Podcast appearances and mentions of warner chappell

Today we sit down with Scott Reinwand, the VP of production at Warner Chappell Production Music. He opens up about his journey from recording on a 4-track Portastudio to overseeing 60-80 albums a year. Scott shares some real gems about ego in the music industry, the power of genuine collaboration, and why success often comes from unexpected directions. Beyond his Warner Chappell role, we dive into his experience teaching film scoring at BYU, his approach to working with composers, and how letting go of ego has shaped his success in sync licensing and production music. Download my FREE 11 gems pdf: https://www.roymatz.com/gemspdf

105 Warner Chappell & Lander's Sample Controversy: What It Means for Sync Licensing   In this episode of Music Is My Business, Clint dives into the surprising move by Warner Chappell Production Music to launch a sample label on Lander, raising big questions for sync licensing producers. He unpacks the potential benefits and risks of using these samples in TV and film music, discusses community wins, and answers live audience questions on mixing, mastering, and sync strategies. This episode is a must-listen if you're a producer navigating the ever-changing sync licensing landscape.   Warner Chappell & Lander's Sample Label: Game-Changer or Risky Move? Breaking Down Metadata, Copyright, and Sample Ownership Avoiding Sync Licensing Pitfalls Building a Sustainable Sync Career   Free 6-Step Guide - https://www.clintproductions.com/6steps Producer Mentorship - https://www.producermentorship.com](https://www.producermentorship.com/   Follow Clint on IG: https://www.instagram.com/clintmusic Watch Clint on YouTube: https://www.youtube.com/aclintjr Link To Resources: https://www.clintproductions.com/linkinbio

Linktree: https://linktr.ee/Analytic Estrella en Ascenso Gabito Ballesteros - Analytic DreamzEn este segmento de Notorious Mass Effect, Analytic Dreamz explora el ascenso del cantante y compositor mexicano Gabito Ballesteros. Aquí te contamos:Quién es Gabito: Desde su nacimiento en Cumpas, Sonora, hasta su influencia musical.Carrera Musical: Desde sus inicios con la guitarra hasta éxitos como "AMG" con Natanael Cano y Peso Pluma.Colaboraciones y Éxitos: Análisis de sus hits y colaboraciones clave.Reconocimientos: Su nombramiento por Billboard y su acuerdo con Warner Chappell.Próximo Álbum y Tour: Detalles sobre The GB y sus fechas de gira en 2024.Eventos Especiales: Su actuación con Peso Pluma y Belinda, y el sencillo "Presidente".Cómo Seguirlo: Dónde encontrar actualizaciones sobre Gabito.Únete a Analytic Dreamz para conocer más sobre Gabito Ballesteros en este segmento de Notorious Mass Effect.Rising Star Gabito Ballesteros - Analytic DreamzIn this segment of Notorious Mass Effect, Analytic Dreamz explores the meteoric rise of Mexican singer-songwriter Gabito Ballesteros, a name becoming synonymous with the fresh wave of Corridos Tumbados. Here's what the segment covers:Introduction to Gabito Ballesteros: Who is Gabito Ballesteros? Learn about his background, from his birth in Cumpas, Sonora, to his early musical influences shaped by both traditional mariachi and modern beats.Musical Journey: Trace Gabito's path from learning guitar at eight years old to his significant achievements in the music industry, including his collaboration on "AMG," which not only hit the Billboard Hot 100 but also topped the Hot Latin Songs chart.Impactful Singles and Collaborations: Dive into the stories behind hits like “El Chaman,” “El Sereno,” and “La Bolsa Gucci,” and discuss his collaborations with artists like Natanael Cano, Peso Pluma, and Junior H., showcasing his versatility and appeal in the music scene.Recognition and Growth: Gabito's ascent was marked by his recognition as Latin Artist on the Rise by Billboard and his recent publishing deal with Warner Chappell Music, highlighting his growing influence in the genre.Upcoming Projects: Get the scoop on Gabito's new album The GB, set for release on May 23, 2024, with a focus on the key track “La Niña” featuring Kenia OS. Discuss the significance of this album in his career trajectory.2024 Tour Overview: Analytic Dreamz will outline Gabito's tour schedule, from his performance in El Cajon, CA, to Los Angeles, CA, providing listeners with insights on where they can catch him live.Special Events and Collaborations: Highlight his upcoming performances with Peso Pluma and Belinda, and delve into his latest single "Presidente," released on October 21, 2024, with Natanael Cano, Luis R, and Neton Vega.Where to Follow Gabito: Tips on how fans can stay updated with Gabito Ballesteros's music releases, live performances, and more through social media and music platforms.Join Analytic Dreamz as we unpack the world of Gabito Ballesteros, understanding not just the music but the man behind the melodies in this comprehensive segment of Notorious Mass Effect.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

It was so good to chat with Gabi Henriques about all things music publishing and creative sync! Gabi used to work in sync at Capitol Records and was the Film and TV Creative coordinator at Warner Chappell so it was great to have her insight on what works in sync and what you should do to get your song signed! We have a limited offer you can use now, that gets you up to 48% off your first subscription or 20% off one time purchases with code BABES20 at checkout. You can claim it at: https://magicmind.com/babes The post Gabi Henriques – Head of Sync Ultra Music Publishing appeared first on idobi.

It was so good to chat with Gabi Henriques about all things music publishing and creative sync! Gabi used to work in sync at Capitol Records and was the Film and TV Creative coordinator at Warner Chappell so it was great to have her insight on what works in sync and what you should do to get your song signed! The post Gabi Henriques – Head of Sync Ultra Music Publishing appeared first on idobi.

Welcome to The Money Trench. In this episode, Mark is joined by A&R legend Mike Smith. Mike is one of the industry's true A&R legends, who has built an enviable reputation across MCA, EMI, Columbia, Mercury, Virgin EMI, Warner Chappell, Downtown and beyond, signing and working with some all-time greats. Fresh off the plane from Spain and back in the UK for a new music launch, Mike shares the fresh perspective he's gained from having some distance from the industry. Covering all aspects of his career, he discusses everything from faking his way into the A&R world, to the differences between being a 'publishing' guy versus a 'label' guy. He also shares the secrets to spotting what could be the next music scene, and recounts stories of signing some of the biggest artists of the day. NEWSLETTER Sign up HERE for the TMT newsletter - featuring each week's hottest music industry stories. PPL  The Money Trench is sponsored by the PPL who celebrate their 90th year in business this year. KEEP UP TO DATE For the latest podcast and music business updates, make sure to follow us on:  Instagram: @the_money_trench LinkedIn: The Money Trench Website: The Money Trench GET IN TOUCH If you have any feedback, guest suggestions or general comments? We'd love to hear from you! - Get in touch here! Thanks to our partners PPL  Earth/Percent Tom A Smith Aimless Play Fourth Pillar Sennheiser Junkhead Studio Tape Notes Executive Producer: Mike Walsh Producer: Tape Notes 

Hi everybody, I have two wonderful guests on for this episode as I'm thrilled to welcome both AMY SKY and MARC JORDAN!This fun chat dives deep into Amy and Marc's beginnings and how they both grew up in Toronto, how Marc, in 1978, got a US record deal with WARNER Music, and that culminated in the hit song “Marina del Rey." Fast forward and Marc has now released 16 solo albums to date, including his most recent, two brilliant jazz themed albums “Both Sides” and “Waiting for the Sun to Rise." He has also written for such artists as Bette Midler, Joe Cocker, Josh Groban and Manhattan Transfer, but is arguably best known for his worldwide #1 hit Rhythm of My Heart made famous by ROD STEWART who went on to record more of Marc's work, including Tears of Hercules and Charlie Parker Loves Me. Marc's songs have been on 35 MILLION CDs and he was recently inducted into the CANADIAN SONGWRITER'S HALL OF FAME. Marc also performs as a member of the quartet “Lunch at Allen's."Amy began her career as a staff songwriter for MCA, subsequently moving on to Warner-Chappell and EMI. She has written for many international artists, including Diana Ross, Anne Murray and Roch Voisine, and is also renown for her collaborations with Oliva Newton-John. Since the release of her debut album Cool Rain in 1996, Amy has recorded 13 albums. She has been nominated for four Junos, is the recipient of three Socan awards, an International Songwriter's Award and the Canadian Smooth Jazz Award. Her most recent album released by LINUS Entertainment is a Duets Project with Marc called "He Sang She Sang". It was nominated for a 2023 JUNO award for “Adult Contemporary Album of the Year.” Enjoy! Hosted on Acast. See acast.com/privacy for more information.

Marc Daniel Nelson is a Grammy-winning, French Academy Award nominated mixing engineer, music producer, and creative director. He has been mixing, producing, and managing creative content for over 24 years. His music credits include Fleetwood Mac, Joni Mitchell, Jason Mraz, Colbie Caillat, Eric Burdon / Ben Harper, Need To Breathe, Robert Duvall, Ozomotli, Reik and more. As Protégé for both legendary producer/engineer Bill Schnee and Ken Caillat, Marc has carried the torch for impeccable quality sound and production. His film credits include Solo, Blade Runner, The Vietnam War, Mulan, The Expanse, Wild Horses, Point Break, No Manches Frida, Fractured, Amanda, Father Figures, Ya, Ty, Vin, Vona, and more. His creative management credits include executive producing the 13-episode PBS television series, creating and executive producing the national video campaign for Guitar Center, and creative directing for Alcon Sleeping Giant, ArtistMax, and Warner Chappell. IN THIS EPISODE, YOU'LL LEARN ABOUT: The realities of climbing the studio ladder Having the right attitude The deception of audio colleges Finding mentors Making positive first impressions Relationship building His new plugin with Pulsar Modular How converters impact sound Making your tracks sound unique To learn more about Marc Daniel Nelson, visit: https://www.marcdanielnelson.com/ For tips on how to improve your mixes, visit https://masteryourmix.com/ Looking for 1-on-1 feedback and training to help you create pro-quality mixes? Check out my new coaching program Amplitude and apply to join: https://masteryourmix.com/amplitude/ Download Waves Plugins here: https://waves.alzt.net/EK3G2K Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of my Amazon #1 bestselling books: The Recording Mindset: A Step-By-Step Guide to Creating Pro Recordings From Your Home Studio: https://therecordingmindset.com The Mixing Mindset: The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Subscribe to the show: Apple Podcasts: https://podcasts.apple.com/us/podcast/master-your-mix-podcast/id1240842781 Spotify: https://open.spotify.com/show/5V4xtrWSnpA5e9L67QcJej Have your questions answered on the show. Send them to questions@masteryourmix.com Thanks for listening! Please leave a rating and review: https://masteryourmix.com/review/

Das Musikgeschäft boomt wie noch nie. Über 28 Milliarden Dollar Umsatz, 10% mehr als im Vorjahr. 19 Milliarden allein durch Streaming. Die treibende Kraft: HipHop. Kein TikTok, keine Insta-Story, keine Fashionshow in Paris mehr ohne Rapper. HipHop Rules, keine Frage. Aber die Regel im HipHop ist auch: Es ist ein absoluter Boys Club. Klar mit Nicki Minaj, Cardi B. oder auch einer Shirin David gibt es die Queens im Business: Aber sie sind die Ausnahme! Leider. Erschreckend, wie Newcommerinnen der Einstieg erschwert wird. Sie will das jetzt ändern: Natascha Augustin. „Die krasseste Frau überhaupt“, wie Rapper Capital Bra sagt. Sie hat ihn gesignt abenso wie Apache 207, Luciano, Farid Bang oder 187 Straßenbande, als in Deutschland noch niemand in der Industrie etwas mit HipHop anfangen wollte. Natascha ist Managing Director bei Warner Chappell Music Germany, der erfolgreichste Musikverlag in Deutschland und sie ist Mit-Founderin des Plattenlabels Atlantic Records Germany. Mit KollegInnen hat sie ein bahnbrechendes Rap- und Produktionscamp exklusiv für Frauen gegründet. Der Titel: „SHE – das all female Rap Camp.“ Sängerinnen, Songwriterinnen und Producerinnen aus der 16 Ländern kommen hier zusammen. Ein Kreativ-Netzwerk next level. Zum Kick-Off des “SHE Rap Camps 2024“ war ich jetzt in Berlin bei Warner Chappell und habe mit Natascha gesprochen. Wie sie Frauen empowert – das alles jetzt hier in TOMorrow. Wenn dir das Thema auch wichtig ist: Schreib mir in die Kommentare oder hier auf Social Media: [http://lnk.to/TOMorrow-Podcast](http://lnk.to/TOMorrow-Podcast) und abonniere den Channel.

This week, I'm thrilled to chat with Los Angeles-based producer, Billy Lefler. Billy has secured countless sync placements for his artists and collaborated with major publishers like Warner Chapel, Secret Road, and Position Music. We'll dive deep into the life of a highly successful producer and have a bit of fun along the way. In this episode, Billy and I reminisce about the iconic Death Star studio where we've both spent many nights recording. We explore what it's like to be immersed in LA's vibrant music scene and how it fuels creativity and opportunities. Billy shares invaluable insights on collaborating online versus in-person and the magic that happens when artists and producers can vibe off each other in the same room. We also discuss his approach to making music that resonates authentically, aiming for sync success without compromising artistic integrity.  Tune in to learn from Billy's experiences and get inspired by his journey in the music licensing world. Guest Bio:  Billy Lefler's journey through the music industry is marked by the accolades he's received and the platinum success of his projects. At the heart of his career lies a dedication to storytelling through sound, facilitated by his diverse roles predominantly as a producer, alongside being a songwriter and multi-instrumentalist.  From the indie pop charm of Ingrid Michaelson to the rock anthems crafted for Dashboard Confessional and the dynamic beats for Gym Class Heroes, Billy's adaptability shines through. Working with artists like Avril Lavigne, Patrick Stump of Fall Out Boy, and America's Got Talent standout Mandy Harvey, he has showcased his capacity to excel across various musical landscapes. Billy's contributions have not only garnered industry accolades but have also made a lasting impact on the music scene. His production work on Ingrid Michaelson's hit "Be Ok" is a prime example of his talent for creating catchy, emotionally resonant tracks that connect with audiences far and wide. Moreover, his production efforts helped propel Laura Jansen's album Bells to platinum status in The Netherlands, solidifying his role as a pivotal figure in music production on an international scale. Beyond his collaborations with individual artists, Billy's skills and vision have been recognized and sought after by leading record labels and publishers, such as Warner Chappell, Secret Road, and Position Music. Billy Lefler's knack for sync licensing underscores his unparalleled ability to weave music into the fabric of popular culture. His success in securing placements for the artists he works with in TV shows, advertisements, and movie trailers include: Ad spots for McDonald's and Evian Water, episodes from "The Blacklist," "Grey's Anatomy," and "The Vampire Diaries," “Pretty Little Lies,” “So You Think You Can Dance,” “One Tree Hill,” “Switched At Birth,” “Smallville,” various movie trailer campaigns, and a significant highlight was the placement of Daniel Blake's cover of Dido's "Here With Me" in the season finale of the CBS show "Roswell." About the Hosts: We're Sonnet Simmons and John Clinebell, 2 indie artists who have found success and creative fulfillment through licensing our music for ads, TV shows and films.  We were once so disheartened and discouraged that our music wasn't being noticed or valued through traditional methods. So we both started on a journey to find another way. For us, that “third door” was sync! And what we discovered is a lot better than we could have ever even imagined…[Find out more here] Resources From This Episode: 2Indie - Visit our website for more resources and information on how to get YOUR music signed Sync Society - Want to join our exclusive online sync community, with weekly LIVE networking and coaching calls? @2indieofficial - Follow us on Instagram Sync It! Music Licensing Community - Follow us on Facebook Billy's Website - Learn more about our guest and their work

Nashville-based singer and songwriter, Sasha Alex Sloan came by to discuss her brand new album “Me Again”. Sasha was born and raised in Boston and discovered a passion for music at a young age, teaching herself piano at just five years old. A born writer, Sasha began to pen original songs at just 10 and went on to hone her craft at Berklee College of Music. While in her first year of college, Sasha had a post go mega-viral on Reddit, reaching the front page within 24 hours. Breaking Reddit's cardinal rule, Sasha took the opportunity to promote her Soundcloud in the post's comments and just two weeks later she received an email from Warner Chappell wanting to sign her. Suddenly, Sasha was moving across the country to begin songwriting for some of the biggest names in pop (i.e. Charli XCX, Camila Cabello, Kygo). It wasn't until Sasha wrote a song she couldn't bear to give away that she debuted as a solo artist in 2017. Since then, Sasha has released three EPs, two studio albums, and has written hundreds of songs for various artists. In 2020, Sasha relocated from LA to Nashville along with her now-husband, producer King Henry, and their dogs. Today on the couch, Sasha dives into the making of “Me Again”, her life in Nashville, her Reddit obsession, and more! For a better nights sleep try Beyond Sleep Here: https://www.beyondsleeptech.com/pages/zach-sang You can always leave us a voicemail - (262) 515-9224! Follow Us On Social! TikTok Twitter Instagram Facebook Follow Zach Follow Dan Learn more about your ad choices. Visit megaphone.fm/adchoices

Nashville-based singer and songwriter, Sasha Alex Sloan came by to discuss her brand new album “Me Again”. Sasha was born and raised in Boston and discovered a passion for music at a young age, teaching herself piano at just five years old. A born writer, Sasha began to pen original songs at just 10 and went on to hone her craft at Berklee College of Music. While in her first year of college, Sasha had a post go mega-viral on Reddit, reaching the front page within 24 hours. Breaking Reddit's cardinal rule, Sasha took the opportunity to promote her Soundcloud in the post's comments and just two weeks later she received an email from Warner Chappell wanting to sign her. Suddenly, Sasha was moving across the country to begin songwriting for some of the biggest names in pop (i.e. Charli XCX, Camila Cabello, Kygo). It wasn't until Sasha wrote a song she couldn't bear to give away that she debuted as a solo artist in 2017. Since then, Sasha has released three EPs, two studio albums, and has written hundreds of songs for various artists. In 2020, Sasha relocated from LA to Nashville along with her now-husband, producer King Henry, and their dogs. Today on the couch, Sasha dives into the making of “Me Again”, her life in Nashville, her Reddit obsession, and more!For a better nights sleep try Beyond Sleep Here:https://www.beyondsleeptech.com/pages/zach-sangYou can always leave us a voicemail - (262) 515-9224!Follow Us On Social!TikTokTwitterInstagramFacebookFollow ZachFollow Dan

In this episode, we are joined by JR, the visionary CEO and Founder of Prekindle and Space Colonel Management. We delve into the recently dropped antitrust lawsuit against Live Nation by the DOJ and explore JR's inspiring journey in founding Prekindle. Discover how his company stands out by refusing to lock clients into contracts, their seamless integration with Prism, and JR's remarkable approach to maintaining authenticity in business. Additionally, we discuss the transformative potential of AI in the music industry and what the future holds. Tune in for an enlightening conversation that blends entrepreneurial insights with the cutting edge of technology. After signing with Atlantic Records as a singer-songwriter and touring for years, J.R. quickly went the entrepreneurial route and helped start Prekindle where he's currently CEO. Prekindle is an event ticketing and marketing platform started in Texas which now hosts 50,000 events a year across the US - including concerts, festivals, food & drink events, classes, attractions and everything in between. Denson has also built a career as an artist manager, having first discovered Charley Crockett and helped him to build a global touring and recording business. J.R. went on to cofound Space Colonel which now manages 14 music clients in the Country/Americana/Folk space including Shooter Jennings, Jason Boland and The Stragglers, Benjamin Tod, Lost Dog Street Band, The Lone Bellow, Kat Hasty, Beau Bedford. Via Space Colonel, J.R. also runs a publishing joint venture with Warner Chappell where they represent a growing roster of songwriters. His original mission to bring communities together through events and music has turned into a career that now spans 15+ years - over that time, J.R. has played a part in 10 million attendee experiences and counting.  (00:25) - DOJ suing Live Nation & Ticketmaster(05:10) - Government intervention in businesses(08:10) - Monopolistic practices(11:45) - The Prekindle origin story(14:50) - Prekindle's growth trajectory(16:30) - Prekindle's model differentiation(19:20) - How Prekindle competes(21:25) - Prekindle's bootstrapped operation(25:10) - Space Kernel origin story(28:15) - Discovering Charley Crockett(29:50) - SaveLive Prekindle partnership(35:20) - Prekindle's biggest challenge(37:45) - Unique approach to business(41:00) - Seamless Prism+Prekindle integration(44:05) - Incorporating AI into business(46:15) - Vision for the future

It's a hip-hop legal showdown as producer Sherman Nealy sues Warner Chappell and Artist Publishing over an alleged uncleared sample on a Flo Rida song. Meanwhile, Will.i.am continues to make boss moves, investing in Tesla, Beats, AB InBev, and AI tech companies. Plus, we break down ex-NBA star Glen "Big Baby" Davis' sentencing for defrauding the league's health plan. Lawsuits, business savvy, and courtroom drama - this one's got it all! #SamplingDispute #ArtistRoyalties #WillIAmInvestments #NBAFraud #EntertainmentLaw #HipHopBusiness Shirts NFTs & Downloads

Jonathan Bright is a “multi-instrumentalist, songwriter, recording engineer. He played in a band called “Swing” in the late 80s, had a deal with Warner Chappell publishing. Later in the 90s he put out a couple of records with with Rick Will, Paul and Mike Simmons in a band called “Vagantis”. In 2000s he started doing some engineering and producing in a band called “Defense Wins Championships”. Jonathan also recorded an all ukulele tribute to the band “the Replacements” called Treatment Bound with Tom Littlefield mid 2000s our combo “Bright Little Field”. Around 2011ish he began writing and recording with Raelyn Nelson (Willie's granddaughter). He also produced Bill Lloyd's last 4 or 5 records. As well, he produced and played on Tommy Womack's last record.Also on the side, Raelyn and Jonathan produce a podcast called “Music Is Funny” where they talk to professional comedians about the similarities and differences between music and comedy.https://www.raelynnelsonband.com/https://www.instagram.com/raelynnelsonband/?hl=enhttps://www.facebook.com/raelynnelsonband/https://youtube.com/@musicisfunnypodcast3221?si=857MmBH4mZgLC3oHHost - Trey MitchellIG - treymitchellphotographyIG - feeding_the_senses_unsensoredFB - facebook.com/profile.php?id=100074368084848Sponsorship Information  -  ftsunashville@gmail.comTheme Song - The Wanshttps://www.thewansmusic.com/https://www.facebook.com/thewansmusic/https://www.instagram.com/thewans/?hl=en

Vsit (or click) https://goodgriefgoodgodshow.com/s2ep4-tullykennedy to access both parts one and two of this episode, including audio and video links.  Visit (or click) https://www.GoodGriefGoodGodShow.com or scroll down to learn more about today's guest, Brad, and the show plus more! 

Visit (or click) https://goodgriefgoodgodshow.com/s2ep4-tullykennedy to access audio and YouTube links to both part one and part two of this episode.  Visit (or click) https://www.GoodGriefGoodGodShow.com to learn more about the show.

Music publishing is an area of the music industry that is complex and hard to get a handle on so we ask publisher and 2019 Billboard International Power Player, Rachel Kelly all the hard questions: What is a music publisher? How do they support songwriters? And do you really need a publishing deal? This episode is a solid overview of music publishing and how they can support songwriters.Timestamp: 4:45 - What does a publisher do?8:50 - How do publishers pitch songs to artists?15:00 - We talk selling songs vs selling catalogues19:35 - Pitching for Sync vs Pitching for A&R Cuts 26:00 - Examples of publishing deals 33.50 - How to get a publishing deal?About Rachel: With over 20 years' experience in music publishing, Rachel Kelly has held executive roles at both major and independent publishers including Downtown, BMG Rights Management, J Albert & Son (Alberts) and Warner/Chappell.  In 2019 Rachel was named as a Billboard International Power Player. She served for two years as a board member for the Australasian Music Publishers Association (AMPAL) and mentor for Women in Music. Find out more and contact us at I Heart Songwriting Club & Francesca de Valence.Get your creativity, confidence, and songwriting output flowing. Join The Club and receive the support and structure to write 10 songs in 10 weeks and get feedback from a private peer community. Just getting started on your songwriting journey and need more hands-on support? Establish a firm foundation and develop your musical and lyric skills with our Beginner Songwriting Courses. Don't struggle to write your next album - write an album a year with ease! Watch our Free Songwriting Masterclass. Get songwriting insights from I Heart Songwriting Club: Instagram / Facebook / YouTubeBe inspired by Francesca on socials: YouTube / Facebook / InstagramTheme song: “Put One Foot In Front Of The Other One” music and lyrics by Francesca de Valence If you love this episode, please subscribe, leave a review and tell everyone you know about The Magic of Songwriting.

Hoy en el estudio tenemos a Daniela Cabrera. Una guitarrista, productora y compositora que poco a poco con mucho talento ha logrado consolidarse como un perfil muy importante en la escena. Ha escrito, producido y tocado con nombres como Juliana Velásquez, Laura Pérez, Pilar Cabrera, Carolina Gaitán, Juanma Palacio y muchos más. Hablamos de sus inicios en la música, su interés como productora y compositora y la forma en que aborda sus canciones. 0:00 - Amistosidad 0:20 - Presentación 2:13 - La fiel compañera, la guitarra 4:31 - La producción 8:24 - Pilar y Daniela Cabrera 10:31 - CANCIÓN: HABRÁ 13:31 - La composición 19:49 - Componer para una misma 27:21 - CANCIÓN: NORUEGA 29:52 - Conciertos con Laura Pérez 31:00 - Las mujeres en la industria 41:35 - CANCIÓN: MAR ADENTRO 44:01 - El trabajo con Juliana Velásquez 47:45 - Despedida Escucha este y los demás episodios en www.imanmusic.net/sessions o en tus plataformas de podcast favoritas. Un podcast creado por Tariq Burney y Nicolás Muñoz. Grabado y mezclado por Jorge Arango, edición y finalización por Tariq Burney. Producido por Nicolás Muñoz. ------ DANIELA CABRERA Guitarrista, compositora y productora. Su experiencia la ha llevado a esenarios internacionales e internacionales como guitarrista tocando con nombre como Juliana Velasquez, Laura Maré, Pilar Cabrera, Laura Perez, Susana Cala y VALE. Firmada por Warner Chappell ha trabajado en mas de 30 canciones como compositora determinantes en las carreras de varios artistas. Entre ellas, se destacan “Joaquín” de Juliana (ganadora del Latin Grammy a Mejor Nuevo Artista en 2021) y “Habrá” de Pilar Cabrera (Parte de la banda sonora de la serie “Madre Solo Hay Dos” de Netflix).

¡Bienvenidxs a un nuevo episodio de Música con M de Mujer! En esta ocasión, exploramos el fascinante mundo de la música y desmontamos conceptos arraigados en nuestra cultura. Desde la creencia de que un género musical es superior a otro, hasta desentrañar mitos como la idea de que poner música clásica al bebé en el vientre materno lo hará más inteligente, conocido como “El Efecto Mozart” Acompañada por Ceci, desafiamos preconcepciones y cuestionamos si existe realmente una "canción perfecta" para despertarnos. Además, abordaremos el importante tema de la maternidad, desmitificando la idea de que todas las mujeres se emocionan al ver un bebé, entre otros temas interesantes. Sobre Ceci Juno: Es una destacada cantautora y musicoterapeuta ecuatoriana, cuyo talento y versatilidad la han posicionado como una figura prominente en la escena musical contemporánea. Con dos exitosos álbumes de estudio en su haber y el anticipado lanzamiento de su tercero en camino, Ceci ha demostrado ser una fuerza creativa inigualable. Su carrera ha sido marcada por experiencias enriquecedoras, incluyendo la oportunidad de compartir escenario con leyendas como Armando Manzanero y ser parte de la misma cartelera que destacadas agrupaciones como Jazz The Roots, Monsieur Perine y Bomba Estereo. Además, ha sido la artista de apertura para presentaciones de la reconocida Mon Laferte y ha sido invitada especial por el aclamado Jorge Drexler, consolidando así su presencia en escenarios de renombre. Ceci ha alcanzado logros notables, como ser elegida para ser la portada de la iniciativa EQUAL de Spotify en la división Andes durante el mes de diciembre de 2022. Su rostro iluminó Times Square durante 24 horas, un logro impresionante que destaca su impacto y reconocimiento en la industria musical, todo esto sin estar vinculada a una disquera. En noviembre de 2022, firmó como compositora con la prestigiosa casa editora Warner Chappell, abriendo nuevas puertas para colaboraciones con otros grandes artistas. Además de su éxito musical, Ceci demuestra su versatilidad al ser la creadora y conductora de su propio podcast titulado "Todo Sirve". En este espacio, comparte sus experiencias y aprendizajes como cantautora independiente, abordando temas que van desde su trayectoria en la salud mental hasta los desafíos que enfrentan las mujeres en la industria musical. Con un talento innato, logros significativos y una voz auténtica, Ceci Juno se posiciona como una figura influyente y resiliente en el panorama musical, anticipando un futuro lleno de éxitos y contribuciones valiosas a la escena artística internacional. --- Support this podcast: https://podcasters.spotify.com/pod/show/musica-con-m-de-mujer/support

Tyler was born in La Quinta, CA, and began his career early, signing renowned Grammy nominated artist / writer / producer PARTYNEXTDOOR when he was just 21 years old at USC. Since then, Tyler has grown his management practice bringing in production phenoms Wondagurl, HARV, Los Hendrix, and Nonstop da Hitman, as well as Bazzi and Cordae, up-and-coming artist Peter Manos, and established social media superstar Cameron Dallas. Tyler has also expanded his portfolio, co-founding a publishing Joint Venture with PARTYNEXTDOOR and Warner Chappell in 2016 - where they signed superstar producer Murda Beatz and G Ry. He also co-founded a publishing Joint Venture with Wondagurl, Sony/ATV and Cactus Jack in 2020 - where they signed upcoming producers London Cyr, Jenius, and FORTHENIGHT. In 2018, Tyler, his brother Kevin, Adrian Martinez, Connor Moy, Ben Wolin, and Jasper Heenan co-founded the multi-hyphenated creative company, STURDY. It includes a music division (now merged with Range Music), creative studio, and  production company. In 2021, Tyler and his music team joined forces with Range as they are building the worlds newest and most exciting talent representation company. Follow Tyler https://www.instagram.com/tyler.henry/?hl=en (0:00) - Intro (1:55) - Prioritizing wellness (4:10) Staying grounded during “fire alarms” (5:39) Boundaries that have created the greatest ROI (13:25) changing your perspective on failures (22:25) Learning and unlearning money mindsets (27:51) Balancing working on two businesses (35:41) Working on Drake's touring team (43:15) Training for and completing an Ironman (56:04) Things to let go of and add more of in 2024 (59:59) Challenge for the listeners My Links STAY ON TRACK NEWSLETTER

Firstly, Warner Music Group reported a growth in Recorded Music's digital revenue and saw an acceleration in streaming growth. This reflects the trend across the industry. Many music consumers are switching from buying physical copies to streaming music online which the company acknowledged during the call. This shift has been advantageous to the group as it has lowered production and distribution costs while increasing reach and accessibility. Secondly, the company's commitment to developing new talent is paying off. It was revealed during the call that new releases from artists played a significant part in their revenue growth. The executives stressed the importance of investing in A&R, and explained that Warner Music's diverse, highly-popular portfolio proved their strategic approach was working. This aligns with the company's objective of long-term growth and operational excellence. Thirdly, Warner Music Group has also made strategic investments in emerging markets to ensure their music is accessible and distributed globally. A notable mention during the call was their recent partnerships and expansions in countries such as China, India, and parts of Africa. The executives acknowledged that these emerging markets represent considerable opportunities for growth for the group. Lastly, the company also saw growth in their Music Publishing segment. The company attributed this to the high demand for copyrighted material due to the rising popularity in streaming services. This success was credited to the strength of the Warner Chappell catalog and their commitment to providing quality, reliable service to their clients. In conclusion, the executives reassured investors of Warner Music's commitment to their unique artist-centric approach that prioritizes both long-term development of talent and exploration of innovative ways to generate revenue. Based on what they stated during the earnings call, it would seem that their strategy is delivering successful results. It not only supports the company's future growth but also ensures they can successfully navigate the rapidly evolving music industry landscape. WMG Company info: https://finance.yahoo.com/quote/WMG/profile For more PSFK research : www.psfk.com  This email has been published and shared for the purpose of business research and is not intended as investment advice.

In this podcast we dive with Jelle into composing from the heart, recording an orchestra, The power of not quantizing when making music, the importance of getting inspired to progress, and how saying no can lead you to making more money. We also get into how Jelle made music for an atari game, how he built his network and how he became such a busy composer doing amazing work with amazing companies   Jelle is an amazing young composer that works consistently with labels like BMG and Warner Chappell, he has many placements and his ongoing success (just look at his linkedin to understand).  This interview was a blast to record so I hope you enjoy   https://www.linkedin.com/in/jelledittmar/  

Previewing the 1999-2000 NBA season for every team in the Eastern Conference's Atlantic Division: The New Jersey Nets (3:45), the Washington Wizards (17:50), the Boston Celtics (28:50), the New York Knicks (40:00), the Philadelphia 76ers (54:20), the Orlando Magic (1:02:00), and the Miami Heat (1:10:40). ⁠⁠⁠Please fill out this survey to help me make this podcast better!⁠⁠⁠⁠ ---  An NBA history podcast about the 2000s NBA. Hosted by Lew⁠⁠⁠ ⁠@L0GICMASTER⁠⁠⁠⁠ Social media links:  Phone/Voicemail: (405) 466-7623 Twitter:⁠⁠⁠ ⁠RimDynastyNBA⁠⁠⁠⁠ Instagram:⁠⁠⁠ ⁠RimDynastyNBA⁠⁠⁠⁠ TikTok:⁠⁠⁠ ⁠RimDynastyNBAPod⁠⁠⁠⁠ YouTube:⁠⁠⁠ ⁠RimDynastyNBA⁠⁠⁠⁠ Stats from Basketball Reference and NBA.com. Transaction info from prosportstransactions.com and Basketball Reference.  Intro music: “L'Amour Toujours” by Gigi D'Agostino. © Broadcast Music Inc., LatinAutor, Warner Chappell. Other music: "Go New York Go New York Go." Sources: Boston Globe, Bridgewater Courier-News, Bullets Forever, Central New Jersey Home News, Los Angeles Times, NBA.com, New York Daily News, New York Post, New York Times, Office of the Chief Medical Examiner, SLAM Magazine, Sports Illustrated, Washington Post

Music Biz 101 & More is the only radio show in America that focuses on the business side of the music & entertainment worlds. Hosted by William Paterson University's Dr. Stephen Marcone & Professor David Kirk Philp, the show airs live each Wednesday at 8pm on WPSC-FM, Brave New Radio. In this episode, you'll hear a fascinating interview with artist manager Josh Windt, artist manager and principal at Numbers Don't Lie publishing, a joint venture with Warner Chappell. We talk about breaking new artists, be they writers or recording artists, the world of publishing deals, and way more than that. So listen up and say, "Oh for heaven's sake, I did not know that." Because now you will. Intro song: "Hurts Like Hell" by Gina Royale. Exit song: "Lover" by TimaLikesMusic. Like what you hear? Tweet us anytime: twitter.com/MusicBiz101WP Engage and Adore us on The Facebook, The Twitter & Instagram: www.facebook.com/MusicBiz101wp twitter.com/MusicBiz101WP instagram.com/musicbiz101wp/

The audio starts off kind of spotty but it gets better around the 10-minute mark I swear Previewing the 1999-2000 NBA season for every team in the Eastern Conference's Central Division: The Chicago Bulls (1:30), the Cleveland Cavaliers (14:20), the Toronto Raptors (25:50), the Charlotte Hornets (35:00), the Milwaukee Bucks (44:50), the Detroit Pistons (54:00), the Atlanta Hawks (1:02:30), and the Indiana Pacers (1:13:10). ⁠⁠Please fill out this survey to help me make this podcast better!⁠⁠⁠ ---  An NBA history podcast about the 2000s NBA. Hosted by Lew⁠⁠ ⁠@L0GICMASTER⁠⁠⁠ Social media links:  Phone/Voicemail: (405) 466-7623 Twitter:⁠⁠ ⁠RimDynastyNBA⁠⁠⁠ Instagram:⁠⁠ ⁠RimDynastyNBA⁠⁠⁠ TikTok:⁠⁠ ⁠RimDynastyNBAPod⁠⁠⁠ YouTube:⁠⁠ ⁠RimDynastyNBA⁠⁠⁠ Stats from Basketball Reference and NBA.com. Transaction info from prosportstransactions.com and Basketball Reference.  Intro music: “L'Amour Toujours” by Gigi D'Agostino. © Broadcast Music Inc., LatinAutor, Warner Chappell. Sources: Akron Beacon-Journal, Atlanta Journal-Constitution, Charlotte Observer, Chicago Tribune, Indianapolis Star, Los Angeles Times, NBA.com, New York Times, Raptors Rapture, SLAM Magazine, Sports Illustrated

Whoa went from having his own successful rap career to being the CEO of a quickly rising label and production company, BMR. Signing acts like Rylan Stylez , The Skum Bags and Big Chyna. Even secured partnerships with Republic, Warner Chappell and Sony. He gives alot of game and insight in the interview. definitely worth watching! Follow the guest and crew! Guest: @IamWhoa Chef: @Spanish.soul.food Host: @ThatManSmooth Directed By: Ben @Benofficialfilmz Crew: @xojasdane @spadetv @Weez215 @Robbangazz Send all business inquries to cooknupbookings@gmail.com Visit Cooknup215.com & @Cooknup215 We are looking for brands and businesses to partner with so please contact us if interested! #HipHopPodcast #BlackEntrepreneurship #YouTubeChannel #Podcasters #PodcastCommunity #EntrepreneurshipJourney #HipHopCulture #BlackExcellence #BusinessMoguls #CreativeMinds #InnovationInspiration #HustleHard #UrbanEntrepreneurs #HipHopIndustry #EmpoweringDreams #SuccessStories #BuddingCreators #CommunityOverCompetition #SupportBlackBusinesses #MotivatedMinds #EntertainmentWorld #SubscribeNow #YouTubeViews #InspiringConversations #RisingCreators #CulturalImpact #PodcastRecommendations #TuneInToday #SubscribeAndShare #GrowingTogether #DiverseVoices

The audio starts off kind of spotty but it gets better as it goes along I promise!!! Previewing the 1999-2000 NBA season for every team in the Western Conference's Midwest Division: The Vancouver Grizzlies (3:09), the Denver Nuggets (20:50), the Dallas Mavericks (32:46), the Minnesota Timberwolves (47:00), the Houston Rockets (56:00), the Utah Jazz (1:04:56), and the San Antonio Spurs (1:16:09). ⁠Please fill out this survey to help me make this podcast better!⁠⁠ ---  An NBA history podcast about the 2000s NBA. Hosted by Lew⁠ ⁠@L0GICMASTER⁠⁠ Social media links:  Phone/Voicemail: (405) 466-7623 Twitter:⁠ ⁠RimDynastyNBA⁠⁠ Instagram:⁠ ⁠RimDynastyNBA⁠⁠ TikTok:⁠ ⁠RimDynastyNBAPod⁠⁠ YouTube:⁠ ⁠RimDynastyNBA⁠⁠ Stats from Basketball Reference and NBA.com. Transaction info from prosportstransactions.com and Basketball Reference.  Intro music: “L'Amour Toujours” by Gigi D'Agostino. © Broadcast Music Inc., LatinAutor, Warner Chappell. Sources: Deseret News, ESPN.com, Los Angeles Times, NBA.com, New York Times, The Province, Salt Lake Tribune, Sporting News, Usenet, Vancouver Sun

Star Stories with Touré is an animated series about the unpredictable and sometimes unbelievable backstage interactions with some of the most iconic men in music of the modern era. These animated stories are unforgettable recollections of the larger-than-life experiences with music journalist Touré . To hear the podcast visit: https://pod.link/1697986415 To watch the series visit: https://thegrio.com/starstories/ Touré played poker with Jay-Z one night in a swanky Manhattan penthouse suite. Each hand was worth thousands of dollars. Why was Touré in the game? He's not rich enough for a game like that. It could have bankrupted him. The answer: He's insane. Also, he was willing to risk everything to glean the very interesting bit of psychological insight he could get from being head-to-head in a hand of poker with Jay-Z.   Watch here:  https://thegrio.com/starstories/1368617/#sp=star%20stories   Credits: The Takeover Writer: JAY-Z & Kanye West Label: Roc-A-Fella Records Publisher: Roc The World    The Story of OJ  Writer: JAY-Z, No I.D., Nina Simone, Gene Redd Jr. & Jimmy Crosby Label: Roc Nation Publisher: Carter Boys Music, Sony Music Entertainment, Virgin Records, EMI Longitude Music, New World Music, Warner Music Group, EMI Music Publishing Group, Filmtrax, Eleven East Music, Bucky Music, Rolls Royce Music Company, BMG, Let The Story Begin Publishing, EMI Waterford Music, BMG Monarch, Warner/Chappell, Delightful Music, Round Hill Music, Warner-Tamerlane Publishing Corp., Carbert Music & Stephanye MusicSee omnystudio.com/listener for privacy information.

Hailing from Wichita, Kansas, Cameron Bedell is a Nashville hit songwriter and producer currently signed to Liz Rose Music and Warner Chappell music. He's written songs for many major country artists such as Dylan Scott, Hailey Whitters, Seaforth, Lauren Alaina, and recently had a two-week number one with Jimmie Allen's "down home." Cameron shares his journey, from making songs in high school on his dad's work computer, to moving to Nashville and transitioning from R&B to Country, how he keeps a level head after success, and focusing on writing songs that "resonate" with the listener. New Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram. Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here. Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

Previewing the 1999-2000 NBA season for every team in the Western Conference's Pacific Division: The Portland Trail Blazers (2:35), the Los Angeles Lakers (10:56), the Phoenix Suns (16:19), the Sacramento Kings (23:50), the Seattle SuperSonics (30:32), the Golden State Warriors (41:05), and the Los Angeles Clippers (49:30). Please fill out this survey to help me make this podcast better!⁠ ---  An NBA history podcast about the 2000s NBA. Hosted by Lew ⁠@L0GICMASTER⁠ Social media links:  Phone/Voicemail: (405) 466-7623 Twitter: ⁠RimDynastyNBA⁠ Instagram: ⁠RimDynastyNBA⁠ TikTok: ⁠RimDynastyNBAPod⁠ YouTube: ⁠RimDynastyNBA⁠ Stats from Basketball Reference and NBA.com. Transaction info from prosportstransactions.com and Basketball Reference.  Intro music: “L'Amour Toujours” by Gigi D'Agostino. © Broadcast Music Inc., LatinAutor, Warner Chappell. Other music: “Andele” from the TV show “Arrested Development”, provided by Universal Music Group, ℗ 2013 Twentieth Century Fox Film Corporation. Sources: ESPN.com, NBA.com, New York Times, Sports Illustrated

Trailer for Rim Dynasty, a new NBA history podcast focused on the 2000s. Lew goes over what to expect from the show. Please fill out this survey to help me make this podcast better! ---  An NBA history podcast about the 2000s NBA. Hosted by Lew @L0GICMASTER Social media links:  Phone/Voicemail: (405) 466-7623 Twitter: RimDynastyNBA Instagram: RimDynastyNBA TikTok: RimDynastyNBAPod YouTube: RimDynastyNBA Stats from Basketball Reference and NBA.com. Transaction info from prosportstransactions.com and Basketball Reference.  Intro music: “L'Amour Toujours” by Gigi D'Agostino. © Broadcast Music Inc., LatinAutor, Warner Chappell. Sources: ESPN.com, NBA.com, New York Times, Sports Illustrated

Tulsa siblings Caleb, Hannah, Cody and Jacob make up the country band, Voth (VOE-TH).  Their debut single "I choose Us" (2018) and their self-titled EP (2020) made waves in the country music world by hitting major playlists on Spotify. Since then they've opened up for acts like Walker Hayes, Priscilla Block and have signed a global publishing deal with Warner Chappell Music. We sat down with Caleb, Hannah and Cody to talk about their journey to Nashville and how they feel about their new album "Memories of You" which drops on September 14th...... After you listen to the podcast go download their new singles "92 Bronco" and "You Own it" available everywhere you get your music. 

Touré played poker with Jay-Z one night in a swanky Manhattan penthouse suite. Each hand was worth thousands of dollars. Why was Touré in the game? He's not rich enough for a game like that. It could have bankrupted him. The answer: He's insane. Also, he was willing to risk everything to glean the very interesting bit of psychological insight he could get from being head-to-head in a hand of poker with Jay-Z. Watch here:  https://thegrio.com/starstories/1368617/#sp=star%20stories Credits: The Takeover Writer: JAY-Z & Kanye West Label: Roc-A-Fella Records Publisher: Roc The World  The Story of OJ  Writer: JAY-Z, No I.D., Nina Simone, Gene Redd Jr. & Jimmy Crosby Label: Roc Nation Publisher: Carter Boys Music, Sony Music Entertainment, Virgin Records, EMI Longitude Music, New World Music, Warner Music Group, EMI Music Publishing Group, Filmtrax, Eleven East Music, Bucky Music, Rolls Royce Music Company, BMG, Let The Story Begin Publishing, EMI Waterford Music, BMG Monarch, Warner/Chappell, Delightful Music, Round Hill Music, Warner-Tamerlane Publishing Corp., Carbert Music & Stephanye MusicSee omnystudio.com/listener for privacy information.

CMU's Andy Malt and Chris Cooke review key events in music and the music business from the last week, including TikTok and Warner Music's “first-of-its-kind partnership” – a licensing agreement that involves both the Warner Music record company and music publishing business Warner Chappell and covers various platforms run by TikTok owner Bytedance – and the NME's return to print.  SECTION TIMES 01: TikTok (00:03:04) 02: NME (00:18:53) (Timings may be slightly different due to adverts) STORIES DISCUSSED THIS WEEK • Warner Music announces new deal with TikTok, as TikTok Music arrives in three more markets • NME announces return to print ALSO MENTIONED • Parklife founder and NTIA boss hit out at Home Office's “demonstrably untrue” statement on festival drug testing policy MORE FROM CMU • Upcoming CMU webinars • Buy MMF and CMU Insights' Dissecting The Digital Dollar book on Amazon • Sign up to receive the CMU Daily news bulletin • Listen to the full Setlist theme tune

Episode # 206 Rocker Mitch Malloy releases New Solo Album "The Last Song," his time in Van Halen and much more! MITCH MALLOY RETURNS WITH NEW SOLO ALBUM, ‘THE LAST SONG' FROM SING MARKET Mitch Malloy continues to rock the night away burning the midnight oil! After several years as the frontman for the iconic rock band Great White, Mitch returned to the studio writing and recording his new album, ‘THE LAST SONG.' The album will launch with an exclusive, limited release collector's edition vinyl through a partnership with SING. Pre-sales for the vinyl release will go on sale May 3, 2023. An international release will follow in June. Once again, Mitch is undertaking an album solely by himself from start to finish – song writing, producing, instruments, mixing and mastering. Mitch reveals, “For this record, I have really taken my time. In the past, I've usually been on deadlines. With this album, there was so much material in my head from a few years of not having a true creative outlet, so it was a lot to process. I'm thankful that I have been in a position to not rush my creativity. I've been tucked away in my Zen zone writing and recording... and amassing lots of new gear! Ha!” ‘THE LAST SONG' DELUXE PACKAGE will be released worldwide first on SING Market as a limited edition collectible 180 gram signed and numbered white vinyl record. This special vinyl bundle includes a signed CD, large poster, 8" X 10" photo, and more. All of this is attached to a limited, numbered and registered digital collectable bundle packed with behind-the-scenes videos, acoustic videos, a rare handwritten lyric sheet, and a Golden Ticket contest to win a private zoom concert where you hang with Mitch! After this very limited vinyl - digital collectable VIP bundle is gone - it's gone! Follow this link to purchase: https://market.singidea.com/market/asset/2abdeae1-ddbf-4d97-bd7a-8d345422ec0a/ Unboxing video here: https://vimeo.com/823080034?share=copy/ In addition to being an artist, Mitch is no stranger to the studio, and has worked with a variety of artists, labels, and brands from Taylor Swift, Boys Like Girls, Kenny Loggins, Craig Morgan, and Sony Music NY, to singer/songwriters Victoria Show, Gary Burr and Billy Falcon, and even voiceover work for Outdoor Channel, Field & Stream and many more. Mitch has even been the voice for Starburst candy! Mitch is also an award-winning songwriter, and has written with legendary songwriters like Jim Weatherly, Richard Lee, Mike Reid, Desmond Child, Dennis Morgan, Victoria Shaw and Gray Burr. He's been signed to publishing deals with Warner Chappell and Chrysalis Music, but later launched his own publishing company to control his copyrights. Mitch loves the craft of songwriting... telling a story and resonating with his audience. "Songs are so powerful... it's amazing just how much a song can impact a person's life," says Malloy. “Once again, life has delivered a lot of new material... from losing family members, to moving to the beach, to having a teenager. There's definitely no shortage of inspiration!” Mitch's tenure as an artist has spanned several decades beginning as a regular on the New York music scene in the 80s. Mitch soon garnered a major recording deal with RCA/BMG Worldwide, and achieved success on the pop and rock charts, landed a coveted spot on the Tonight Show with Jay Leno, and has toured globally. Mitch's voice has been highly sought after as a frontman for legendary acts as well as a guest vocalist on other artists' projects. In the mid-90s, Mitch was asked to replace Sammy Hagar as lead singer for Van Halen. But after spending time and recording with the band he declined. “When the band appeared on the MTV Music Awards with Dave [David Lee Roth], the fans expected his return – I expected his return. I felt as cool as the opportunity was, it just wasn't the right time,” said Malloy. Lastly, if you miss out on the SING Market bundles, ‘THE LAST SONG' CD (alone) will be available in the US on Malloy's label, Godsend Records, and internationally by Cargo Records based in the UK. Mitch looks forward to getting back out on the road and connecting with his fans in person. So, will this be the last song? According to Mitch, “Give it a listen, and you tell me!” “My hope with ‘The Last Song' record is that when listening you will experience some of the experiences and feelings and emotions I had while making it. If that happens then the world is a better place through music. And as always, I gave it everything I had. Crank it and enjoy!” https://www.youtube.com/@mitchmalloy3468/ https://www.facebook.com/MitchMalloyMusic/ https://www.mitchmalloy.com/ https://twitter.com/mitchmalloy/ https://www.instagram.com/malloymitch/ singmarket.com/ Subscribe to Pat's Soundbytes Unplugged Podcast, Pat's Soundbytes IGTV and Pat's Soundbytes Unplugged - Podcast Radio Show on YouTube for all the interviews and incredible content. Instagram: Pat's Soundbytes Twitter: @PatsSoundbytes Facebook: Patrick Calamari or Pat's Soundbytes Unplugged! Patreon Page: Pat's Soundbytes

My guest on this episode is Vickie Nauman, who's expertise crosses between music and technology, finance, gaming, and the digital business economy. Vickie's built one of the first DMCA-compliant services at taste-making station KEXP in Seattle, developed music tech work experience in licensing at MusicNet, which was one of the first legal digital services, ran strategic partnerships for connected device manufacturer Sonos, started and ran the US business for global music platform 7digital, and did digital business in Europe and China as a consultant. In a previous life, she also ran marketing programs and produced live broadcasts in traditional radio in the NPR network. Vickie's CrossBorderWorks music tech and consulting firm has worked with digital business and sync departments at Universal, Warner, Sony, Sony Publishing, UMPG, Warner Chappell, Merlin, Beggars, and many more labels, publishers, PROs, and distributors, as well as emerging sync platforms and rights administration services. During the interview we got a brief look at the beginnings of digital music, insights into Web 3 and the opportunities for music, why the metaverse is going to be more than just gaming and social activities, how AI plays into the creator future, and much more. I spoke with Vickie via Zoom from her office in Los Angeles. On the intro I'll take a look at carmakers leaning towards ditching radios altogether, and Tidal finally offers lossless streaming. var podscribeEmbedVars = { epId: 86738364, backgroundColor: 'white', font: undefined, fontColor: undefined, speakerFontColor: undefined, height: '600px', showEditButton: false, showSpeakers: true, showTimestamps: true };

Keith Snell has pursued a multifaceted music career as a trumpet soloist, freelance musician, composer/arranger,  conductor and educator. His earliest musical training and performance experiences began at the age of six when he  began learning to play the cornet in the Los Angeles Congress Hall Salvation Army Band. Keith performed with this  world renown organization for twenty years for over twenty years.   Keith received his B.A. from the California State University at Northridge and his M.A. from California State  University at Long Beach. Both degrees were in Trumpet Performance and Instrumental Conducting. Keith has  served on the faculties at the California State Universities at, Los Angeles, Northridge and Long Beach as well as at  the California Polytechnic State University at San Luis Obispo.  As a freelance trumpet player, Keith has played numerous chamber and symphony orchestras, including the Pacific  Symphony, Pacific Opera and the Burbank Symphony Orchestra. He has also performed on a variety of recordings  for radio, motion picture and television soundtracks. As a solosist, Keith has performed solo recitals in both the  U.S., Canada and Great Britain.   Keith was one of the founding members of the California Brass Ensemble, and served as its Director for 24 years.  Comprised of some of the worlds's finest professional brass and percussion artists in Los Angeles, the ensemble  presented over 3,000 concerts and educational performances. This award winning ensemble performed at such  prestigious events as the 1984 Olympic Arts Festival in Los Angeles and before many international dignitaries,  religious leaders and heads of state, including five U.S. Presidents, and the Arch Bishop of Canterbury.  A prolific arranger and composer, Keith served as editor for several series of educational publications by Belwin  Mills, Columbia Pictures Publications, and Alfred Music Publishers. His works are also published by Theodore  Presser and Warner-Chappell. Keith's works for brass have been performed by professional ensembles and  symphony orchestra brass sections in over 44 countries.   

Jarrod sits down with singer-songwriter Sean McConnell to talk about writing new music, production, and Sean's music career. Sean released his debut album on his own label in 2000, when he was 15 years old and went on to self-issue five more full-lengths and three EPs between 2003 and 2014. Sean later entered into a publishing deal with Warner-Chappell, writing songs for artists such as Meat Loaf, Tim McGraw, Martina McBride, Rascal Flatts, Plain White T's, Eli Young Band, and Brad Paisley to name a few. See Sean McConnell live: https://www.seanmcconnell.com/ Follow Sean McConnell: ⁠https://linktr.ee/sean_mcconnell This Episode is brought to you by our title sponsor, Salty Rodeo Co and Gold Buckle Beer! Salty Rodeo Co: ⁠https://getsalty513.com/⁠Gold Buckle Beer: ⁠https://www.goldbucklebeer.com/⁠ Follow The Jarrod Morris Vibe: ⁠https://beacons.ai/thejarrodmorrisvibe⁠ Follow Jarrod Morris: ⁠lnk.bio/jarrodmorrismusic

Since 2009, Kimberly Perry has captivated audiences with her showstopping vocals, lyrical eloquence, and superstar presence. As one-third of the Grammy® Award-winning superstar sibling trio The Band Perry, Kimberly Perry has racked up sales of over two and a half million albums, thirteen million singles, and over 2 billion combined streams. As a songwriter, her groundbreaking crossover #1 single “If I Die Young” (with its current 9x platinum status and over 200 million video views) helped Kimberly burst on to the world stage. As an entertainer, she's performed on TV's biggest shows, from late night's most influential (The Tonight Show Starring Jimmy Fallon, Jimmy Kimmel Live, The Late Late Show With James Corden, The Late Show with David Letterman) to daytime's most popular (Ellen, Good Morning America, The Today Show), as well as performing and presenting on multiple CMA and ACM award shows and specials. Despite touring the globe and playing on some of its biggest stages, her first love has always been songwriting, and it remains the force that drives her today. After signing to RECORDS Nashville and inking a global publishing deal with Warner Chappell and Songs & Daughters, Perry released her first song as a solo country artist - “If I Die Young Pt. 2” on May 5, 2023. The new single shows Perry revisiting her biggest hit over a decade later, abandoning the tragic cynicism of her youth and celebrating the life she has lived since and the bright future she has ahead. These themes of reflection and growth are central to her new EP, Bloom, which was released on June 9. Join us as we sit down at the table with THE Kimberly Perry. The Good Neighbor Get Together is the podcast of Country Music Pride  https://countrymusicpride.com https://thegoodneighborgettogether.com https://www.kimberlyperry.com https://www.instagram.com/thekimberlyperry/?hl=en

SCHALKE SEASON REVIEW | A Year of Highs and Lows | Episode 192 Send the guys a tip to help support them -------

“Redemption Song” by Bob Marley and the Wailers is one of the ultimate songs about the Black spirit and the immense determination that has gotten us through life in America. I'm talking about a specifically Black determination that has powered our resistance and carried us through life in America. A sense of Black determination that we hear in Redemption Song as well as Sam Cookie's “A Change Gonna Come,” Maya Angelou's “Still I Rise,” and Kendrick's “Alright.” No matter how hard things have been we have always been certain that one day we would overcome.  Guests: Roger Steffens, Author, So Much Things to Say Michael Eric Dyson, Professor, Princeton University Credits: Bob Marley and The Wailer's - Redemption Song  Writer: Bob Marley Label: Tuff Gong & Island Records Publisher: Fifty Six Hope Road Music Limited, Primary Wave/Blue Mountain   Sam Cooke - A Change is Gonna Come Writer: Sam Cooke Label: RCA Victor Publisher: Kegs Music Corp.  Kendrick Lamar - Alright  Writer: Kawan Prather, Kendrick Lamar, Pharrell Williams & Sounwave Label: Top Dawg Entertainment, Aftermath Entertainment & Interscope Records Publisher: EMI April Music, New World Music, Warner Music Group, Sony Music Entertainment, EMI Music Publishing Group, PECF, BMG Firefly, BMG, Warner/Chappell, Top Dawg Entertainment, Sony/ATV Allegro, In Thee Face Music Publishing, Hard Working Black Folks Publishing, BMG Gold Songs, Beat Bully Productions, More Water From Nazareth & EMI Pop Music Publishing Still I Rise, Maya Angelou Yvonne Orji, The Toure Show #TrumpRally protesters chant "We gonna be alright", Chicago ReaderSee omnystudio.com/listener for privacy information.

This week, I'm running back an interview with one of the most popular episodes we ever did with Matt Pincus from 2022. Matt Pincus is without question one of the most successful entrepreneurs in the music industry. He sold his independent music publishing company, SONGS, for $160 million five years ago. And now, the music holdings company he co-founded, MUSIC, just raised $200 million to invest in music and music-adjacent companies. Though, Matt doesn't see MUSIC as an investment fund, but rather a holding company. That's because he's taking an operator role in the companies he funds. And unlike the splashy catalog acquisitions that've dominated the space over the past few years, Matt is looking forward with his investments and targeting brand-new growth opportunities instead.In particular, Matt sees big opportunities in the technology sector, web3, and even record labels and publishing. At SONGS, Matt was able to spot and develop up-and-coming songwriters, inking early deals with the likes of Diplo, Lorde, and The Weeknd. He'll be tasked with finding similar success at MUSIC.  Matt and I dove deep into a wide-range of topics during our conversation. Here's a few highlights of what we covered:[2:47] Why Matt created MUSIC[7:19] MUSIC's investment thesis?[13:22] What Matt doesn't like about the music business [19:36] Recent inflow of capital into the music business[20:54] Two lanes to entering music business[24:08] Finding left-of-center opportunities among musical talent [27:30] The structural problem of the music business[30:44] Continuity was key to SONGS success[35:59] The Weeknd as a business blueprint for other artists[36:53] Sync business opportunities [43:46] Have streaming subscriptions peaked?[48:12] Tiktok brought back music frequency[51:13] Matt's five-year predictionsListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Matt Pincus, @mpincSponsors:MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapitalNewsly is your all-in-one audio super app to hear the trending topics on the entire web. Download newsly.me for free and use the promo code ‘TRAP' to receive a 1-month free subscription.Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital 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] Matt Pincus: Defensibility in the music business is not a patent or a technology or some special recipe you have someplace. It's your understanding of music, the people that make it, and then your ability to develop relationships with people around the business and to keep your reputation such that people want to be with you. But the real key in, at least in the music technology side of it is you need to be able to spin the technology yourself and understand really how it works. [00:00:37] 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. [00:00:56] Dan Runcie: Today's episode is with one of the most successful music entrepreneurs of the past few decades. His name is Matt Pincus and he is the founder and CEO of MUSIC, which is a holding company that invests in music tech and music-adjacent companies. MUSIC just launched a 200 million fund to invest in this space, so Matt and I talked all about it. He's looking for companies that still have a clear understanding for how music gets made and understand the art behind it. He's also looking for startups that have a true defensible moat that is something unique that they can do. And he's also looking for the companies that have a huge total addressable market that can clearly grow and expand as we're seeing things continue to grow in this space. Our conversation covered a bunch of topics in this space. We talked about sync and the impact of that. We also talked about how much further streaming can go. And we talked about a bunch of insightful music trends. Really fascinating conversation. I feel like every few months we have one of those conversations where people reach out to me and say, Hey, I took a bunch of notes in that conversation. Thank you for this. And I have a good feeling, I have a good feeling that this is going to be one of those conversations. I hope you enjoy it as much as I did. Here's my chat with Matt Pincus. [00:02:16] Dan Runcie: All right. Today, we're joined by Matt Pincus, who is the founder of MUSIC, which is a holding company that invested music and music-adjacent companies. Matt, I'm really excited to have this conversation because you have had a very impressive career with what you did with Songs and everything that you had done in publishing specifically. And what always stuck out to me about you in this space is how you've identified opportunities where others didn't see them. So I know when I saw the announcement for MUSIC and the $200 million fund you launched, I said, okay, he's seeing something and he's seeing an opportunity to dive in. So what did you see? What made you want to get involved with this?[00:02:58] Matt Pincus: Well, first of all, thank you so much for having me. I'm a big admirer of Trapital and your work in general. And I'm really happy to be with you here today. So, you know, I started music, it was sort of an organic process. I sold Songs after running it for about 13 years. And it was a fairly abrupt end. So we decided to sell the company and neither me nor my two partners really wanted to run it for somebody else. So we decided that once we sold it, it was time to step away and it was fairly quick. So, you know, I ran the company for 12-plus years. And then 90 days after the sale, I was out in the street, like, what am I going to do with my life? So it was a bit of an organic process. It started with meeting a lot of really interesting founders of music businesses and companies that were around the music business. It's obviously an interesting time in our business in a number of different ways. The streaming market has matured. There are a lot of music tech businesses with interesting founders cropping up over the past four or five years. The web three crypto business has, you know, started the early days of really coming online. And the way that labels, publishing companies, management companies reach audiences is really different than it was like, you know, six, seven years ago. So I met a lot of really interesting people. The first one was Steve Martocci, who was the founder of Splice. He and I hit it off particularly well. And I sort of said, listen, I've been, you know, doing talent deals with young people, you know, in the early twenties for the past 12 years, I think maybe the next chapter is working with founders of companies that are more like 10 years younger than me, as opposed to, you know, 20, early 20s. And taking the experience that I had in the last, like, four or five years of songs when we were trying to figure out how to really realize returns on the business and build on that to try to help people do the same thing. So I was out looking for, you know, are there interesting companies that I might be able to work with in some way or another? And the answer to that quickly became kind of yes, on the music tech side originally, in growth companies, when online music and music technology was shifting to a subscription-based backbone as opposed to a packet software business. And then also on the music side of it, you know, interesting independent labels, music companies operating in a different way. And so the first thing was, are there interesting companies out there? The second is, do they need capital and where would they get it from? And the third was, how am I going to get the money to invest in these businesses? So it was kind of a bit of a bootstrapping exercise where I would go find an opportunity to invest in a company, put some of my own money in LionTree, which sold songs for me and has been a partner and champion of mine since I sold the company, would invest some money too, and then we'd find some other people to round out the investment. We did that first with Splice, put about 20 million into the company over a period of time. We also did in the same way, made an investment in a company called HIFI, which is a FinTech platform benefiting artists in a bunch of different ways, and also with DICE, the ticketing business. And you know, they started, a couple of them did well and actually, they all did well. And so I decided that I wanted to raise some capital and have my own sort of, it's not really a fund. It's more of a holding company 'cause I'm less of an investor and more of an operator. And so the question became, how are we going to raise the money? Now Aryeh Bourkoff who runs LionTree is somewhat of a magic maker, and he took me on and introduced me to two families, the Schusterman Family and JS Capital, which is Jonathan Soros's capital vehicle. And they agreed to invest in a four-way partnership. So it's between me, LionTree, Schusterman Family, and JS Capital. And we formed MUSIC, which is a $200 million holding company. We do deals in a couple of different areas, music tech, which is sort of where I spent most of my time after Songs. We also invest in independent music companies like Songs. So labels publishing companies, management companies. Increasingly, a few of those functions are in one company, as opposed to when I was running Songs, it was like you were either a publisher or a label or a management company. And then we partner sometimes with a larger private equity firm if we are interested in acquiring something that's, you know, of a larger size. And so we're in the middle of one of those right now. And so we were able to find a bunch of interesting opportunity, a bunch of interesting ways, and it seems to me to be, you know, a really good time to be putting money to work in the music business. [00:07:32] Dan Runcie: Yeah. It's an exciting time to be investing in these companies and to be acquiring them too. And you mentioned something there about the types of companies you're looking at and whether they are modern music companies or whether they are doing something that's unique in the space. Can you talk a little bit more about your investment thesis and what you're looking for, and specifically, because, as you mentioned, you're not a fund, you're a holding company, so you're not necessarily just doing, you know, angel investments or early stage. You're trying to make investments for the long haul. So how does that shape your strategy?[00:08:07] Matt Pincus: Very good question. And I think the answer to that depends somewhat on the different areas of investment. So the first is in the technology side of the business, which is kind of where I started as an investor. So, you look for a couple of things there. So first of all, you need to invest in companies, not products. So some of the music startups can be sort of, it's an interesting widget, but can it be a scalable business? So you need to make sure that you have a couple of things in order to know that you're investing in a company that has the ability to grow. So the first thing is you need your own tech stack and it needs to be built to suit whatever market you want to be in. So for example, with Splice, one of the reasons, and there were several, but one of the reasons I invested in the company was because Steve had built this subscription stack from day one of the company. So it was a native SaaS company in a world where the rest of the market needed to move from the old way of doing business to the new way of doing business. Splice was always in the new way of doing business, so it was going to be ahead of the curve. And so you need to make sure that your technical capabilities and your technical assets are going to, you know, be where you want to go. The second is that you need to make sure you're in a part of the market that has a big enough user base to make a real company out of it. You know, it's great to make a widget that, you know, 1500 people love, love, love, but 1500 people is not a lot of people. So you need to make sure that the addressable market around the business has a lot of users. And again, in Splice's case, you know, they are the content business in music tech. So they can be used in an infinite amount of applications across the business, which gives them, you know, a really solid user base. And so, you know, that's kind of the second thing. And the third thing is that you need to kind of own where you live or have the ability to own where you live. So, you know, it's great if you get into a category in the technology side of the business, that, you know, breaks some ground and shows everybody what can be done. But if then, you know, Apple or Google just says, thank you very much and does it instead of you, it's not so great. So you need to have a defensible business that you can build and scale. And again, back to Splice, you know, they are the content leader and I'm a music publisher by trade, so content is the water supply in the music business. You know, in publishing, it's the song that starts the whole conversation. Splice owns music. And so no matter where the market is going to grow, no matter where it ends up going, they have the supply that feeds the music tech business. And so it's inherently defensible when it gets up to a certain level. You know, at this point they have 3 million works in their database. To catch up to them is, you know, difficult, if not impossible. And so you need to be defensible now on the music side of what I do, which is investing in music companies, there's a couple of things I look for. So first of all, I don't do catalog acquisitions. I invest in people. So the first thing is that you need to have really talented executives that understand music and know how to find repertoire and make it bigger. I tend to like businesses that give advances to artists. There's a certain way, like at Songs, we built a catalog over a long period of time, but we built it through signing young writers and giving them advances. So I call it a mattress out of sheets. If you do that one after another, over many, many years and you do it well, all of a sudden you wake up, you know, 7 to 10, 12 years later, and you're like, holy shit, it's a big catalog. And so I tend to like businesses that advance money to artists and build catalog that way or manage catalog that way. There's a certain magic to understanding how to compensate artists and doing it fairly. So I tend to look at that. You know, the music business has changed a lot. It used to be that if you wanted to be an independent, you needed to own your own vertical. And you know, at Songs, we had our global administration business that we owned and built. We had our own technology. So we were self-contained, standalone competitor. Now I think, you know, solutions have become available everywhere. There's a lot of good publishing administration, a lot of good record distribution solutions. There's a lot of off-the-shelf stuff you can get. It's really about music. It's really about understanding artists and the music that they make and connecting them with an audience. So I look for people who uniquely understand that. Now that can be, you know, somebody who has a geographical lock on a particular kind of music. It can be somebody that has a particularly unique understanding of how the studio works because I think if there's one big change in the music publishing business lately, it's that it's gone really back to the studio. And the interesting companies are actually making songs in real-time in a studio environment. So it can be that. It can be that you have another business that you do and music is associated with it. So why not, you know, get into the music business while you're doing whatever else you do, but you need to have some reason why you have access to a particular group of artists in a particular kind of repertoire, and you're helpful to that in some way or another. And so it's quite a different set of things that I look for on that side than on the technology side. [00:13:34] Dan Runcie: And with the way that your firm is structured, too, I see parallels with the types of companies you're looking at, right? You're not just focused on one particular type of investment area. You have the music tech companies that you're looking at. Splice is an example. You also have the companies that are working more directly in music itself, whether that is giving advances or companies that have a unique edge on who they're reaching. And I think that translates as well when you're talking about the types of companies you're looking at because a lot of times, especially 10, 15 years ago, as you mentioned, there were more silos and now you're starting to see companies have different types of roles that they do or different divisions to try to be this nebulous term that I've heard several times as broader entertainment company. And while I think that that's effective, I could also see how that could challenge some of the challenges of being able to have a business that is defensible or having a moat and the focus that comes with that. So how do you balance that and what are the things that you look for when evaluating companies that are both trying to do it all, but also are trying to have something that they can be defensible with? [00:14:40] Matt Pincus: Well, so on the music side of it, you know, it's about relationships. You know, the good companies, their equity is their relationships with different people around the business. And it's really a human-centric business. So, you know, defensibility often is correlated with reputation in the independent music business, at least. That was certainly true of Songs. One of the big success factors of the company and in fact, like, kind of our asset was that me and Ron and Carianne had really good relationships around the business that we built over many years, and that allowed us to punch above our weight class. You know, when we were a very small business, you know, we acted as a bigger business because we were able to get champions that helped us along the way, both in terms of the artists that were willing to sign with us, but also in terms of, you know, other people around the business that took us on and helped us out. Oddly enough defensibility in the music business is not a patent or a technology or some special recipe you have someplace. It's your understanding of music, the people that make it, and then your ability to develop relationships with people around the business and to keep your reputation such that people want to be with you. You know, on the tech side of it, it's a little bit different. You have to make sure that your innovation curve is constantly there. You have to make sure, like, I would not invest in a business that did not have a technical co-founder. You know, ideas are great. Everybody's got ideas. You know, there's an app for anything. But the real key in, at least in the music technology side of it is you need to be able to spin the technology yourself and understand really how it works, which when you get into the crypto side of it's really interesting 'cause a lot of people understand the implications of it, but they have no idea how the shit works. They don't actually use it. And they get kind of confused thinking that it's much more complicated than in fact it really is. Or, you know, they get so fascinated with the technology that they don't make a product that stands on its own bottom and has value to the end user. So it's a little bit different in the different areas of the market that you look at. And one of the reasons why I like the field that I play on and I feel very lucky to be able to do the different things that I can do with music is because some of it is about sort of analytical, scalable technology-oriented investments. And some of it is just about people in tunes. And so you're kind of mixing a lot of different things together. You know, the one thing that I don't like so much about the recent music business is somehow we all slipped into talking about music as assets and fractional finance and cash flows and securitization. And I'm like, listen, if I wanted to do all that shit, I do it not here. You know, the music business is not assets and finance and cash flows and, you know, securitization. The music business is moving people, motivating people, creating an audience, assembling humans to want what you make, and distributing that and delivering it and all the rest of that stuff. You know, the fact like, listen, what I'm doing is either really smart or really dumb because either you can make a real investment business just out of the music business. And I think you can because there's lots of different types of investments in music and there's lots of growth and lots of possibility. But also, you know, it's a pretty small business. And I live in, play, you know, a neighborhood, the size of a postage stamp. We'll see if they can be done, but I think originally, you know, it starts with the creative and it starts with the means of delivering the creative to the people that want it. And then all of the rest of this stuff, you know, yield, debt payments, multiples on equity, bonds, all the rest of this stuff just is a happy accident that comes from doing your job well.[00:18:35] Dan Runcie: I'm glad you mentioned this because there's a version of what you do that could easily look more like a traditional private equity firm, where they are just going in and doing all of the things that you just mentioned and they're coming more from that perspective, but in many ways, your defense is having this laser focus on music, but you're going deep within all of the areas that it encompasses. And with that, I have to assume that this also maybe has a bit of a flavor on what your take is about the money that has come into the music industry and some of those other non-music companies or those that are purely looking at it for the financial opportunity or for the noncorrelated opportunities and how that in a lot of ways, even though on paper, someone that's fundraising may see the money they can get from you versus the money they get from others. But I'm hearing it from the record labels. And especially the independent ones they're getting reached out to all the time now about acquisitions. And a lot of those calls are coming from non-music related companies that are trying to make those moves. So it's been fascinating to see how that shapes, but I do feel like you are going about this in a much more unique way than a lot of them are.[00:19:49] Matt Pincus: Well, thank you. I really appreciate that. I will say that the recent, like, huge inflow of capital into the music business has one very good byproduct, which is it's giving a lot of money to songwriters and artists. Some of these catalogs getting valued at 20 times, 30 times, you know, NPS where they would've been valued at 10, you know, four or five years ago, maybe 10 years ago. It just results in people that make great music, making a bunch of bucks. And there's nothing at all wrong with that. On the catalog side of it, it makes a little bit more sense that some of these like larger capital vehicles are coming into the market and, you know, bidding things up and structuring the leverage in a certain way that makes sense. There's a big difference between what's going on now and what was going on when this first happened, like in 2006, 2007 timeframe because the people that are doing it now can afford it. They've got lots and lots of money. They don't need big returns on that money. They have the ability to structure this stuff financially in ways that don't make no sense. And so it makes, you know, more sense that people are doing that with the IP catalog acquisition business. When it gets to new music, you know, I think it's still a human business. I think you got to know the people, you know, and you have to understand how it's really about managing what I refer to as the working capital of the business. So, you know, you need to advance money, you need to collect that money, you need to reinvest the money. And so a lot of that, you know, it's not a big enough business that you can structure it like a bunch of bonds. You need to kind of understand the market that you're in, how many deals you could possibly get, and what about you ought to pay for them, and what kind of infrastructure you need to address all of that to do a good job. And that's hard to know from outside of the business. It's even hard to know, like there's sort of two lanes in the music business. There's people who came up through the building where they started at majors and they kind of built their career, you know, up from coordinator to director to senior director to VPs, SVP, EVP. And then they end up running the company, a lot of great people who came up that way. And then there's people who kind of feed in the wild. Like, come outside of the building and need to figure out, like, what's available. And there's some real differences, you know. Sometimes they cross over like Ron Perry who was an instrumental person at Songs from, you know, the very beginning to through time we sold and now runs Columbia. So sometimes that happens. Or Carianne who, you know, also was my partner at Songs who now runs Warner Chappell with Guy Moot. It's like there, you know, it happens, but there are really two lanes. And I think in the independent side, it's a lot about systematic A&R so about looking at, listen, none of us are overfunded with tons of money. So, you know, everybody's stretching the dough. And it becomes about how can I build this system in the world that I live that can do deals inexpensively, and then find the ones that are working and invest and push them forward. And all the great independent music companies, you know, Chrysalis, Jive Zomba, A&M Rondor, all the great ones throughout history sort of did that really effectively or were usually like the other ones. So everybody goes to the majors to get their offer. And then there's these other cooler guys that are there, like, you know, kind of fucking with the majors by picking off all the left to center stuff that was us at Songs. You know, and all those other companies I just mentioned were kind of some version of that. But there's kind of, all of these mechanics that come both from history, so understanding the history of the business, but also understanding the people and how they sort of work 'cause as much as the world is changing and it's changing a lot, it's still kind of about A&R. It's still about creative in some way or another. I mean, Carianne's superpower, which she's got many, but the original superpower was understanding not only what works well to picture, but the people that choose music in film and television, advertisements, video games, she's particularly uniquely talented at that. And that's still a core skill that people need to understand. So, you know, I'm the guy that kind of pulls the pieces together. I don't do any of those things. I, you know, originally hired some great people and now I try to invest in great people that do all that stuff, but it's still about understanding it and if you're coming purely from the outside, I think it's challenging.[00:24:22] Dan Runcie: Yeah. And I think your career experience speaks a lot to this, right? You mentioned being able to find the left-of-center opportunities when you're at Songs, whether it was Lorde or The Weeknd. And you saw how those turned out. It worked out brilliantly. I'm curious to hear what you think about the way things are right now because, especially with the way that TikTok is and so many of the companies, whether it's the major labels or the independents, they all have access to the same information. So the cost of acquiring and being able to find and develop those same artists is much more expensive. So what do you think those left-of-center opportunities look like today in the current environment where it feels as if there are more and more outlets to find different types of people, but the way that people are going about it, it does seem like a lot of people are now playing a pretty similar game.[00:25:13] Matt Pincus: You mean like a moneyball...[00:25:15] Dan Runcie: Yeah. [00:25:15] Matt Pincus: ...type of, yeah. So, you know, again, I go back to like, there's sort of in the building and there's outside of the building way of thinking. So in the major system, it makes logical sense that they want to sort of hang back, see what reacts, and go and get it when it reacts, the more predictable something is the more you're willing to pay for it. That makes logical sense. There's nothing wrong with it. They're not idiots for doing that. It's just the way that they traditionally operate. And now it's about, like, seeing the shiny pennies and then grabbing them right away, whatever the cost, because music is much more efficient than it used to be. It used to be that you'd have to, like, release a whole album and sink a bunch of capital into seeing if something works. Now you can kind of tell pretty quickly if something's going to work. So it makes sense to pay a lot for something predictable, as opposed to, you know, paying a little bit for stuff that is wildly uncertain. So, you know, that makes total sense. I think on the independent side, and I really count in that like A&R mentality, like people who are finding artists and developing artists. So it's not just like, you know, independent labels, but it's also like, you know, Electric Feel is a really interesting company that does this, Hallwood. You know, APG is obviously the really great example of this, of finding artists really early and developing them into something or representing people who do that. A lot of, you know, that is about iteration and about understanding, you know, what makes a good story in a particular market. Now, part of that is the music itself. Part of that, most of it is the music itself, but part of that is also all the other stuff around it. You know, how you unfold the narrative, how you stage market entry for an artist. You know, all of those things, again, I come back to the stick to your knitting thing where it's like, as much as the world changes, it kind of remains the same to some degree. So, you know, the interesting and frustrating thing about the music business for people that run companies like I did at Songs is that there's just not that many good, really good, talented people, you know. If there's one structural problem in the music business is there's not enough, really good A&R people, promotion people, you know, creative people. [00:27:29] Dan Runcie: And why do you think that is?[00:27:30] Matt Pincus: I think it's hard, for one, I think it's hard. And as much as people try to play moneyball, now I'm a big believer in systematic A&R, which some people would consider, you know, moneyball. So in other words, like having a funnel that gives you a group of things that might work, that I'm a big believer in that as a starting point, but that only gets you like 51% confidence. That's not much more than a coin toss. The rest of it is really doing the work of developing the product itself, the music itself, and then the story around it. And it's just a hard business, plus you got to know everybody, you know. So it takes a while to develop those relationships and those skills. One of the things that's interesting when I look on the music tech side of it that I think is one of the great things is that the technological development in music production is allowing people to learn how to use the gear quicker. So you're going to have hit singles coming from 13-year-olds within no time at all. And that used to not be possible because it would take you four or five, six years just to learn how to twist the knobs on a board. Like, it was hard. Now with like, you know, presets, with things like Splice, with AI-assisted creation, you know, anything that makes it easier for an artist to get what's inside of them out, the learning curve is becoming less steep. And that's a good thing because talent shines in that environment. You know, it's one thing to be able to, you know, have a knowledge-base to tweak things. It's another thing to just be a talented and expressive artist with urgency. And so maybe some of that will happen. And on the executive side, like on the A&R side, as things like radio, you know, radio's been so monolithic and so hard to penetrate. And now maybe it's loosening up a little bit, but it still takes a while to figure out what's going to work. It's very hard. And it is one thing to be a fan and be like, this is good, this is not good. It's another thing to take a look at something that doesn't yet exist and be like, this is what it will look like if we can pull it off. I don't have that talent, you know. I'm not an A&R person, but I watch people do it and it's pretty miraculous. And it's not just A&R, it's also promotion, which is an undervalued piece of the equation and increasingly, marketing, digital marketing, like the first cut of it was just, you know, sort of advertising on Facebook. Now it's much more sophisticated than that. And so I feel like it's just hard and I wish there were, you know, there's also the part of the problem in the music business is nobody trains anybody. There's no HR infrastructure. You know, I went to Columbia Business School and I had been in the music business. I didn't have one single meeting about a job that came through the school. [00:30:14] Dan Runcie: I'm not surprised. That wasn't the case for me either. [00:30:17] Matt Pincus:  That's what I'm saying like, nobody trained you. I mean, I remember going on a job interview when I was like 21 coming right out of college or 23 coming right out of college with a guy at ICM. And he said, what do you want to do? I said, I want to be an A&R .He said, great, find a band. That was it. That was the interview. And so it's like, it's that kind of business, which is kind of wonderful in its own way, but it doesn't train people really. And so that's also part of the reason. We don't develop our talent, executive talent pipeline in a really great way.  And that's why people like, you know, Mike Caren at APG is so special. You know, the LVRN guys are so special because they bring along executives in a really concerted kind of way. And I wish there was more of that in the business in general. [00:30:58] Dan Runcie: Yeah, I think that's a huge opportunity for it. And I think you see a lot of it play out when there are executive shake ups and who gets picked for certain things and why people get picked for certain things. And to some extent, you see this in other places too, whether there's a mix of internal hires versus external. But one thing that I have noticed is the units that do tend to stick together, or there is some continuity there. You do see a lot of success happen if they understand what works, everyone's into it. And I think some of these other places where it could be a bit of revolving doors with who's in leadership, who's trying to get where it's very tough to have that infrastructure. [00:31:35] Matt Pincus: And that was one of the great blessings for me at Songs, which is not, doesn't speak well for the industry, particularly, but, you know, Ron and Carianne were two of the most talented people of their generation for sure. And the business didn't know what to do with them. The fact that I could get the two of them and we could all stay together for 12 years and build a company is like a miracle. And that was a big part of the reason why it all worked is because we knew each other really well and people knew us as a unit. We had different things we did. It's a little bit like, you know, kind of what's going on with the professional sports a little bit too, is, you know, it's great that all these individual players are celebrities. And again, great that athletes are making more money, but great teams don't stay together in the same way that they did before. And I think that's changing a little bit now because you don't have to do a deal with a major and get your money the traditional way in order to build a company. And that's one of the reasons I exist as MUSIC, is because there's opportunities to bring outside capital into the business under terms that look a little bit more like sort of venture capital or private equity, which is in a way more fair than the traditional music business has been on a per transaction basis. There's natural reasons why the major music companies finance the music business for as many decades as they did, and it's not to rip people off, it's because nobody else would do it. But now it's a different world and so hopefully some of these things will change. You know, when you have really great entrepreneurs that own their own business, as opposed to, you know, in some JV with a major that's really a compensation agreement, then it's in their interest, like it was in mine when I was running Songs, to bring along really talented people and find new ones. And so that's one of the things that I've sort of hoped for in some way. [00:33:24] Dan Runcie: Are there any artists that stick out to you as examples of yes, they're building their business and they're doing this the way that could be a blueprint for what we'll see more frequently moving forward?[00:33:34] Matt Pincus: Ones that I talk about all the time is The Weeknd, which we were involved with, you know, from fairly early on. And Sal who's, you know, has been his manager for a very long time, and Cash. You know, I think you're going to see what they did with XO happening in a lot of different ways going forward, where you get a group of people that form a partner and distribute responsibilities between artist, manager. You know, there's people like La Mar Taylor involved with those guys that does all the visual. There's a lot of cooks that need to be in the kitchen to make something really successfully work. The label model of sign to a label, they'll do everything that existed in, like, the nineties is way long gone. Even management where you sort of have somebody who's a commission person that's just doing the business of an artist, that's not true of the good ones anymore. The good ones get in it with the artist and really help them build an entrepreneurial life. I mean, to be an artist now, you need to, like, be like a 140-character joke writer. You need to be an accountant. You need to have a corporate entity. You need to deal with all these different vendors. And you need to be like, you know, P. T. Barnum, like, step right up, step right up, check this out, you're going to love it. It's a complex skill set. And so I think one of the things that you're going to see in the talent representation business, like the management business is I think you're going to see more entity partnership formation, where people are going to go into partnership together. Managers and artists will be like Sal, Sal and Abel have been together for, how long now? Like, I mean...[00:35:08] Dan Runcie: It's at least a decade, right?[00:35:09] Matt Pincus: Yeah. And they've been able to scale and grow and make a lot of money and still be together. And that's because everyone provides value. I'm sure they adjust their relationship, however, over time, I don't know. But I think you're going to see that approach because it takes a village in a way to make really durable stuff. I mean, if you're talking about a viral hit that's here today, gone today. That's one thing. But if you're talking about really building a franchise over a period of time, it requires a lot of work from a lot of people. So I think you'll see sort of, you know, entity formation with partners that include business people and artists in with interest aligned. You know, Diplo's another one. I mean, you know, TMWRK and Diplo have been together for again, going back to since I started working with them. So that was 2011, you know? You look at firms like CRUSH, Jonathan, Daniel has built franchise after franchise of artists that stay with him forever. And he works with him as a partner and that's why it works. So I think you're going to see more of that going forward and and I think that's a good thing.[00:36:13] Dan Runcie: Yeah, definitely. The Weeknd's a very good example because even from the origins of his career, you could see the mentality of where he saw things. Drake famously offered him the opportunity to come on OVO Sound. They had the whole Toronto connection, Drake put him onto that blog post and everything, but then he was like, no, I don't want to be under another artist when I think I can be just as big as that artist, even bigger and do my own thing and look what he's been able to do now. So I think a lot of it...[00:36:41] Matt Pincus: And by the way, the record deal is a distribution deal. [00:36:43] Dan Runcie: Right. [00:36:44] Matt Pincus: You know, I mean, there you go. And so in terms of distribution of value, you know, if you can do it, if you're smart enough to have a cool head and plan like those guys did, you know, you can have a much larger enterprise than you normally would. So I hold them up as an example of, you know, what I think is going to happen and is happening really in lots of different areas of the business now.[00:37:07] Dan Runcie: One of the other areas that has gotten a bunch of attention right now has been syncs, and this has been growing, I think, especially given what we've seen with people, especially from outside the music industry, trying to get more involved, but especially this past summer with Kate Bush being featured in Stranger Things. This conversation has been happening more and more. This is another example where it's a mix of that art and science of what does finding a good sync looks like and what happens with it. And I think so much of it, there's maybe a little bit of luck with just how the internet works and how things take off, but there's also a good amount of work that's put into finding the right type of placement for the right type of artists that could make all those things work to make it happen. So how do you view the opportunities for sync right now? [00:37:53] Matt Pincus: You know, it's interesting. I was sort of a student of Carianne. She taught me the sync business. I literally remember she had a binder where she kept every single interaction she ever had around a song and a placement. And she not only showed me how it all worked, but then we made a software platform out of her own process of how she did it. So I was trained by the best. One of the interesting things about sync is how it always comes back in cycles. You know, when we started Songs, it was like 2004, sync was the whole game. Like, between 2006 and sort of 2009 timeframe, it was the most important thing in a pitch. You know, it was responsible for a lot of our really early successes. And then when it became a largely pop business there in the early days of streaming, it was like sort of radio and super reactive and viral repertoire. It sort of stepped to the background for a minute. And now with the way that kids are bouncing around on a playlist from like, you know, Taylor to like a hip-hop track to, you know, Kate Bush back to Metallica and they don't care. It's become all of a sudden, perhaps one of the top, most important ways repertoire gets discovered now. It's amazing the enduring power of synchronization over time. The thing about sync that I think is interesting is part of it is selection. Like, is this song going to work to picture? But there's a lot that goes into making the deal happen. I mean, that Kate Bush deal as my understanding, I was not involved, but my understanding from, like, just hearing about it was that it took 'em forever to get the clearance done. So a lot of it is not only just is this going to work the picture? Is it the right BPM, the right mood, you know, the right tonality, the right cultural notes, which is a very special thing that music supervisors are particularly good at, but it's also the real politic of like getting the fucking thing cleared. And one of the things that I look at, I tend to have thesis sort of areas when I look at investing in the music business, and one of them is just how fuck the sync business is. That, you know, there should be a buy it now button in the music business if you want to use something for your film, buy it now. And if it was easy, people would pay more. But the problem is they have to roll around a glass to clear a copyright, getting the same deal with 13 songwriters and the master side and it's horribly inefficient. So I think part of the interesting thing with sync in the next generation is how do we do right by the music by making it more usable. Because there's also a couple of different ways this sync business cuts. So, you know, you have stuff that's used in a more traditional sense, and that has a real, like the standard pairing of like, it matter, it makes a huge creative difference and it's very hand selected. Front title and title, you know, big placement in a film television advertisement, but then you have this huge blanket sync business where a lot of the new promotion platform are AV platforms. It's technically synchronization, TikTok, YouTube, you know, Instagram it's technically sync. And I would argue that if there's one element of the business that gives radio a run for its money, it's AV platforms because what happens is people use it in so many videos that you end up hearing the song a thousand times, however many times it takes for you to be like, oh, my God, I have to hear it again. That's really the only place it happens and that's sync. There's a couple of different ways it cuts. You know, the great, like, placements of all time, and we had quite a few of them at Songs that sort of are like, you know, really make a song and make a film. Those are works of art. But also a lot of handling everything else is like maybe 50, 50 at best creative to handling. And so a lot of it is understanding, having those relationships, understanding how to price things, understanding how to clear repertoire, getting permission from the artist to do it. There's a lot of process that goes into it.[00:41:49] Dan Runcie: Is there a sync from your days that song that you look back on that you were like, yeah, that's the one. It took some work, but looking back that's the one. [00:41:56] Matt Pincus: Wow. That's really, that be would a really better question for Carianne than for me. In terms of like the stuff that really made a difference to us as a business, one of the things that I think was meaningful was when Lorde did the Hunger Games soundtrack in the follow-up movie. That gave us a really good look at how music can be a content element in overall entertainment. The Weeknd did a similar thing with Black Panther where, so it was those sort of tie-in, you know, big-ticket where our music was woven into the substance of the film or the ad in some cases. That I think are really the special moments. Those are two that pop out. There's always like the random one where you have a relatively smaller artist and you get them a sync and, you know, it changes their life. It gives 'em more money than they ever thought was possible. There's also the ones, we had an artist who had a very high level of ethic and I won't name the artist, but independent artist, good earnings, but not a pop artist. And we got a $90,000 ad and for very good ethical reasons, he said, fuck, no, it's not going to happen, not going to approve it. And as much as I was like, it was to do early days of the company, it would've made a huge difference to write 90 grand into my books in a quarter. There's some beauty in the level of control that artists have over their own work in the music business that they don't in a lot of other media that I was like, you know what good for him, I guess we're saying no. There's this artisanal component to it that's really special.[00:43:32] Dan Runcie: Yeah. Being able to have that power and knowing when it isn't right. I've heard similar things as well from other podcasters I'll talk to when they get pitched with certain deals and stuff, and they'll be like, you know what, that's just not a product I'm willing to do, or that's just not an endorsement I'm willing to have. And it could have been a game changer for them and their business and everything. But I think we're going to see more of this with creators as they just are leveraging their own independence and being able to make their own decisions. [00:43:59] Matt Pincus: Yeah, exactly. [00:44:00] Dan Runcie: Yeah.[00:44:00] Matt Pincus: Exactly. [00:44:01] Dan Runcie: I want to close this conversation out talking about streaming 'cause I know this is a topic that you've shared a number of insights on over the years. And one of the things that you've said before that has always stuck out to me and resonated is this path that streaming has been on where it has been growing year over year, but a lot of people, especially in recent months, have started to question how many more subscribers out there are willing to pay the full price for streaming services and even if there is growth in some of these other regions where the revenue coming in is only a fraction of what it currently is now, what does that growth necessarily look like? So I hear that there's two camps there. Some people are skeptical about the future, but others are looking at smartphone adoption and just the way that things are trending as an indicator of where things are going. But how do you view the opportunity and especially streaming's growth from here on out. [00:44:55] Matt Pincus: Okay. So I think there's a couple of different things there. You know, one is just on-demand streaming and what the growth curve looks like for on-demand stream. I think the broader question is what does overall growth look like for music consumption going forward? And I'm not sure those are totally the same thing. So, you know, listen, Spotify's done an epic job growing that business. It's a difficult business from just the word go, you know, you're relying on content licenses, you're inherently undifferentiated. Like on paper, it looks like this is impossible. And yet they build an unbelievable business out of it. And I really, you know, sort of think it's worth, you know, whatever opinions people have about streaming, to take a step back and realize that the people who did this originally, you know, Larry Jackson and Apple Music, the people who did it originally did a really fucking tremendous job of making it work. It will mature. There's some debate over whether it may have already started to mature in some distinct ways in Western, you know, sort of developed economies and even maybe in some of the larger sort of secondary territories. The really interesting places that we used to see at Songs in our own data are high population, low discretionary income countries, Indonesia, Philippines, a lot of the African continent. I'm not sure it's necessarily in all of those places going to be an on-demand streaming function that, you know, ultimately wins the day. There are people fucking with a model in a bunch of different ways over mobile. Boomplay in Africa is doing a buyout model. You know, it can be woven with other kinds of entertainment in a bundle in a bunch of different ways. So the question of where on-demand streaming goes, it is a little bit like anyone's guess, but there are different opinions between reasonable people about how the growth curve looks. You know, one of the things that I really love about the web three thing, and I think it's in the early days of really grinding the gears to figure out what actually works, 'cause like this sort of, you know, sucking on the laughing gas tank and you know, watching your crypto go up or over now. So it's entering into like a moment where people actually like have to figure out how it works. But the thing that I think is true is that it's unlocked a premium, that people are willing to pay over the cost of consuming music permanently. How big that premium is, we'll see. I think it was overinflated and inorganic in some of the early times of crypto, not a lot, humans are doing it and they're doing it for high ticket prices, you know, but if you look at some of the stuff, for example, that's going on in Asia, where people are throwing money at artists they like just because they want to you know, people paying sort of eye of the beholder price to be associated with an artist that they feel strongly about, that they love early in their career. Like, that's not going away. So whether, you know, the subscription fatigue is a reality, whether effective penny rates, times units of consumption are going up, flattening, going down. You know, we'll see. I mean, the Goldman Sachs people think they're going to go up forever. I'm not sure I totally agree with that. But what is true is that the willingness of people to invest in artists they love is increasing. And I don't think that's going back to zero, so it may not be, you know, that subgrowth continues on forever and on-demand streaming, but it may be that there are other ways that people can figure out how to engage with artists that keep the value, you know, exchange going up. Now, the one thing about streaming that's interesting is that, you know, the TikTok thing, in ways that people, like, talk shit about it all the time, whatever, but the thing that's interesting is that it did introduce frequency back into the equation. And one of the things about music that's unique is that you need to hear a song a number of times before you like it. Like at first you're like, I hate that. And then you hear it like five times and you're like, maybe I want to hear it again. And then by like, whatever end time you hear it, you're like, I can't get it out of my head. I got to hear it. It's like, Barry Weiss used to call it a record finding its bottom, where it would kind of come out and people would spin it, and then it would drop and then at some level would start to rise again. That's a function of promotion. That's a function of frequency. And in the early YouTube time and on-demand streaming time, you didn't really have that. Like, the people couldn't make something frequently play. And the AV platforms, not only TikTok, but also Snap and Instagram changed that equation and that music needs that. The thing that I'm wondering where it will happen, where it will come back into the equation though, is the music press, which has largely disappeared. And so I'm looking for who, on a consumer level there, people like yourself covering the business, part of it, that are doing an extraordinary job, but who sort of tells people what's good, gets it in front of them, filters it and what does that look like? It's probably not printed on a page. It's probably, it's sort of associated, I think in some way with what's going on with the NFT world, you know, with getting people to buy in, getting a community of people bought to projects, but it's still that same mechanism of filtering. And so I'm wondering where that's one of my thesis areas that I have my on. Where's the next one of those? [00:50:08] Dan Runcie: Yeah, I think this is a role that, of course, MTV and so many other places own and were able to do so well decades ago. And now the commonality I've always referred back to is that TikTok in many ways is the new MTV, but it's more so in the broader sense of just the cultural appeal, but not in that solo aspect of yes, if you want to know what this group of people are pushing, or what is the thing that's in, this is the place to go to find that. And I think it's very tough, the way that things are right now, just with how fragmented things are. But people are always going to want to feel like they're part of what's in or feel like they know what's in that desire also isn't going away. So I think there were always be a space for this, no matter how fragmented.[00:50:53] Matt Pincus: And people don't always know what they like. I mean, who knew that all these people love Kate Bush? [00:50:58] Dan Runcie: Right. [00:50:58] Matt Pincus: We all understand why. She's amazing. Song's amazing, but people don't always know what they like until somebody shows it to them and repeats it. And then all of a sudden they can't get it out of their head. And that's the magic of music. So how that happens, you know, the cool kids like it up from the bottom, you know, like to be selective, know about the stuff first. The general audience likes to hear things multiple times and then, you know, be addicted to it. And I think that those things will reinvent themselves in a bunch of different ways going forward. [00:51:27] Dan Runcie: For sure, Matt, before we let you go, do you have one big prediction for us on where you may see things in the next five years or one thing that you think will change from where music is right now to where things will be come 2027?[00:51:40] Matt Pincus: Well, I think as I touched on before, I think younger and younger people are going to be making music that the world reacts. And that is going to be miraculous when it happens. And not necessarily in like a sort of criss-cross Whip / Nae Nae type of way, but in a real, like expressing the core thoughts and feelings they have and getting them out there in a way that sounds good to the world. I think that's going to happen in a bunch of different ways. I think the way that repertoire moves across the planet is going to be revolutionary in the next five years. If there's one thing that's really going to change, you know, it used to be that sort of music went west to east and technology went east to west. Now, I think that's all scrambled eggs right now. If you look at stuff, like, you know, some of the music that's coming out of West Africa right now and how it gets into the global culture. It's not like in a, you know, used to be like you had like a world music business. Like, that's ripped up and thrown away. And so I think, you know, the way that the in-country community relates to the diaspora community in around the globe is going to be really different. You know, I think if there's one thing I have my eye on, it's sort of how all that stuff travels. And obviously, there's some obvious examples like BTS. But I think this is going to happen anywhere and everywhere. And one of the things that I heard somebody say the other day that I felt was really interesting is that the music business thinks about countries in its marketing. You know, they've Europe and Asia and Australia, Canada, US. It should be cities because music is about scenes and it's going to travel that way. And so your Amsterdam strategy is going to be different from your Seoul strategy is going to be different from your São Paulo strategy. And so if there's one like broad thing, I think we're going to look at the way that music travels around the planet in a completely different way. [00:53:37] Dan Runcie: That's spot on. Look at the way we think about music here in the US. That should be an indication of how it should be looked at elsewhere, right? We know what Atlanta hip-hop sounds like compared to what you may hear in LA or even the New Orleans bounce sound. Like, it's so different place to place. So you look at a country like Nigeria, which is soon going to eclipse the US in population. What you may hear in Lagos would be completely different from other parts of the country. So that's a really great point. [00:54:05] Matt Pincus: Yeah. So that would be like, if I, you know, sort of, if I had to obsess about something, it would be that. [00:54:10] Dan Runcie: And I think a lot of people listening probably will too. This is a good one. I think that you got a bunch of notes for people to jot down. So Matt, thank you for making the time for this. This is fun. Thanks for coming on. [00:54:21] Matt Pincus: Thank you so much. I just really appreciate your thinking to me. And it's a pleasure to talk to you about all this stuff.[00:54:27] 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.

Raised in Linden, New Jersey, part of the New York Metro area, bordering Staten Island, Michael Eric Buckholtz, (also nicknamed ‘Buck‘) an aboriginal Cherokee

Hey Friends,   Do you know someone who has recently been diagnosed with ADHD? It seems like everywhere we look on the corners of the internet, or in conversations with friends and family, more and more people are finally diagnosed with disorders that have impacted their entire lives.   Joining me for this conversation is Jessica Entner. She is an Executive Creative Music Producer/Supervisor and founder of J.E.M Music Strategy and Production in 2021, a full service music agency specializing in branded entertainment and advertising. As a former singer/songwriter signed to Warner Chappell, Jessica has worked in all facets of the music industry during her 20+year career. Growing up in LA, her formative years were spent going to shows on the Sunset Strip.    As a female entrepreneur, a mom, and an ADHD advocate, Jessica has navigated her success from entry level to business owner, while also trying to understand how her neuro-divergence can be a superpower. Her strong belief in equity in the music industry, especially for women and people of color, is a core value and company mission.    We dive into the nitty-gritty of what ADHD is and the power that comes with knowing and receiving a diagnosis. She discusses coping mechanisms that can become crutches and the importance of understanding comorbid symptoms. She also talks about how her mom struggled with mental health challenges, potentially including BPD and ADHD.    Finally, she shares about how she and her son are doing now and the positive impact that her diagnosis has had on her life.   Listen in as we talk about Life before her ADHD diagnosis Finding out she may have ADHD through her son's self-assessment test  Attaching ADHD traits her to her personality  Learning how to reparent herself How her relationships have changed since receiving her diagnosis  The nitty gritty of what ADHD is The power in knowing and receiving a diagnosis Coping mechanisms that become crutches to us Understanding comorbid symptoms  How her mom struggled with mental health challenges, potential BPD and ADHD The challenges that come with not having a diagnosis  How her and her son are doing now Episode Sponsored by Arbonne 30 Days To Healthy Living    Do you love the show? I would appreciate your support in keeping the show growing. You can do so by joining the Podcast Patreon here.    Resources: www.instagram.com/thepsychdoctormd I'd love to connect with you: Come follow me on Instagram @jess.loves.life  Signup for my new newsletter here  Or read more about all the things I love on my new Blog  Jess Loves Life    Connect with Jessica Entner https://www.instagram.com/j.e.musicstrategy/ https://www.instagram.com/just_me_and_adhd  https://www.twitter.com/@jeecaj https://www.linkedin.com/in/jessicaentner/ www.je-music.com   

On 24 March, a collaboration between Acid Jazz Records and the Flying Dutchman label sees the release of veteran soul singer Billy Valentine's new album. The first album of new music on the iconic jazz label since 1976. Billy Valentine & The Universal Truth features testifying renditions of eight message songs, with Valentine's emphatic, lissome voice drawing upon the soul-jazz legacy of such Flying Dutchman singer and songwriters as Gil Scot-Heron and Leon Thomas. In addition to songs by these two extraordinary talents, the album also features songs originally written and recorded by Curtis Mayfield, Stevie Wonder, Eddie Kendricks, War, and Prince. Billy Valentine may not be a household name but should be familiar to most from Simply Red's 1983 Rendition of the Valentine Brothers' ‘Money's Too Tight (To Mention)'. Originally written and recorded by Billy and his brother John, the song was a protest against President Ronald Reagan's economic policies. Around the time of performing with the Valentine Brothers, Billy's recognition as a songwriter emerged after penning songs for other artists such as Will Jennings, Ray Charles, and the Neville Brothers. After the demise of the Valentine Brothers, Billy struck up a songwriting partnership with Bob Thiele, Jr. (son of Flying Dutchman Records' founder, Bob Thiele), which led to him singing demos for Warner Chappell songwriters, such as Gerry Goffin, Mark Isham, Burt Bacharach, and Hal David. Singing demos opened doors for Valentine to work in television and movies. His vocals can be heard in such works as: the 1991 classic movie, The Five Heartbeats, and songs produced for TV series including Boston Legal and, with Thiele, Jr., on music composed for the television show, Sons of Anarchy. Now, after several decades spent working together, Valentine and long-time collaborator Thiele Jr. present Billy Valentine & The Universal Truth. Produced by Thiele Jr., the album recording began at Hollywood's legendary East-West Studios (Beach Boys' Pet Sounds, Elvis Presley's ‘68 Comeback Special, Marvin Gaye's Let's Get It On and Michael Jackson's Thriller) right before the coronavirus pandemic. As the album session proceeded, the world erupted in protest after the May 2020 murder of George Floyd, adding to the poignancy of the recordings with the songs taking on a new urgency. Having always been drawn to message songs – Valentine remembers witnessing the civil rights protests through the Deep South in the United States, the Kent State University shootings in 1970, and the Vietnam War and its devastating aftermath on many military veterans returning to civilian life – the album's selection of songs' specific topics and themes speak to modern times. In particular, the rise of the Black Lives Matter after the acquittal of George Zimmerman, who murdered Trayvon Martin; the polarizing presidency of Donald Trump, which ended with the violent uprising at the Capitol Building; and the rise in gun violence amidst economic and social disparities, all made more apparent during the height of the pandemic. Opening with a plaintive makeover of Curtis Mayfield's 1970s ‘We The People Who Are Darker Than Blue', a sobering ballad about projecting racial pride and Black humanity in the face of insurmountable odds, the theme continues on Valentine's righteous rendition of Eddie Kendricks' 1972 Black Power anthem, ‘My People Hold On'. Hosted on Acast. See acast.com/privacy for more information.

David Dykstra is a vet in the music business. He shares about how he went from touring full time to creating a more sustainable life with sync, production, engineering and more. He knows so much about the music industry so I recommend you take out a pen and paper (assuming you're not driving or operating a jigsaw) I used to envy people who were touring musicians, but what I didn't know was not only is it very taxing on the body, but also not very sustainable from a business standpoint. David talks about all of this and drops golden gems left and right for y'all to marvel on and hopefully use on your journey   2:20 David's journey, nashville, touring, discovering sync, working with Warner Chappel   13:05 Three legged stool   17:26 kindness, respect and their importance in the music business   21:04 David's super power   22:50 Knowing your superpower   27:50 hacks to get plugins cheap, mastering your craft, collaborating   31:37 David's site (his socials are there too) https://www.ddcustommusic.com     Music business is a people's business  

When your dad manages bands like Rage Against the Machine and Quiet Riot, there's a good chance you'll end up in the music biz - and an even greater chance you will do so LOUDLY. While Jessica Entner did both of those things, it took some perseverance for her to be heard. As an Executive Creative Music Producer/Supervisor, Jess helped companies succeed and artists break out, but in the shifting ground of the pandemic, decided it was time to build her own brand. She  founded J.E.M Music Strategy and Production in 2021, a full service music agency specializing in branded entertainment and advertising. We've been friends and colleagues for a long time, and it was enlightening - and FUN! - to catch up and to rap about the toll - and silver linings - of the past few years.Note: I am currently collaborating with Jess and composer Daniel Teo of J.E.M on the theme song for my new YES, BRAND podcast, debuting December 1!Key Takeaways:As we stumble through what often feels like the modern Dark Ages, we sometimes tumble into the light.If you have kids but still feel like a kid, you're not alone.If you haven't been on a game show yet, you should try it! More About Jess:A former singer/songwriter signed to Warner Chappell, Jessica has worked in all facets of the music industry during her 20+year career. Growing up in LA, her formative years were spent going to shows on the Sunset Strip. Her father, Warren Entner, was a top manager for rock bands, including Rage Against The Machine, Faith NO More, Deftones, Quiet Riot…etc., her education in the music industry was hands on from day one. As a female entrepreneur, a mom, and an ADHD advocate, Jessica has navigated her success from entry level to business owner, while also trying to understand how her neuro-divergence can be a super power. Her strong belief in equity in the music industry, especially for women and people of color, is a core value and company mission. Find Jess:IG: @J.e.musicstrategywww.je-music.com If you enjoyed listening to Truth Tastes Funny, please leave a 5-star rating and a 300-word review on Apple Podcasts (click Listen on Apple Podcasts to access review option)Follow us on Instagram: @truthtastesfunnyFollow Hersh on Instagram: @Hersh4allon LinkedIn: HershRephunon YouTube: HershRephunon Twitter: @TruthTstsFunnyOur Website: TruthTastesFunnyContact UsExplore Branded Ventures with Truth Tastes Funny and Hersh's YES, BRAND Podcast

Today's guest is Co-Chair and COO of Warner Chappell Music (WCM), the global publishing arm of Warner Music Group. She is at the forefront of a new generation of music executives at the intersections of creative and commercial, entertainment and technology. Known for being a champion of songwriters and their songs, her dynamic, innovative approach drives the development and promotion of music creators at all stages of their careers. Along with Warner Chappell's Co-Chair and CEO, Guy Moot, our guest oversees the company's global business, which includes a full spectrum of high-touch support services focused on creating transformational opportunities for its legendary roster of songwriters and rich catalog of songs. Since starting at WCM, she and Guy have built a culture of service and creative identity anchored in the company's shared values of curiosity, collaboration, and commitment.Prior to joining WCM in June 2018, she was one of three partners at the acclaimed independent music publisher SONGS. During her time at SONGS, the company built a roster of over 300 songwriters, signing Lorde, The Weeknd, Diplo, and many others. She has also held positions at Universal Music Publishing, DreamWorks Music Publishing, and Elektra Records. As one of the leading voices in the music industry, our guest has been named one of Billboard's “Women in Music: The Most Powerful Executives in the Industry” for the past seven years running as well as included in the publication's esteemed “Power 100” list in both 2019, 2020 and 2022. She was also recognized on Variety's Variety500, along with the publication's LA Women's Impact Report. She holds a BA degree in Communications from the University of Southern California. And The Executive Is… Carianne Marshall! Watercolor by: Michael Richey White Hosted on Acast. See acast.com/privacy for more information.

We had the pleasure of interviewing Johnny Day over Zoom video.Johnny Day, a former oilfield worker turned full-time entertainer, recently released his new single, "Every Beer Every Bar" feat. Zack Dyer! Written by Dyer (Tim McGraw), Morgan Evans ("Kiss Somebody") and Lindsay Rimes (Kane Brown), "Every Beer Every Bar" raises a toast to getting over a relationship. Johnny Day is an American talent whose skillful singing, songwriting, and guitaring has catapulted him into a promising country music career. Born in Kersey, Colo., Day became intrigued by and studied the works of Brad Paisley. In high school, he taught himself how to play guitar like Paisley and even started working in the oilfield as a means of purchasing his own 64' vintage tele and Paisley's custom Dr. Z Wreck amp. Day's artistry was also inspired by the like of Keith Urban, Brent Mason and Shania Twain, all of whom influenced him to pursue music as a career. This pursuit would ultimately lead him to pack his bags and relocate his family to the mecca of country music, Nashville, Tenn., all while continuing to travel back to Colorado to work in the oilfield. His commitment to his family and to his career is made evident in the lyrics and chords of his music. Day is a seasoned entertainer who has performed at numerous premier venues and events across the country including Bluebird Café, Key West Songwriters Festival, and the Rocky Mountain Country music Awards where he was nominated for New Country Artist and Performer of the Year. Day is currently working as an independent artist and is completing his first record produced by The 720 with Jarrod Ingram and Blake Hubbard. He is also working with the A&R assistance of BJ Hill of Warner Chappell.We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod #JohnnyDay #EveryBeerEveryBar #NewMusic #zoom Listen & Subscribe to BiB https://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod