's not benefiting creators. [00:37:18] Dan Runcie: The need to preserve is there, as you mentioned, and we talked a lot about some of the platforms that have made it challenging. Are there ready that stand out to you that you're like, okay, they are at least making an effort or do you feel like there's more opportunity there relative to some of the other platforms that exist?[00:37:35] Tatiana Cirisano: Yeah. I do think that YouTube could be an exception to the rule with this. I think that it's a really interesting company because when you think about it, they kind of were the original creator economy company and kind of are seemingly doubling down on that now. I think that it's great how there's sort of this network between YouTube shorts, YouTube music, YouTube, and that's sort of what I think is missing, but won't be for long from TikTok is that you have to switch to a different platform to listen to the music, which is why if ByteDance, you know, release Resso worldwide or make this TikTok music app, it might become crazy powerful, but, yeah, I think YouTube does have this focus on channels and following people. And I think a lot of creators have been able to build sustainable incomes there. But I do worry that the impact of all these other platforms kind of teaching people not to follow and not to follow individuals and channels is going to have an impact, but I think YouTube has a lot of potential. [00:38:35] Dan Runcie: Yeah, I think so, too. It definitely is the platform, bad thing has the most ability to offer this just given the full complexity of whether or not you're an artist, you're someone that's creating any type of thing that has video, you're probably going to be on there. I also do think about platforms like SoundCloud, Audiomack, and Tidal as well because...[00:38:55] Tatiana Cirisano: A hundred percent.[00:38:56] Dan Runcie: ... even though they may not necessarily fit into the same buckets as some of the others we mentioned, I do think that the things they've tried to do, whether it's with SoundCloud's fan-powered royalties or with Tidal's user-centric base model, which is similar, or even what Audiomack has done with its supporters program, allowing people to say, Hey, this is the person that I want to give my money to. If there's extra money at the end of the year, this is the person I want to have a badge on and want to be able to share that with the profile, they keep the connection there. They're willing to share who are particular artists' followers and fans are, which is something that most of the other DSPs don't allow to happen. So I do think that they are more unique opportunities. And also, I would say tracing back to the last thing we talked about, a place where a lot of artists, if they are trying to build up a fan base on a particular platform could be an interesting angle to prove, because I do think there is a certain type of fan and artist that thrives on each of those platforms individually, just given the brand there, everything else. So those are the ones that I keep an eye out for, the same way that we saw NBA YoungBoy and others rise up. SoundCloud, of course, had its SoundCloud rap era and there's still artists coming out there. And of course, Tidal, I think, just given its origins will always have deep roots within hip-hop culture. So I'm always keeping an eye out for those.[00:40:18] Tatiana Cirisano: A hundred percent. No, I'm glad you brought up Audiomack and SoundCloud. Those are two companies that, I mean, we worked with SoundCloud on a user-centric royalties white paper that was really just eye-opening with all of this. And I do think that there are opportunities to, going back to what we were saying about being able to actually segment your fans on streaming and see who are your biggest supporters and not have everyone just equated into the same bucket. I think what Audiomack is doing is really smart because those support badges are also a way for people to express themselves. If you have that in your profile, you know, it says something about who you are. And I think there's a lot more opportunities to bring music and self-expression closer together 'cause I think that streaming has kind of pulled them apart a little bit by sort of equating everyone. So yeah, I think those are really good examples and really promising.[00:41:04] Dan Runcie: So there you have it. We solved it. I think in this conversation, we solved it all. [00:41:10] Tatiana Cirisano: There we go. We can all go home. Class is dismissed. [00:41:13] Dan Runcie: This is great. Tati, thanks for sharing your insights and some of the highlights of the research you've done on this space. Excited to see what you have coming up next, especially now that things are ramping back up for the industry. So for the folks listening, where can they stay tuned to keep up with the latest research that you have coming out? [00:41:32] Tatiana Cirisano: Yeah. You can go to MIDiAResearch.com, where we have a blog that I write on often. Those posts are free. So even if you're not a client, you can read them. And I also wanted to mention that I'll be talking more about this exact topic at Stan Con in New York on October 5th, which is Denisha, who I think she had an episode with you recently, right, Dan. If you heard that episode, it's her conference, so I'll be there talking more about fandom and fragmentation. So looking forward to that and thank you so much for having me. [00:41:59] Dan Runcie: Of course, great minds coming together. I'm glad you're going to that. That's awesome. Thank you.[00:42:03] Dan Runcie: If 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 leave a review. Tell people why you liked the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.Advertising Inquiries: https://redcircle.com/brands