WEBVTT - Adam Alpert

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<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Left Sets podcast.

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<v Speaker 1>My guest today is the Chain Smokers manager Adam Out Adam, Hi, Okay,

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<v Speaker 1>you're in l A. Chain Smokers are playing the Forum.

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<v Speaker 1>Are you just how often would you go to a

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<v Speaker 1>gig by your act an arena gig? Yeah, any gig

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<v Speaker 1>I go to about probably probably this tour, probably a

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<v Speaker 1>quarter of the shows. And why do you decide to

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<v Speaker 1>go or not go? The first few of the last

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<v Speaker 1>few New York, l A and Seattle because that's where

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<v Speaker 1>my in laws are from. So the in laws and

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<v Speaker 1>Thanksgiving on this particular trip. Yeah, we're doing Thanksgiving in

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<v Speaker 1>Seattle and then the guys show up. They're like four

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<v Speaker 1>days later. So I'm staying for the whole thing. So

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<v Speaker 1>how did you meet your wife? She's from Seattle. She

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<v Speaker 1>lived in New York, but just through a friend. Okay,

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<v Speaker 1>So did you become the manager of the Chain Smokers? Well,

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<v Speaker 1>that's a loaded question. Um well I actually introduced them

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<v Speaker 1>to each other right now. We were talking about this

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<v Speaker 1>a few months ago, So let's talk about how you

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<v Speaker 1>did that kind of slowly. Sure, so out of college, Um,

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<v Speaker 1>I ended up working in a nightclub, hospitality business. I

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<v Speaker 1>was running nightclub. You went to pen but what did

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<v Speaker 1>you what did you major in pen? Premat pretty bad? Okay,

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<v Speaker 1>so at what point did you say, I'm not gonna

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<v Speaker 1>go on that track. What happened was I was promoting parties,

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<v Speaker 1>you know, when I was in college, and you know,

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<v Speaker 1>it's fun and you make money, and um, while I

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<v Speaker 1>was studying for pre met, I was just like studying

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<v Speaker 1>for the MCATs, and I was just like, this is

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<v Speaker 1>really what I want to do for the next god

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<v Speaker 1>knows however many years and I just said, you know what,

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<v Speaker 1>this isn't This isn't what I love it, but it's

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<v Speaker 1>not what I want to do with the rest of

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<v Speaker 1>my life. And I became more and more enamored with

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<v Speaker 1>the hospitality business and boutique hotels and exclusive restaurants, and

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<v Speaker 1>I ended up where a lot of people in the

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<v Speaker 1>music industry today started as a nightclub promoter. Okay, let's

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<v Speaker 1>go back. Did you take the m cats? Never took him?

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<v Speaker 1>Never took him. I remember when I was in college,

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<v Speaker 1>I signed up for the l S a T. My

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<v Speaker 1>friends knocked on my door and they said, you're not

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<v Speaker 1>taking that. Let's go to Montreal. And we did. That's

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<v Speaker 1>what they called it Montreal, although I ended up taking

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<v Speaker 1>after it broke my leg a year later. But uh well,

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<v Speaker 1>I brought my m CAT book to the bar. Really yeah,

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<v Speaker 1>And then my friends were like, what are you doing?

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<v Speaker 1>And what did your parents say when you weren't going

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<v Speaker 1>to take the m CAT Honestly, like, they didn't put

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<v Speaker 1>any pressure on me to be a doctor in the

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<v Speaker 1>first place, so they really just were like, you know,

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<v Speaker 1>whatever you want to do. Um. I think there were

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<v Speaker 1>a few years after I was a nightclub promoter that

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<v Speaker 1>they were hoping I had taken them cats so I

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<v Speaker 1>could revisit it. But because I didn't, I couldn't. Okay,

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<v Speaker 1>when I went to college before you, the big you

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<v Speaker 1>know what separated the real candidates from the failures was

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<v Speaker 1>organic KEM. Okay, so if you took organic chem and

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<v Speaker 1>but what did you do well in all those classes?

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<v Speaker 1>I did really really well in the bio classes. Organic

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<v Speaker 1>chem is hard for everyone. I think I did like

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<v Speaker 1>decent in the first level, and then as the levels

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<v Speaker 1>of organic KEM got harder and harder, I did worse

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<v Speaker 1>and worse. But theoretically, if you've got a reasonable score

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<v Speaker 1>on the M guide. Were they good enough to get in? Yeah? Okay, okay,

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<v Speaker 1>So what was the first party you promoted? The first

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<v Speaker 1>party I promoted was with two of my high school buddies.

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<v Speaker 1>We went to a bar one night and the because

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<v Speaker 1>you're growing up in Manhattan, yes, born and raised in Manhattan, okay,

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<v Speaker 1>and where do you go to school in Manhattan? To

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<v Speaker 1>high school? To harst Man and um, we went to

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<v Speaker 1>this bar. I'm gonna speed through this because there's so

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<v Speaker 1>much better stuff later in my life. But we went

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<v Speaker 1>to this bar on the Upper West Side and they

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<v Speaker 1>had beds and I and I was like, this is

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<v Speaker 1>so cool. They have beds in this bar. We gotta

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<v Speaker 1>throw a party here. But what were the beds for?

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<v Speaker 1>It was just like instead of tables with couches, they

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<v Speaker 1>had beds that you could lie on. And I found

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<v Speaker 1>the owner and I said, my buddy and I want

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<v Speaker 1>to throw um a party here. We'll bring the people,

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<v Speaker 1>and he said, okay, you will keep whatever the you

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<v Speaker 1>make at the door, and I'll keep whatever I make

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<v Speaker 1>at the bar. Okay. So you're in high school, your

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<v Speaker 1>how old? Okay? What inspired you to even do this?

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<v Speaker 1>I just thought the place. I thought the place was cool.

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<v Speaker 1>I was really into just like restaurants and bars and hotels.

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<v Speaker 1>I just found that stuff really cool. And I knew

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<v Speaker 1>that we could do it because we were going out

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<v Speaker 1>on the weekends two bars, you know, on the Upper

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<v Speaker 1>east Side and Upper west Side all the time. Anyway,

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<v Speaker 1>even though you weren't old enough to drink, you have

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<v Speaker 1>a faked yes. And there was a lot of bars,

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<v Speaker 1>especially on the Upper east Side on Second Avenue, a

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<v Speaker 1>third Avenue that let under age people drink. I don't

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<v Speaker 1>know how it is now, but this was probably what year. Yeah, um,

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<v Speaker 1>And so we did it the first night and they

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<v Speaker 1>didn't ask really guarantee, just whatever you're getting there, and

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<v Speaker 1>your pitch for people to go was too How did

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<v Speaker 1>you get the people there? I mean, when you're in

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<v Speaker 1>high school, it's if you build it, they will come,

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<v Speaker 1>you know what I mean? You know, maybe I went

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<v Speaker 1>to it, went to a public high school. But how

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<v Speaker 1>much did you charge? Oh my goodness, I don't remember

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<v Speaker 1>what we started charging. But what happened was that night,

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<v Speaker 1>as soon as it started, there was a line down

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<v Speaker 1>the block of underage kids. And the owner freaked out

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<v Speaker 1>because everybody was under age for act and he let

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<v Speaker 1>it happen, and we just started charging more, as like

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<v Speaker 1>every hour the door charge would get higher and higher

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<v Speaker 1>and higher. And at the end of the night, my

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<v Speaker 1>two buddies and I had this um like little cash

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<v Speaker 1>box just full of cash and and it was like

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<v Speaker 1>from that moment, I was like, there's like a business here. Okay.

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<v Speaker 1>But generally speaking, were you the entrepreneurial sword who was

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<v Speaker 1>always making money as a little kid, or was this

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<v Speaker 1>your first vengee? No? I was pretty entrepreneurial always um

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<v Speaker 1>And so somehow we got away with that night happening,

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<v Speaker 1>and the owner moved the party to a bigger venue

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<v Speaker 1>in a more remote location so that we wouldn't get

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<v Speaker 1>in trouble for future parties. And we ended up doing

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<v Speaker 1>it weekly for a really long time. And you know,

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<v Speaker 1>everybody was underage and drinking, correct, Okay. And then you

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<v Speaker 1>go to school at pen Why do you go to

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<v Speaker 1>pen Um? Well, my dad went there. It was close

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<v Speaker 1>to the city but not the city. Um, I had

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<v Speaker 1>a lot of friends that went there, and it was

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<v Speaker 1>just my high school. A lot of it's from my

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<v Speaker 1>high school went to Penn and so it just kind

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<v Speaker 1>of became like sort of tradition, and I went there,

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<v Speaker 1>I fell in love with it, um, and I went.

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<v Speaker 1>While I was there, I really fell in love with Philadelphia.

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<v Speaker 1>I really love that city, and it is the city

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<v Speaker 1>of brotherly love. But I just think it's quaint and

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<v Speaker 1>the people are so much nicer than they are in

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<v Speaker 1>New York. I mean, it's definitely dirty, but it's in

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<v Speaker 1>certain parts. But um, it's just much more relaxed and

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<v Speaker 1>the people are much nicer. Okay. And when you were there,

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<v Speaker 1>would you go back to New York regularly or just

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<v Speaker 1>like I did, go back regularly. Okay, So how did

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<v Speaker 1>you start promoting parties in college? Um? Well, I had

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<v Speaker 1>already done it, you know, so it was very simple.

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<v Speaker 1>I did it. If I didn't do it that much

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<v Speaker 1>in Philadelphia. I did it a few times in Philadelphia.

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<v Speaker 1>Mostly my thing was when we went home for the holidays. Um.

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<v Speaker 1>I would do those for all the kids that were

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<v Speaker 1>coming back from college for the holidays. So what my

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<v Speaker 1>big thing was thank is Giving Eve, which is actually

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<v Speaker 1>two days and right that was always when people come

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<v Speaker 1>back and they go to the body after they've gone

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<v Speaker 1>away from college. My my, my, my bread and butter

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<v Speaker 1>was Thanksgiving Eve and New Years and New Year's I

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<v Speaker 1>we used to do in Miami. We would take a hotel.

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<v Speaker 1>I did eleven years New Year's Eves in Miami. So

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<v Speaker 1>let's just when you ended up doing once, you know,

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<v Speaker 1>like you're the fourth or fifth year doing it alone,

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<v Speaker 1>or you're doing it with a partner. Um, I had

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<v Speaker 1>partners at that time. How much could you take away

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<v Speaker 1>personally from doing it New Year's Eve? What did I

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<v Speaker 1>make on New Year's New Year's Probably to my for myself,

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<v Speaker 1>probably like grand Okay, so who was paying for college?

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<v Speaker 1>Your father? Were you paying? Since you we're making this money?

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<v Speaker 1>Oh no, I wasn't making that money until after college. Okay.

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<v Speaker 1>So in annie event, you graduate, graduate from college and

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<v Speaker 1>you decide you want to be in the hospitality business,

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<v Speaker 1>you go to New York and we and you do what.

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<v Speaker 1>I got a job with a restaurant tour named Jonathan Moore,

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<v Speaker 1>who was not like the top top guy in New

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<v Speaker 1>York City, but he was like top four and he

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<v Speaker 1>was a guy I really admired. And everyone says, if

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<v Speaker 1>you want to make it into music in the restaurant business,

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<v Speaker 1>you have to start from the bottom up. And so

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<v Speaker 1>I wasn't a bus boy, but I was a host

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<v Speaker 1>um six days, six nights a week from four pm,

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<v Speaker 1>and I didn't get home till four am, six nights

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<v Speaker 1>a week. And because I didn't get home till four am,

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<v Speaker 1>I always slept late. So I would like, literally, wake up,

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<v Speaker 1>go to the restaurant, worked twelve hours, go home, go

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<v Speaker 1>to sleep. I had no life. I didn't see anyone.

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<v Speaker 1>I didn't talk to anyone. It was horrible. What was

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<v Speaker 1>the name of the restaurant. It was called The Out

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<v Speaker 1>It's no longer okay, So how long did that go on?

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<v Speaker 1>Three months? Three months? And I was so, let's go

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<v Speaker 1>back a little bit. You're talking about this guy. How

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<v Speaker 1>did you hook up with him? Um? I just I

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<v Speaker 1>think I applied. I applied, so there was like an

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<v Speaker 1>open again you got the gig? So that goes. No,

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<v Speaker 1>I don't think there was an opening. I sought them out.

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<v Speaker 1>I knew who he was, and I tried to get

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<v Speaker 1>a job there. And how did you close him? Um?

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<v Speaker 1>In the room? Yeah? Yeah, I closed him in the room. Well,

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<v Speaker 1>experience that just a little bit. I went in, I

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<v Speaker 1>told him I went to Penn. I was passionate about

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<v Speaker 1>hospitality and I would do whatever it took. Okay, So

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<v Speaker 1>you do that for three months, four to four and

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<v Speaker 1>then what happens? Then? I was like, uh, you know,

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<v Speaker 1>I think I could do more than just what I'm doing,

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<v Speaker 1>Like I'm all four starting from the bottom up, but hey,

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<v Speaker 1>I want to make more money and be I don't

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<v Speaker 1>feel like I'm doing as much as I can be

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<v Speaker 1>and I literally have zero life, um. And so I

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<v Speaker 1>went back to just promoting parties. Oh so you actually left.

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<v Speaker 1>There was very little that I could do because I

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<v Speaker 1>was incapacitated. Right, So I'm trying to say, but you

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<v Speaker 1>actually quit that gig after three months? Yes, quit okay?

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<v Speaker 1>And what did you say when you quit? Okay, good luck?

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<v Speaker 1>Was to say your whip okay. So then you say,

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<v Speaker 1>I'm gonna promote part So I went back to promoting parties, um.

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<v Speaker 1>And what happened was because very few people, um, that

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<v Speaker 1>were actually born and raised in Manhattan still remain in Manhattan.

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<v Speaker 1>And so I was one of the guys that all

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<v Speaker 1>these kids coming back from North that we're moving to

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<v Speaker 1>New York after graduation from Northeast schools that weren't from

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<v Speaker 1>New York. They had no idea where to go or

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<v Speaker 1>what to do. So I ended up becoming that guy

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<v Speaker 1>where so if you went to like any school basically

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<v Speaker 1>in the Northeast, like you called me and I told

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<v Speaker 1>you where to go. So I had we we had

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<v Speaker 1>parties lined up every single night basically maybe five Okay,

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<v Speaker 1>when a little bit slower you quit the gig. How

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<v Speaker 1>do you become the man I already was. I was

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<v Speaker 1>already doing it in the on the holidays during college,

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<v Speaker 1>like people knew you know, and I had I knew

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<v Speaker 1>every other promoter in New York, and you just kind

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<v Speaker 1>of link up with different people. You'll say, you know,

0:12:15.240 --> 0:12:18.520
<v Speaker 1>you'll say to one promoter friend, let's do Thursdays at

0:12:18.520 --> 0:12:20.720
<v Speaker 1>this place. And you'll say to another promoter friend, let's

0:12:20.720 --> 0:12:23.320
<v Speaker 1>do Fridays together and we'll go find a club. You know,

0:12:23.400 --> 0:12:26.959
<v Speaker 1>things like that, And what is the draw? You mean?

0:12:27.000 --> 0:12:30.600
<v Speaker 1>What gets them there? You develop a reputation for throwing

0:12:30.640 --> 0:12:33.800
<v Speaker 1>good parties and you know, taking care of people and

0:12:34.120 --> 0:12:37.080
<v Speaker 1>entertaining people. You know, if I went, I paid my money,

0:12:37.120 --> 0:12:38.840
<v Speaker 1>I get in, what would what would I be the

0:12:38.880 --> 0:12:43.360
<v Speaker 1>experience I had at that moment, dancing in a nightclub

0:12:43.440 --> 0:12:47.600
<v Speaker 1>and you know, potentially buying a table with bottles on

0:12:47.640 --> 0:12:52.760
<v Speaker 1>it for wildly over price amounts and there were people

0:12:52.800 --> 0:12:55.840
<v Speaker 1>just graduated from college. You can afford them, yes, with

0:12:55.880 --> 0:13:00.440
<v Speaker 1>their parents allowance. How much money to get in it

0:13:00.559 --> 0:13:03.600
<v Speaker 1>was either free or it was like twenty and how

0:13:03.679 --> 0:13:06.360
<v Speaker 1>much for the bottle bottle service At that time they

0:13:06.360 --> 0:13:12.040
<v Speaker 1>were like three. Now they're like six eight thousand. Okay.

0:13:12.120 --> 0:13:14.640
<v Speaker 1>So you're promoting these parties and word gets out if

0:13:14.640 --> 0:13:17.280
<v Speaker 1>you want to know what's going on? Are they literally

0:13:17.440 --> 0:13:23.640
<v Speaker 1>emailing you, texting you whatever? There was no text back then. Um,

0:13:23.679 --> 0:13:26.640
<v Speaker 1>there was email, but it was very difficult. Maybe there

0:13:26.720 --> 0:13:30.080
<v Speaker 1>was text, but it was very difficult to mass text,

0:13:31.200 --> 0:13:33.280
<v Speaker 1>like you could text ten people at a time because

0:13:33.640 --> 0:13:35.880
<v Speaker 1>you know, it's hard to sit there and text thousand

0:13:35.960 --> 0:13:39.160
<v Speaker 1>people individually. And same thing with email. There were like

0:13:39.200 --> 0:13:42.360
<v Speaker 1>limits to how many emails you could send. UM. So

0:13:42.480 --> 0:13:45.200
<v Speaker 1>you know, we we tried to fix find every trick

0:13:45.240 --> 0:13:48.360
<v Speaker 1>in the book to do that. Okay. The key, the

0:13:48.480 --> 0:13:52.400
<v Speaker 1>key thing to UM that I should say about these

0:13:52.440 --> 0:13:56.760
<v Speaker 1>parties is that at that time the DJ was in

0:13:56.800 --> 0:14:01.040
<v Speaker 1>the corner and nobody cared who it was or or

0:14:01.559 --> 0:14:06.320
<v Speaker 1>could even see them. Really you know, um in that

0:14:06.440 --> 0:14:10.080
<v Speaker 1>kind of led me to where you know, was led

0:14:10.120 --> 0:14:14.439
<v Speaker 1>me to my next step. Okay, So UM. So after

0:14:14.520 --> 0:14:16.480
<v Speaker 1>I made a name for myself as a nightclub promoter

0:14:16.520 --> 0:14:18.960
<v Speaker 1>in New York, I got hired by these two guys

0:14:19.000 --> 0:14:23.600
<v Speaker 1>that UM were known to be like pretty much the

0:14:23.640 --> 0:14:29.280
<v Speaker 1>best promoters and UM restaurant owners in New York. UM.

0:14:29.440 --> 0:14:32.960
<v Speaker 1>These guys, Scott and Ritchie UM and at the time

0:14:32.960 --> 0:14:36.080
<v Speaker 1>they owned a restaurant, Cold Butter, and they promoted other nightclubs.

0:14:37.240 --> 0:14:41.120
<v Speaker 1>And I got hired by them too, kind of be

0:14:41.160 --> 0:14:44.000
<v Speaker 1>the director of promotions, which means like manage all the

0:14:44.120 --> 0:14:46.560
<v Speaker 1>nights and hire all the DJs, and hire all the

0:14:46.600 --> 0:14:50.920
<v Speaker 1>other promoters and just make sure everything's going as it

0:14:50.960 --> 0:14:54.320
<v Speaker 1>should on the marketing and promotion side. UM. And I

0:14:54.400 --> 0:14:56.840
<v Speaker 1>ended up working for them for eight years. Okay, how

0:14:56.880 --> 0:14:58.960
<v Speaker 1>many years out of college did you get that gig?

0:15:01.400 --> 0:15:04.880
<v Speaker 1>Probably two or three. And you would make more money

0:15:04.880 --> 0:15:11.400
<v Speaker 1>working for them than doing it yourself, UM, probably because

0:15:11.400 --> 0:15:15.240
<v Speaker 1>I was getting a decent salary and health insurance, and

0:15:15.400 --> 0:15:18.320
<v Speaker 1>it was more for stability and like for growing my

0:15:18.400 --> 0:15:21.320
<v Speaker 1>career rather than just like, Okay, so you're in the

0:15:21.440 --> 0:15:25.040
<v Speaker 1>nightclub business. People your age are very aggressive in their

0:15:25.080 --> 0:15:27.480
<v Speaker 1>careers and you see people moving up with their careers.

0:15:27.680 --> 0:15:29.920
<v Speaker 1>Did you feel like, well, maybe I didn't play this

0:15:30.000 --> 0:15:32.720
<v Speaker 1>game right or you say, what not at first, but

0:15:33.000 --> 0:15:36.360
<v Speaker 1>after eight years, I you know, started to for sure.

0:15:36.920 --> 0:15:41.920
<v Speaker 1>It's also very very tiring. Um, it loses all its luster,

0:15:42.240 --> 0:15:45.360
<v Speaker 1>you know, being in nightclubs, you know, six nights a week,

0:15:45.480 --> 0:15:49.760
<v Speaker 1>every night, you know, and seeing people that's saying people

0:15:49.800 --> 0:15:53.960
<v Speaker 1>over and over and over and um, you know, definitely

0:15:53.960 --> 0:15:56.000
<v Speaker 1>there was a lot of that and I really didn't

0:15:56.040 --> 0:15:57.920
<v Speaker 1>know what my next step was going to be. But

0:15:58.000 --> 0:16:02.479
<v Speaker 1>I didn't know that it was going to present its health. Um.

0:16:02.520 --> 0:16:06.560
<v Speaker 1>And so we built a nightclub called One Oak um

0:16:06.800 --> 0:16:10.080
<v Speaker 1>in New York City, which still exists today. And um,

0:16:10.280 --> 0:16:12.720
<v Speaker 1>they've expanded and they have a bunch of One Oaks

0:16:12.720 --> 0:16:17.240
<v Speaker 1>and other clubs. It's a pretty big company now. Um.

0:16:17.360 --> 0:16:20.480
<v Speaker 1>But what happened was about three three years into it,

0:16:21.400 --> 0:16:24.520
<v Speaker 1>I noticed a few things all at the same time.

0:16:25.360 --> 0:16:30.280
<v Speaker 1>The first thing I noticed was that people we're starting

0:16:30.320 --> 0:16:34.760
<v Speaker 1>to ask all the time who's dejaying, and that wasn't

0:16:34.800 --> 0:16:38.040
<v Speaker 1>really a thing before. And the other thing that was

0:16:38.080 --> 0:16:40.680
<v Speaker 1>happening with social media was starting to get more prevalent,

0:16:41.360 --> 0:16:44.640
<v Speaker 1>and these local New York City DJs, we're starting to

0:16:44.680 --> 0:16:48.240
<v Speaker 1>get their own followings where people would care who that

0:16:48.440 --> 0:16:50.560
<v Speaker 1>like they would say, Oh, is this guy djaying tonight?

0:16:50.600 --> 0:16:52.680
<v Speaker 1>Is this guy djank tomorrow night? I want I want

0:16:52.720 --> 0:16:55.280
<v Speaker 1>that guy to you know, And I was like, that's

0:16:55.280 --> 0:16:57.560
<v Speaker 1>so weird, Like people didn't used to do that before.

0:16:57.640 --> 0:16:59.880
<v Speaker 1>It was like they would come to a nightclub be

0:17:00.000 --> 0:17:03.360
<v Speaker 1>because it was the newest or that's where the celebrities

0:17:03.440 --> 0:17:08.280
<v Speaker 1>hung out or whatever it was. The Other thing that

0:17:08.359 --> 0:17:12.840
<v Speaker 1>started happening was dance music started spilling over from Europe.

0:17:13.200 --> 0:17:15.560
<v Speaker 1>You know, guys like David Ghetta. So, what year are

0:17:15.560 --> 0:17:25.280
<v Speaker 1>we in? We're in two thousand and two and um.

0:17:25.359 --> 0:17:29.639
<v Speaker 1>The last thing was um dj AM Do you know

0:17:29.640 --> 0:17:33.240
<v Speaker 1>who that was? D J A m Yeah, So d

0:17:33.359 --> 0:17:36.840
<v Speaker 1>J A m Um was dating Nicole Ritchie and they

0:17:36.840 --> 0:17:39.040
<v Speaker 1>were on the cover of US Weekly and I saw

0:17:39.080 --> 0:17:41.680
<v Speaker 1>the magazine and I was just like, what is going

0:17:41.880 --> 0:17:45.600
<v Speaker 1>on here? Like DJs are like celebrities now, like they're

0:17:45.640 --> 0:17:49.920
<v Speaker 1>like so it's all those things could combine, just like,

0:17:50.680 --> 0:17:52.600
<v Speaker 1>you know, I have all the best DJs in New

0:17:52.680 --> 0:17:57.359
<v Speaker 1>York City DJing at my club, and they really don't

0:17:57.359 --> 0:18:00.240
<v Speaker 1>know what they're doing as far as furthering their career here.

0:18:00.880 --> 0:18:03.560
<v Speaker 1>They can barely send an invoice, you know, they could

0:18:03.560 --> 0:18:07.000
<v Speaker 1>barely show up on time. And since I had worked

0:18:07.080 --> 0:18:09.720
<v Speaker 1>at pretty much the best club in the country for

0:18:09.760 --> 0:18:14.840
<v Speaker 1>eight years, I knew everyone in the nightclub business. And

0:18:14.920 --> 0:18:17.800
<v Speaker 1>so I decided to start a DJ management company. And

0:18:17.840 --> 0:18:21.399
<v Speaker 1>I went and signed the ten DJs that worked at

0:18:21.400 --> 0:18:23.720
<v Speaker 1>our club, who were the best DJs in New York

0:18:23.760 --> 0:18:27.960
<v Speaker 1>City UM to management and really it was it was

0:18:28.000 --> 0:18:34.360
<v Speaker 1>sort of like a booking agency to UM. And that

0:18:34.480 --> 0:18:39.840
<v Speaker 1>company was called four AM, and I, you know, basically

0:18:39.840 --> 0:18:42.360
<v Speaker 1>told them, I'll help you on your social media, I'll

0:18:42.400 --> 0:18:45.119
<v Speaker 1>do all your office work, I'll you know, get you

0:18:45.200 --> 0:18:50.199
<v Speaker 1>working in other places around the country. And within three

0:18:50.240 --> 0:18:54.560
<v Speaker 1>months it exploded, Okay, are you still having your day

0:18:54.640 --> 0:18:58.760
<v Speaker 1>job while you're doing this? Okay, theoretically an agent somebody

0:18:58.760 --> 0:19:01.080
<v Speaker 1>getting work should be like, since you get it, you

0:19:01.119 --> 0:19:04.240
<v Speaker 1>don't get a license, right, of course? Not. Do you

0:19:04.280 --> 0:19:08.240
<v Speaker 1>have anybody working for you at the time? Not? Not

0:19:08.359 --> 0:19:10.040
<v Speaker 1>at first. At first I was doing it all myself.

0:19:10.160 --> 0:19:15.400
<v Speaker 1>What was your take? What was your percentage? So when

0:19:15.400 --> 0:19:17.879
<v Speaker 1>they were playing, before you have this epiphany, what was

0:19:17.920 --> 0:19:22.439
<v Speaker 1>a DJ making in your club? Uh? It could be

0:19:22.480 --> 0:19:26.840
<v Speaker 1>anywhere from three okay, And these guys did not make music.

0:19:27.840 --> 0:19:31.280
<v Speaker 1>They were you know, they were spinning spinning records. Okay,

0:19:31.560 --> 0:19:36.119
<v Speaker 1>you get involved. What does the price turn into. It

0:19:36.200 --> 0:19:38.480
<v Speaker 1>got a little bit higher, But it wasn't just about

0:19:38.560 --> 0:19:41.520
<v Speaker 1>raising their rates. It was about getting them playing more

0:19:41.680 --> 0:19:46.040
<v Speaker 1>nights a week in more cities, um, and helping their

0:19:46.119 --> 0:19:48.520
<v Speaker 1>fan bases grow. Okay, so how far would you go

0:19:48.600 --> 0:19:52.399
<v Speaker 1>from New York? Oh? I mean it was a pretty

0:19:52.480 --> 0:19:55.320
<v Speaker 1>high end, so it was international. But we really Yeah,

0:19:55.359 --> 0:20:00.480
<v Speaker 1>so we were doing things like you know, can Film Festival. Okay,

0:20:00.520 --> 0:20:03.159
<v Speaker 1>you're working at a club. How did you have those relationships?

0:20:03.680 --> 0:20:06.800
<v Speaker 1>The nightclub business, everyone knows each other. We would do

0:20:06.920 --> 0:20:10.200
<v Speaker 1>like pop ups like you know, Sundance Film Festival, Art

0:20:10.200 --> 0:20:14.960
<v Speaker 1>boss Al Toronto Film Festival, like you know. Nightclub owners

0:20:15.080 --> 0:20:20.800
<v Speaker 1>all intermingle at those types of things. Um, and I

0:20:20.840 --> 0:20:23.320
<v Speaker 1>had a little bit of exposure to the music business

0:20:23.359 --> 0:20:26.520
<v Speaker 1>because we'd have lots of artists come to our venues

0:20:26.560 --> 0:20:30.480
<v Speaker 1>and perform, and a lot of the DJs because the

0:20:30.560 --> 0:20:34.320
<v Speaker 1>artists wanted them to spend their records, had relationships, you know,

0:20:35.359 --> 0:20:37.520
<v Speaker 1>I was exposed to guys like Giddy and Jay z

0:20:38.640 --> 0:20:45.240
<v Speaker 1>Um all the time, and um, a little monopoly started

0:20:45.840 --> 0:20:50.040
<v Speaker 1>whereby Oh so after three months it exploded and I

0:20:50.160 --> 0:20:55.119
<v Speaker 1>quit the job working for the hospitality company and um

0:20:55.160 --> 0:21:00.680
<v Speaker 1>a buddy of mine, Rich kleiman Um, who managers Kevin

0:21:00.720 --> 0:21:06.919
<v Speaker 1>Durant now was running rock Nation, and he was I

0:21:07.000 --> 0:21:08.879
<v Speaker 1>told him about that I had left, and then I

0:21:08.960 --> 0:21:10.960
<v Speaker 1>started this DJ company and he gave me a desk

0:21:11.000 --> 0:21:15.280
<v Speaker 1>at rock Nation to run my company. No like, no

0:21:15.400 --> 0:21:18.480
<v Speaker 1>official ties, just here's a desk. Let's see what you

0:21:18.520 --> 0:21:21.640
<v Speaker 1>can do. And so I started working there and eventually

0:21:21.680 --> 0:21:23.280
<v Speaker 1>I was like, Rich, I need to hire somebody, like,

0:21:23.320 --> 0:21:25.560
<v Speaker 1>can I have another desk? And he was like nope.

0:21:25.680 --> 0:21:29.920
<v Speaker 1>And so I started running it out of my apartment

0:21:31.280 --> 0:21:33.560
<v Speaker 1>and then I started hiring people and I turned this.

0:21:33.760 --> 0:21:36.520
<v Speaker 1>I kicked out my roommate and I turned his bedroom

0:21:36.600 --> 0:21:39.560
<v Speaker 1>into like the office, and I had four guys working

0:21:39.560 --> 0:21:44.560
<v Speaker 1>there with me, and the company was just screaming. And

0:21:44.760 --> 0:21:48.720
<v Speaker 1>so we're what we're like two thousan Yes, exactly. Okay,

0:21:48.840 --> 0:21:51.800
<v Speaker 1>let's stop for a second here. At this point, Scooter

0:21:51.960 --> 0:21:55.959
<v Speaker 1>is making some noise, Scooter braun and whatever. Did you

0:21:56.000 --> 0:21:58.240
<v Speaker 1>see that as something separate or did you say I'm

0:21:58.240 --> 0:21:59.960
<v Speaker 1>competing with him or those are the steps I want

0:22:00.000 --> 0:22:02.520
<v Speaker 1>to go in. I wasn't even really looking at that.

0:22:02.960 --> 0:22:05.600
<v Speaker 1>There were other guys trying to do what I was doing,

0:22:05.680 --> 0:22:07.719
<v Speaker 1>and those were the guys I was competing. Okay, so

0:22:07.800 --> 0:22:09.720
<v Speaker 1>you say monopoly, they were trying to do it, But

0:22:09.760 --> 0:22:13.320
<v Speaker 1>you own the market. I own New York City and

0:22:14.680 --> 0:22:19.639
<v Speaker 1>the Tri State area and pretty much Miami. Okay. And

0:22:19.680 --> 0:22:23.160
<v Speaker 1>as a result of having this success, I would assume

0:22:23.200 --> 0:22:27.040
<v Speaker 1>that you're now throwing you're now selling DJs to hire

0:22:27.080 --> 0:22:30.000
<v Speaker 1>and higher levels of people. Yes, so that it was.

0:22:30.160 --> 0:22:33.800
<v Speaker 1>It was that my company because my club was a

0:22:33.880 --> 0:22:38.560
<v Speaker 1>high end club. My DJs were DJs that dj high

0:22:38.640 --> 0:22:41.280
<v Speaker 1>end clubs and private events like we would do Jay

0:22:41.359 --> 0:22:44.560
<v Speaker 1>Z's birthday party and the Louis Vutan fashion show, and

0:22:45.080 --> 0:22:47.720
<v Speaker 1>you know, so that's just the type of guys that

0:22:48.080 --> 0:22:51.400
<v Speaker 1>So did those relationships help you as you shifted? Gave

0:22:51.480 --> 0:22:54.600
<v Speaker 1>every relationship I've made I made over the eight years

0:22:54.600 --> 0:22:59.240
<v Speaker 1>in the nightclub business and the four years managing UM DJs,

0:22:59.280 --> 0:23:02.679
<v Speaker 1>that's been record. It's I still have and work with

0:23:02.720 --> 0:23:06.359
<v Speaker 1>those people today. It's amazing. That's like the best part

0:23:06.400 --> 0:23:09.160
<v Speaker 1>of it. That's the great thing about the nightclub business

0:23:09.240 --> 0:23:12.359
<v Speaker 1>is like as as much as I hated it, towards

0:23:12.400 --> 0:23:14.840
<v Speaker 1>the end, like I met so many people that I

0:23:14.880 --> 0:23:21.560
<v Speaker 1>have lifelong relationships within every business like finance, film, you, art,

0:23:21.800 --> 0:23:23.760
<v Speaker 1>you name it, and and these are people I still

0:23:23.960 --> 0:23:27.840
<v Speaker 1>do things with today now just so we know. Uh,

0:23:27.880 --> 0:23:30.040
<v Speaker 1>in the nightclub business is that type of thing where

0:23:30.040 --> 0:23:34.280
<v Speaker 1>people come and go or certain people are lifers. There

0:23:34.320 --> 0:23:36.879
<v Speaker 1>are certain people that are lifers and they're either really

0:23:36.920 --> 0:23:43.000
<v Speaker 1>really successful or just have done the same thing forever. Okay,

0:23:43.000 --> 0:23:46.399
<v Speaker 1>so you have the four years of managing DJs? What

0:23:46.480 --> 0:23:50.159
<v Speaker 1>does that look like after the four years? So what

0:23:50.280 --> 0:23:55.119
<v Speaker 1>happened was you basically couldn't DJ at any place good

0:23:55.119 --> 0:23:59.320
<v Speaker 1>in New York unless I was managing you. And um

0:23:59.440 --> 0:24:04.479
<v Speaker 1>Al Paul from the Chain Smokers was djaying in New

0:24:04.560 --> 0:24:06.879
<v Speaker 1>York City or was trying really trying to be a

0:24:06.960 --> 0:24:09.760
<v Speaker 1>DJ in New York City. Um and he was djaying

0:24:09.800 --> 0:24:13.200
<v Speaker 1>with another guy. And I kind of heard about them

0:24:13.240 --> 0:24:16.720
<v Speaker 1>a little bit because they were, um, you know, doing

0:24:16.800 --> 0:24:20.240
<v Speaker 1>some things here and there. And eventually and I would

0:24:20.280 --> 0:24:21.800
<v Speaker 1>see them around and I would say, you know, if

0:24:21.800 --> 0:24:24.399
<v Speaker 1>you really want to make it big, you need you

0:24:24.440 --> 0:24:26.800
<v Speaker 1>need me, and they would be like, yeah, sure, whatever,

0:24:27.720 --> 0:24:30.359
<v Speaker 1>you know, lo and behold. They called me eventually and

0:24:30.400 --> 0:24:34.040
<v Speaker 1>said can you manage us? And I said sure? And

0:24:34.560 --> 0:24:40.000
<v Speaker 1>I started telling everybody in in the hospitality industry that

0:24:40.359 --> 0:24:43.960
<v Speaker 1>these guys were my new guys, and um, I booked

0:24:43.960 --> 0:24:47.440
<v Speaker 1>them a gig at a nightclub called Wall in Miami

0:24:48.160 --> 0:24:50.080
<v Speaker 1>where they called the Chain Smokers. They would call the

0:24:50.119 --> 0:24:54.160
<v Speaker 1>Chain Cocks, and um it was well was a respectable club,

0:24:54.240 --> 0:24:56.920
<v Speaker 1>also still open today at the W Hotel in Miami.

0:24:58.040 --> 0:25:00.560
<v Speaker 1>And they went down there and I out of and

0:25:00.640 --> 0:25:03.680
<v Speaker 1>my phone rang at five o'clock in the morning. And

0:25:03.720 --> 0:25:05.280
<v Speaker 1>what do you do when you're a manager and your

0:25:05.280 --> 0:25:07.040
<v Speaker 1>phone rings at five o'clock and pick it and you

0:25:07.080 --> 0:25:10.400
<v Speaker 1>pick it up? And it was the other guy and

0:25:10.480 --> 0:25:13.680
<v Speaker 1>he said, I just got into a fight with Alex

0:25:13.960 --> 0:25:17.480
<v Speaker 1>and he's such an asshole. Am I allowed to curss

0:25:17.520 --> 0:25:22.000
<v Speaker 1>on this? Okay? He's such an asshole? And I'm like,

0:25:22.080 --> 0:25:25.280
<v Speaker 1>don't worry about it, just come home tomorrow we'll kiss

0:25:25.280 --> 0:25:30.280
<v Speaker 1>a makeup and uh. The next day we planned to

0:25:30.320 --> 0:25:34.679
<v Speaker 1>meet and um, Alex was the first one to arrive

0:25:34.880 --> 0:25:39.359
<v Speaker 1>and the other kid came in and said, fuck you,

0:25:39.520 --> 0:25:45.199
<v Speaker 1>I'm out quit the group. And where's he today? I

0:25:45.240 --> 0:25:48.920
<v Speaker 1>don't want to say he is he working in the

0:25:49.040 --> 0:25:53.360
<v Speaker 1>music business. I think he's still DJs around the city.

0:25:54.080 --> 0:25:56.119
<v Speaker 1>And when did he ever sue? Because he felt that

0:25:56.160 --> 0:25:59.800
<v Speaker 1>he got sucked over. No, so when he quit Alex

0:26:00.320 --> 0:26:02.480
<v Speaker 1>essentially right then and there, turned to me and said,

0:26:03.240 --> 0:26:06.320
<v Speaker 1>I believe in this. I want to find the new guy.

0:26:07.119 --> 0:26:11.760
<v Speaker 1>I want to produce dance music. Help me. And so

0:26:11.800 --> 0:26:15.640
<v Speaker 1>I said okay. And so he approached the original guy

0:26:15.800 --> 0:26:19.040
<v Speaker 1>and he bought the name chain Smokers for I think

0:26:19.080 --> 0:26:21.480
<v Speaker 1>five thousand dollars. So you did you actually get a

0:26:21.560 --> 0:26:26.240
<v Speaker 1>lawyer involved in again? That was smart? Yes. Um? You

0:26:26.240 --> 0:26:28.440
<v Speaker 1>didn't have any paper with these acts, did you? Yes,

0:26:28.520 --> 0:26:30.959
<v Speaker 1>we had written contracts. Oh really with all your details?

0:26:31.680 --> 0:26:36.440
<v Speaker 1>Who wrote the contracts? Um? Yeah, we had a lawyer.

0:26:36.480 --> 0:26:41.280
<v Speaker 1>I had a lawyer. Okay, So this was not actually

0:26:41.480 --> 0:26:44.200
<v Speaker 1>like I may have like used the template at first,

0:26:44.240 --> 0:26:47.040
<v Speaker 1>I don't remember. Eventually we had a lawyer, but I

0:26:47.080 --> 0:26:49.480
<v Speaker 1>don't remember exactly. Okay. So when you wait time you

0:26:49.560 --> 0:26:51.639
<v Speaker 1>hit four years, how many people are working for you?

0:26:53.960 --> 0:26:57.560
<v Speaker 1>Probably four full time? And are they still working out

0:26:57.560 --> 0:27:03.200
<v Speaker 1>of your apartment? Yes? Okay low over yes, um, and

0:27:05.720 --> 0:27:07.800
<v Speaker 1>so it's like, okay, the hunt is on to find

0:27:07.800 --> 0:27:11.480
<v Speaker 1>a new part. You were big on the Chain Smokers,

0:27:11.480 --> 0:27:14.720
<v Speaker 1>these other DJs. How many were you? Ultimately you doing it?

0:27:14.840 --> 0:27:19.600
<v Speaker 1>One time? We had like probably at that point twelve

0:27:19.680 --> 0:27:23.160
<v Speaker 1>that were assigned to us. But in addition to those twelve,

0:27:23.920 --> 0:27:27.679
<v Speaker 1>we were getting work like freelance work for probably an

0:27:27.680 --> 0:27:31.159
<v Speaker 1>additional ten or twenty. Okay, but if someone needed a

0:27:31.240 --> 0:27:34.200
<v Speaker 1>DJ and none of ours were available, we we made

0:27:34.200 --> 0:27:36.920
<v Speaker 1>it happen. Right. So, but the ten or twelve you have,

0:27:37.040 --> 0:27:39.640
<v Speaker 1>were you just booking them or giving them career directions

0:27:40.080 --> 0:27:45.920
<v Speaker 1>career We're doing everything for their careers, social media, marketing, routing, travel,

0:27:46.240 --> 0:27:49.439
<v Speaker 1>invoicing everything. And what was the most important thing in

0:27:49.520 --> 0:27:52.119
<v Speaker 1>breaking one of those acts? Getting to work more and

0:27:52.200 --> 0:27:54.639
<v Speaker 1>how their price go up? Well, what I learned is

0:27:54.680 --> 0:27:57.040
<v Speaker 1>that there is no breaking that kind of that kind

0:27:57.080 --> 0:27:59.960
<v Speaker 1>of DJ. The DJs that don't make their own music,

0:28:00.480 --> 0:28:03.840
<v Speaker 1>eventually they hit a ceiling, you know, where it's the

0:28:03.880 --> 0:28:06.960
<v Speaker 1>max that you can make for being that type of artist.

0:28:07.640 --> 0:28:13.199
<v Speaker 1>Um So, everybody was working all the time for the

0:28:13.280 --> 0:28:16.080
<v Speaker 1>most that they were worth, you know, and so the

0:28:16.119 --> 0:28:19.400
<v Speaker 1>company for what was arranged at that point, I mean

0:28:19.480 --> 0:28:22.240
<v Speaker 1>it was still it could be three hundred, but you know,

0:28:22.280 --> 0:28:29.600
<v Speaker 1>I think as much as grand maybe um uh, you know,

0:28:29.640 --> 0:28:33.760
<v Speaker 1>we were doing things like um Roman Abramovich's St. Bart's

0:28:33.800 --> 0:28:36.880
<v Speaker 1>New Year's Party, you know, like it was so many

0:28:36.880 --> 0:28:40.600
<v Speaker 1>different types of things. Um, and so the hunt to

0:28:40.640 --> 0:28:46.280
<v Speaker 1>find Alex a partner is on. And uh, well we

0:28:46.320 --> 0:28:50.160
<v Speaker 1>also had interns, and so I'm talking to the guys

0:28:50.200 --> 0:28:53.160
<v Speaker 1>and this is interns before you paid interns. Do they

0:28:53.200 --> 0:28:59.680
<v Speaker 1>pay interns? I'm kidding, um, And so um my intern said,

0:29:00.120 --> 0:29:05.280
<v Speaker 1>you know, I have this friend who know who has

0:29:05.320 --> 0:29:09.640
<v Speaker 1>another friend who I think like I heard like makes

0:29:10.440 --> 0:29:14.200
<v Speaker 1>e d M on his computer and he just graduated

0:29:14.200 --> 0:29:18.800
<v Speaker 1>from Syracuse. And I'm like, give me his number, and

0:29:18.880 --> 0:29:21.600
<v Speaker 1>I called and it was Drew and I cold call

0:29:21.760 --> 0:29:26.280
<v Speaker 1>him and he turns out he had just graduated from

0:29:26.280 --> 0:29:33.160
<v Speaker 1>the band deer program at Syracuse. He was from Freeport, Maine. UM,

0:29:33.200 --> 0:29:38.360
<v Speaker 1>and he was basically in his parents house with no job, um,

0:29:38.400 --> 0:29:42.440
<v Speaker 1>playing on his computer, and I said, send me some stuff.

0:29:42.600 --> 0:29:44.720
<v Speaker 1>I said, I might have an opportunity for you to

0:29:44.760 --> 0:29:46.720
<v Speaker 1>come to New York and be in a DJ group,

0:29:46.760 --> 0:29:49.479
<v Speaker 1>would be djaying every night, you'd be making, you know,

0:29:50.120 --> 0:29:53.600
<v Speaker 1>to start probably somewhere like five dollars at night. And

0:29:53.720 --> 0:29:58.160
<v Speaker 1>to two year old Inport Maine, that was like the

0:29:58.200 --> 0:30:01.880
<v Speaker 1>most incredible thing. And he said, I'll be on the

0:30:01.880 --> 0:30:05.480
<v Speaker 1>next bus and he took the eighteen or what is

0:30:05.520 --> 0:30:10.640
<v Speaker 1>it eight hour bus eighteen No, it's from he went

0:30:10.680 --> 0:30:13.440
<v Speaker 1>to Boston. Mom drove into Boston and then he took

0:30:13.480 --> 0:30:15.920
<v Speaker 1>the bus from Boston. It was eight hours against he

0:30:16.280 --> 0:30:22.600
<v Speaker 1>eighteen dollar bus. And I came to my apartment and

0:30:22.640 --> 0:30:24.600
<v Speaker 1>we sat and we met and he played me some

0:30:24.640 --> 0:30:26.480
<v Speaker 1>of his beats and I was like, Okay, this is

0:30:26.520 --> 0:30:30.360
<v Speaker 1>like real deal, like this is something here. And I said,

0:30:30.400 --> 0:30:33.640
<v Speaker 1>I wanted to go for dinner with Alex tonight. And

0:30:33.680 --> 0:30:36.640
<v Speaker 1>they went for dinner. At the time, Alex is how

0:30:36.680 --> 0:30:43.960
<v Speaker 1>old at the time, he must be twenty six? Yeah,

0:30:44.360 --> 0:30:47.520
<v Speaker 1>and um, so they go to dinner and I call

0:30:47.600 --> 0:30:49.880
<v Speaker 1>Alex the next day and I was like, how dinner go?

0:30:49.960 --> 0:30:53.160
<v Speaker 1>And he was like it went amazing. I love this kid.

0:30:53.240 --> 0:30:57.320
<v Speaker 1>We're doing it. He's in and uh. Drew moved to

0:30:57.320 --> 0:31:01.840
<v Speaker 1>New York. I think like maybe three weeks later, and um,

0:31:01.880 --> 0:31:05.840
<v Speaker 1>he moved into an apartment that was about the size

0:31:05.880 --> 0:31:16.160
<v Speaker 1>of the stable um with two other guys. Alex and

0:31:16.280 --> 0:31:20.320
<v Speaker 1>him locked themselves in a room and worked on music

0:31:20.360 --> 0:31:23.560
<v Speaker 1>for twenty four hours a day, every single day. And

0:31:24.400 --> 0:31:28.200
<v Speaker 1>they sent me and they weren't making songs because they

0:31:28.240 --> 0:31:33.160
<v Speaker 1>weren't songwriters yet. And Alex really wasn't that good of

0:31:33.200 --> 0:31:37.080
<v Speaker 1>a producer, And Drew really wasn't that good of a DJ.

0:31:37.480 --> 0:31:40.080
<v Speaker 1>You know, he had like dj some frat parties. So

0:31:40.120 --> 0:31:42.760
<v Speaker 1>they were like teaching the other how to do the

0:31:42.800 --> 0:31:49.760
<v Speaker 1>other thing. Um. And so they the only thing that

0:31:49.800 --> 0:31:53.080
<v Speaker 1>they could do was either just make instrumental beats or

0:31:53.480 --> 0:31:57.400
<v Speaker 1>remix other tracks. And so how are they working as

0:31:57.480 --> 0:32:00.600
<v Speaker 1>DJs while they're doing this every night? Have them working

0:32:00.640 --> 0:32:07.080
<v Speaker 1>every single night? Um? And they have this idea that

0:32:07.160 --> 0:32:10.320
<v Speaker 1>they were very into their very into all kinds of music,

0:32:10.720 --> 0:32:13.720
<v Speaker 1>but they were very into indie music. And so they

0:32:13.720 --> 0:32:17.680
<v Speaker 1>had this idea to remix indie bands. And at the

0:32:17.720 --> 0:32:20.160
<v Speaker 1>time that wasn't really a thing. It was like you

0:32:20.160 --> 0:32:25.200
<v Speaker 1>were either remixing pop songs or you were remixing E

0:32:25.320 --> 0:32:32.080
<v Speaker 1>d M songs. And so they would message indie bands

0:32:32.080 --> 0:32:35.160
<v Speaker 1>that they were fans of on SoundCloud and ask them

0:32:35.160 --> 0:32:37.920
<v Speaker 1>for stems. And if you're you know, an indie band

0:32:37.960 --> 0:32:40.880
<v Speaker 1>and someone wants to remix your song, you're thinking, hey,

0:32:41.000 --> 0:32:44.120
<v Speaker 1>free promotion, you know, like sure, So they would send

0:32:44.120 --> 0:32:48.160
<v Speaker 1>the stems and then they would do this remix. And

0:32:48.200 --> 0:32:53.040
<v Speaker 1>they sent me the first remix. We're in twelve. They

0:32:53.040 --> 0:32:57.400
<v Speaker 1>sent me the first remix and it was UM of

0:32:57.480 --> 0:33:02.000
<v Speaker 1>a song by Yonce from Cigarass and I was like,

0:33:02.480 --> 0:33:06.239
<v Speaker 1>holy shit, like this is a this is real, Like

0:33:06.320 --> 0:33:09.719
<v Speaker 1>this is incredible and this is how long after you

0:33:09.720 --> 0:33:17.720
<v Speaker 1>introduced them to each other very soon like weeks and UM,

0:33:17.720 --> 0:33:22.200
<v Speaker 1>so I was like completely infatuated with it. Was the

0:33:22.240 --> 0:33:24.520
<v Speaker 1>first time I had a piece of music. You know,

0:33:25.200 --> 0:33:28.440
<v Speaker 1>I had never nothing I was working on. Was there ever,

0:33:28.560 --> 0:33:33.000
<v Speaker 1>like an actual tangible thing. So I was completely completely

0:33:33.040 --> 0:33:38.080
<v Speaker 1>infatuated by it. And you know they were they were

0:33:38.120 --> 0:33:40.959
<v Speaker 1>making a name for themselves as live DJs in New

0:33:41.000 --> 0:33:43.360
<v Speaker 1>York City. Like kids wanted to go to their shows.

0:33:43.360 --> 0:33:46.600
<v Speaker 1>They were fun, they were like party guys, and uh,

0:33:46.720 --> 0:33:49.560
<v Speaker 1>their social media really showed their personalities and they were

0:33:49.600 --> 0:33:54.640
<v Speaker 1>like super funny and witty, UM and so like I

0:33:54.680 --> 0:33:56.320
<v Speaker 1>could kind of so that. So then we put out

0:33:56.360 --> 0:34:04.400
<v Speaker 1>this remix and Alex decides to personally email hundred blogs,

0:34:05.520 --> 0:34:10.960
<v Speaker 1>each each letter unique, and the song came out on

0:34:11.040 --> 0:34:13.280
<v Speaker 1>SoundCloud and it went to number one on hype Machine.

0:34:13.400 --> 0:34:15.799
<v Speaker 1>Hype Machine was, for those of you who don't know

0:34:15.840 --> 0:34:18.920
<v Speaker 1>it was a lot was a blog aggregator that would

0:34:19.320 --> 0:34:22.759
<v Speaker 1>UM take the number of UM blogs that you were

0:34:22.840 --> 0:34:25.239
<v Speaker 1>on and that would and make a chart out of it.

0:34:26.080 --> 0:34:28.560
<v Speaker 1>And so this went to number one on on Hype Machine.

0:34:28.600 --> 0:34:31.239
<v Speaker 1>And I think the reason why it resonated with the

0:34:31.280 --> 0:34:36.040
<v Speaker 1>blogs was a because Alex wrote these amazing, hilarious personalized emails,

0:34:36.080 --> 0:34:39.000
<v Speaker 1>but also because people were just not remixing indie bands,

0:34:39.520 --> 0:34:43.240
<v Speaker 1>and also the remixes happened to be fire as they say,

0:34:44.000 --> 0:34:49.600
<v Speaker 1>and UM, so all this so I was like completely infatuated.

0:34:49.600 --> 0:34:52.120
<v Speaker 1>And so then it was like me Alex Andrew sitting

0:34:52.160 --> 0:34:56.200
<v Speaker 1>in my bed like just thinking about how to break

0:34:56.280 --> 0:34:59.360
<v Speaker 1>chain smokers twenty four hours a day. And so we

0:34:59.400 --> 0:35:02.399
<v Speaker 1>would do indie band remix after indie band remix after

0:35:02.480 --> 0:35:07.440
<v Speaker 1>indie band remix, UM, and we're those successful. Every single

0:35:07.520 --> 0:35:09.480
<v Speaker 1>one went to number one on high Machine. I think

0:35:09.480 --> 0:35:11.320
<v Speaker 1>at the end of the day we had like thirty

0:35:11.400 --> 0:35:15.680
<v Speaker 1>three number ones in a row on high Machine. UM.

0:35:15.840 --> 0:35:18.160
<v Speaker 1>The only other guy that was that had something like

0:35:18.200 --> 0:35:22.280
<v Speaker 1>that was R. A. C. Have you ever heard of him?

0:35:22.360 --> 0:35:26.320
<v Speaker 1>It was like a famous remixer back then. And UM

0:35:26.440 --> 0:35:30.120
<v Speaker 1>and their social media started to really get good. But

0:35:30.320 --> 0:35:32.840
<v Speaker 1>every day it was all we could think about was

0:35:32.920 --> 0:35:34.680
<v Speaker 1>how do we get likes on Facebook? How do we

0:35:34.680 --> 0:35:37.440
<v Speaker 1>get likes on Facebook? Instagram, wasn't even really big at

0:35:37.480 --> 0:35:39.680
<v Speaker 1>that point yet, so it's like, how do we get

0:35:39.719 --> 0:35:43.520
<v Speaker 1>legs on Facebook? And so they didn't have an agent,

0:35:43.560 --> 0:35:46.600
<v Speaker 1>they didn't have anything. So I got them a gig

0:35:46.640 --> 0:35:50.160
<v Speaker 1>at Live in Miami, which it's kind of like a

0:35:50.239 --> 0:35:52.880
<v Speaker 1>rite of passage. It's like, you know, the best club

0:35:53.280 --> 0:35:57.440
<v Speaker 1>in Miami, All the big DJ's play there, and if

0:35:57.440 --> 0:35:59.800
<v Speaker 1>you're not a top DJ to get a shot, there's

0:35:59.800 --> 0:36:01.880
<v Speaker 1>like a big deal. And the only reason I was

0:36:01.920 --> 0:36:04.360
<v Speaker 1>able to get them that was based on my relationships

0:36:04.480 --> 0:36:07.320
<v Speaker 1>with from when I was promoting nightclubs with the owner

0:36:07.320 --> 0:36:10.120
<v Speaker 1>there UM, who were still really close with today, Dave

0:36:10.160 --> 0:36:14.480
<v Speaker 1>Groutman UM. So they were like, Okay, this is a

0:36:14.520 --> 0:36:20.280
<v Speaker 1>big deal. We need to find something, find a special

0:36:20.280 --> 0:36:23.279
<v Speaker 1>way to promote this party so that it's successful and

0:36:23.320 --> 0:36:25.360
<v Speaker 1>a lot of people show up and they're really happy

0:36:25.400 --> 0:36:29.040
<v Speaker 1>with us. So we get invited back. And so that

0:36:29.160 --> 0:36:34.000
<v Speaker 1>was our task. And the next day I get an

0:36:34.000 --> 0:36:38.880
<v Speaker 1>email from the guys with a song called Selfie and

0:36:39.080 --> 0:36:44.279
<v Speaker 1>it was a parody song about girl a girl at

0:36:44.320 --> 0:36:51.279
<v Speaker 1>a nightclub, UM strictly made for promoting the show at Live,

0:36:51.960 --> 0:36:54.560
<v Speaker 1>and in the song it says living with my bitches

0:36:54.600 --> 0:37:00.040
<v Speaker 1>hashtag Live. That's about UM Live nightclub. And I was like,

0:37:00.160 --> 0:37:02.759
<v Speaker 1>oh my god, this is hilarious this oh and they

0:37:02.760 --> 0:37:05.520
<v Speaker 1>wrote to me, we think this will perform well on

0:37:05.520 --> 0:37:10.560
<v Speaker 1>Facebook and I was like, definitely, And so we put

0:37:10.560 --> 0:37:15.319
<v Speaker 1>it out on Facebook and it started to It went

0:37:15.400 --> 0:37:17.759
<v Speaker 1>number one on High Machine, but that was normal for us,

0:37:18.360 --> 0:37:22.120
<v Speaker 1>and it started to do well on SoundCloud and I

0:37:22.120 --> 0:37:26.680
<v Speaker 1>I said, why don't we message out two on all

0:37:26.680 --> 0:37:30.319
<v Speaker 1>our social media platforms. Send us your selfies and you'll

0:37:30.360 --> 0:37:33.719
<v Speaker 1>be in a music video. And so we received like

0:37:33.760 --> 0:37:36.919
<v Speaker 1>a thousand or two, I don't know how many. It's

0:37:37.000 --> 0:37:41.840
<v Speaker 1>just selfie images of our fans. And we put together

0:37:41.960 --> 0:37:44.040
<v Speaker 1>a video with some girls kind of lip singing the

0:37:44.120 --> 0:37:47.680
<v Speaker 1>words and and uh collage of all these selfies and

0:37:47.760 --> 0:37:55.840
<v Speaker 1>we put it out spent how much oh nothing, UM,

0:37:56.000 --> 0:37:59.799
<v Speaker 1>and it went viral not only because the song was

0:37:59.800 --> 0:38:02.480
<v Speaker 1>by but people were sharing it because it was like, look,

0:38:02.680 --> 0:38:05.239
<v Speaker 1>I'm in this video, so they would send it to

0:38:05.239 --> 0:38:07.640
<v Speaker 1>their friends and they would post to anticipate that. Yeah,

0:38:07.680 --> 0:38:10.840
<v Speaker 1>that was why. That was where the idea came from.

0:38:10.920 --> 0:38:16.920
<v Speaker 1>And UM. So then we were like, ship, this is

0:38:17.120 --> 0:38:24.800
<v Speaker 1>like turning into something we didn't expect. And at the time, UM,

0:38:24.920 --> 0:38:28.080
<v Speaker 1>Steve ioki Um was one of the biggest DJs and

0:38:28.160 --> 0:38:32.880
<v Speaker 1>he was an expert at social media. His Instagram was popping.

0:38:32.960 --> 0:38:35.760
<v Speaker 1>He was doing all kinds of funny things like throwing

0:38:35.800 --> 0:38:38.920
<v Speaker 1>cakes off the stage into people's faces and riding on

0:38:38.960 --> 0:38:43.080
<v Speaker 1>inflatable rafts over the crowd. And I just knew that

0:38:43.160 --> 0:38:46.800
<v Speaker 1>this was kind of like up his alley. And so

0:38:48.160 --> 0:38:50.719
<v Speaker 1>I had heard about this guy who was helping him

0:38:50.760 --> 0:38:52.440
<v Speaker 1>with his social media, and so I reached out to

0:38:52.440 --> 0:38:55.280
<v Speaker 1>this guy and I was like, I've got this song.

0:38:55.400 --> 0:38:58.560
<v Speaker 1>I think it's going viral. Can you help me um

0:38:58.760 --> 0:39:02.480
<v Speaker 1>figure this out? UM? And he said, let me send

0:39:02.480 --> 0:39:04.200
<v Speaker 1>it to Steve, and he sent it to Steve and

0:39:04.239 --> 0:39:07.760
<v Speaker 1>Steve said, let me sign this to my indie label,

0:39:07.920 --> 0:39:13.280
<v Speaker 1>dim Mac Records and release it commercially. And we were like, okay, cool.

0:39:13.360 --> 0:39:17.440
<v Speaker 1>So we did a deal for three singles. UM. We

0:39:17.520 --> 0:39:22.360
<v Speaker 1>took it down and we released it commercially. And that

0:39:22.480 --> 0:39:26.560
<v Speaker 1>day I got a call on my phone from a

0:39:26.600 --> 0:39:29.520
<v Speaker 1>guy named Monty Lippman and he said, how does it

0:39:29.560 --> 0:39:32.359
<v Speaker 1>feel to have the biggest record on the planet? And

0:39:32.400 --> 0:39:35.319
<v Speaker 1>I was like, feels pretty good. Meanwhile, I had no

0:39:35.360 --> 0:39:37.480
<v Speaker 1>idea what he was talking about. Did you know who

0:39:37.480 --> 0:39:42.560
<v Speaker 1>Monty Lippman was, and UM, he said, we'd like to

0:39:42.600 --> 0:39:46.200
<v Speaker 1>sign you. We know you're signed to DIMAC Records, but

0:39:46.280 --> 0:39:48.799
<v Speaker 1>well you know, we'll we'll buy you out of that deal.

0:39:49.560 --> 0:39:51.520
<v Speaker 1>And by the time I got off the phone with him,

0:39:51.520 --> 0:39:57.319
<v Speaker 1>there was an offer in my email. UM. Then a

0:39:57.360 --> 0:40:02.040
<v Speaker 1>bidding war ensued, UM, and we ended up signing to

0:40:02.160 --> 0:40:07.560
<v Speaker 1>Republic Records. Okay, Manti's Republic really the hottest executive in

0:40:07.560 --> 0:40:12.080
<v Speaker 1>the business still and he certainly breaks records. I'm talking

0:40:12.080 --> 0:40:14.319
<v Speaker 1>about somebody. Well, we'll get into what I think it's well,

0:40:14.400 --> 0:40:16.319
<v Speaker 1>we'll get I met in church with labels, but I

0:40:16.320 --> 0:40:20.000
<v Speaker 1>don't want to dig a hole here. Secondly, uh okay,

0:40:20.040 --> 0:40:24.200
<v Speaker 1>So who else is interested? Oh? Literally everybody. I spoke

0:40:24.239 --> 0:40:28.880
<v Speaker 1>to every major label head UM in the UK and

0:40:28.920 --> 0:40:31.640
<v Speaker 1>the US. And do you ever think you're over your

0:40:32.239 --> 0:40:35.120
<v Speaker 1>over you know your limits? Do you think that maybe

0:40:35.200 --> 0:40:37.680
<v Speaker 1>you're not sophisticated enough to do this? Not at all?

0:40:37.840 --> 0:40:45.840
<v Speaker 1>But UM. Drew had gone to college with UM a

0:40:45.920 --> 0:40:50.520
<v Speaker 1>guy named Harry Roberts. And Harry's father is Jamie Roberts,

0:40:51.080 --> 0:40:55.279
<v Speaker 1>and Jamie Roberts is a really incredible entertainment lawyer, and

0:40:55.320 --> 0:40:57.600
<v Speaker 1>Harry is now an entertainment lawyer who works with him,

0:40:57.920 --> 0:41:00.600
<v Speaker 1>And so Jamie has been the chains More Chris lawyer

0:41:00.760 --> 0:41:05.080
<v Speaker 1>since day one, and Jamie has been one of you know,

0:41:05.560 --> 0:41:08.520
<v Speaker 1>countless mentors that I've had. So he was kind of

0:41:08.600 --> 0:41:13.200
<v Speaker 1>coaching me. So you bring him in during this bit. Absolutely, absolutely,

0:41:13.600 --> 0:41:18.000
<v Speaker 1>so he's coaching me. But I'm uh, I'm the one

0:41:18.080 --> 0:41:24.800
<v Speaker 1>who's kind of uh the communicator with a couple of questions,

0:41:24.880 --> 0:41:28.240
<v Speaker 1>do you think these other companies are calling you because

0:41:28.280 --> 0:41:31.160
<v Speaker 1>they heard the record or they heard Monty was into it? No,

0:41:31.840 --> 0:41:35.520
<v Speaker 1>what had What I found out had happened was John

0:41:35.560 --> 0:41:41.520
<v Speaker 1>Ivy from kiss Um heard the record and put it

0:41:41.560 --> 0:41:48.040
<v Speaker 1>on every station. And that's not something that really ever happens.

0:41:48.160 --> 0:41:50.560
<v Speaker 1>Usually a record has worked, even if it's a smash,

0:41:50.640 --> 0:41:53.879
<v Speaker 1>it's worked. It's not like somebody hears a record and says,

0:41:54.320 --> 0:41:56.560
<v Speaker 1>everyone play this. You know, he knew it was a

0:41:56.640 --> 0:42:02.000
<v Speaker 1>viral hit UM and so everyone knew that obviously, and

0:42:02.040 --> 0:42:04.920
<v Speaker 1>so every and everybody was reading the data. So everybody

0:42:04.960 --> 0:42:07.759
<v Speaker 1>called UM and we took the meetings. And I think

0:42:07.800 --> 0:42:11.560
<v Speaker 1>one of the key things UM at that time was

0:42:12.320 --> 0:42:16.200
<v Speaker 1>because it was my first UM time dealing with that,

0:42:17.560 --> 0:42:21.440
<v Speaker 1>I was blatantly honest with every label. You know, I

0:42:21.800 --> 0:42:24.400
<v Speaker 1>had no problem because I knew I had what they wanted,

0:42:24.520 --> 0:42:26.440
<v Speaker 1>you know, I knew I had the record. So I

0:42:26.440 --> 0:42:32.000
<v Speaker 1>I was like, um, this is what we like about you.

0:42:32.239 --> 0:42:34.160
<v Speaker 1>This is what we like about this label. This is

0:42:34.200 --> 0:42:35.960
<v Speaker 1>what we don't like about that label. This is what

0:42:36.040 --> 0:42:38.279
<v Speaker 1>we don't like about you. This is what we want,

0:42:38.320 --> 0:42:40.759
<v Speaker 1>this is what we don't want. And I think that

0:42:40.920 --> 0:42:45.080
<v Speaker 1>people really respected the fact that I wasn't playing games,

0:42:45.120 --> 0:42:48.799
<v Speaker 1>and I wasn't lying about amounts, and I wasn't you know,

0:42:48.840 --> 0:42:51.680
<v Speaker 1>playing them against each other. I was just straight up

0:42:51.719 --> 0:42:54.120
<v Speaker 1>because I had I had no reason to lie, you know.

0:42:54.880 --> 0:43:00.360
<v Speaker 1>And UM, I think that resonated with a lot of people,

0:43:00.480 --> 0:43:05.479
<v Speaker 1>and a lot of my friendships with label heads uh

0:43:05.520 --> 0:43:08.120
<v Speaker 1>that I have today is from started at that moment.

0:43:08.280 --> 0:43:12.560
<v Speaker 1>You know. Um, I met a lot of guys that

0:43:12.680 --> 0:43:15.000
<v Speaker 1>I that I love and I'm super friendly with still

0:43:15.040 --> 0:43:21.680
<v Speaker 1>today during that process, um, And what I ended up

0:43:21.680 --> 0:43:26.000
<v Speaker 1>doing was getting the deals to be matched across the

0:43:26.040 --> 0:43:29.200
<v Speaker 1>board so that Alex Andrew could pick the label that

0:43:29.239 --> 0:43:31.280
<v Speaker 1>they wanted to be at, not based on the deal,

0:43:31.960 --> 0:43:33.839
<v Speaker 1>and I let them make the decision at the end

0:43:33.840 --> 0:43:38.759
<v Speaker 1>of the day. Um. And so we sold. We signed. Um. Well,

0:43:38.760 --> 0:43:42.560
<v Speaker 1>you're missing a chapter though about your conversation with Doug Morris. Well,

0:43:42.600 --> 0:43:45.399
<v Speaker 1>I haven't gotten to that yet, okay, Um, I thought

0:43:45.400 --> 0:43:51.239
<v Speaker 1>that happened so so so Doug Um. Doug was at

0:43:51.280 --> 0:43:54.759
<v Speaker 1>Sony and and for whatever reason, he got involved in

0:43:54.800 --> 0:44:00.840
<v Speaker 1>the negotiation. UM, and we had met with him several times.

0:44:00.920 --> 0:44:03.840
<v Speaker 1>I had met with him several times. I met with

0:44:04.040 --> 0:44:07.759
<v Speaker 1>all these guys, with Alex and Drew, but with with

0:44:07.880 --> 0:44:10.040
<v Speaker 1>them alone too, because you know, during a biding war,

0:44:10.120 --> 0:44:12.960
<v Speaker 1>they're always they always want more meetings, more meetings, more

0:44:12.960 --> 0:44:17.640
<v Speaker 1>meetings that they want to sign you. UM and UM

0:44:17.680 --> 0:44:24.560
<v Speaker 1>I met and we we met with Doug and UM

0:44:24.960 --> 0:44:27.080
<v Speaker 1>and we ended up not signing with Doug. We ended

0:44:27.160 --> 0:44:30.440
<v Speaker 1>up signing with Monty. And it was definitely a scary

0:44:30.480 --> 0:44:32.840
<v Speaker 1>phone call for me to have to call Doug Morris

0:44:33.400 --> 0:44:35.760
<v Speaker 1>UM and tell him that we weren't signing with him.

0:44:35.880 --> 0:44:41.960
<v Speaker 1>Um and uh selfie came No. I thought that that

0:44:42.080 --> 0:44:44.719
<v Speaker 1>was when he took a shigne to you before the

0:44:44.800 --> 0:44:48.880
<v Speaker 1>record was actually blown up on republic. Yeah, but what

0:44:48.920 --> 0:44:52.759
<v Speaker 1>did he say to you? He said, he said that

0:44:52.840 --> 0:44:55.120
<v Speaker 1>he wanted to work with me either way, whether he

0:44:55.200 --> 0:44:57.640
<v Speaker 1>got the record or not. And I At the time,

0:44:57.760 --> 0:45:01.600
<v Speaker 1>I didn't let that affect my decision or anything that

0:45:01.640 --> 0:45:05.120
<v Speaker 1>I was doing with this record or with this band,

0:45:06.040 --> 0:45:08.040
<v Speaker 1>because I didn't know whether I could believe him or not.

0:45:08.840 --> 0:45:11.799
<v Speaker 1>And when he when you called him to say he

0:45:11.960 --> 0:45:15.080
<v Speaker 1>wasn't going to get it, what did he say at

0:45:15.080 --> 0:45:19.640
<v Speaker 1>that point? He just said okay, and we signed a

0:45:19.640 --> 0:45:26.400
<v Speaker 1>album deal with the Republic, and um, Selfie came and went, okay,

0:45:26.400 --> 0:45:30.799
<v Speaker 1>just so I know. The guarantee is what your business? No? No, no,

0:45:30.800 --> 0:45:34.560
<v Speaker 1>I thought about money product. Oh it was at first

0:45:34.600 --> 0:45:36.359
<v Speaker 1>it was an album and they had I think three

0:45:36.360 --> 0:45:40.320
<v Speaker 1>album options. It was only a guarantee for one album. Yes,

0:45:41.120 --> 0:45:45.040
<v Speaker 1>and uh, but Selfie was a huge success. I mean

0:45:45.160 --> 0:45:48.239
<v Speaker 1>not to me now, but at the time it was um.

0:45:48.360 --> 0:45:53.319
<v Speaker 1>But it was a novelty record and I didn't even know.

0:45:53.719 --> 0:45:55.839
<v Speaker 1>You know, I always say this sentence. I always think

0:45:55.840 --> 0:45:57.200
<v Speaker 1>it's funny, but at the time, I didn't even know

0:45:57.239 --> 0:46:02.759
<v Speaker 1>what a novelty record was, you know. Um, And how

0:46:02.840 --> 0:46:05.919
<v Speaker 1>long for the time that Monty gets ahold of you,

0:46:06.000 --> 0:46:09.399
<v Speaker 1>do you does it take to sign with Monty? Oh?

0:46:09.400 --> 0:46:13.839
<v Speaker 1>It was a two week process. Yeah, so so so

0:46:13.920 --> 0:46:17.160
<v Speaker 1>Selfie came and went, and then a few weeks a

0:46:17.200 --> 0:46:19.320
<v Speaker 1>few weeks after that, I got a call from Doug

0:46:19.600 --> 0:46:21.319
<v Speaker 1>and he said, will you come in? And I thought

0:46:21.320 --> 0:46:24.560
<v Speaker 1>it was super weird, and he offered me a joint venture.

0:46:25.520 --> 0:46:28.080
<v Speaker 1>And he said, you know, remember when I told you

0:46:28.080 --> 0:46:29.680
<v Speaker 1>I wanted to work with you, Well I meant it,

0:46:29.800 --> 0:46:33.520
<v Speaker 1>and so he offered me a joint venture. UM, and

0:46:33.640 --> 0:46:37.480
<v Speaker 1>I told him that, UM, I would love you know,

0:46:37.480 --> 0:46:39.840
<v Speaker 1>how could I say no to having my own label

0:46:39.840 --> 0:46:43.440
<v Speaker 1>out of Major UM, even though I had never done

0:46:43.480 --> 0:46:48.800
<v Speaker 1>it before? And I, UM, I told him. If I

0:46:48.840 --> 0:46:51.000
<v Speaker 1>could do that, I still need to be a manager

0:46:51.239 --> 0:46:52.800
<v Speaker 1>and I need to be able to manage artists. And

0:46:52.840 --> 0:46:55.880
<v Speaker 1>I'm gonna run my label like a manager. UM. And

0:46:55.960 --> 0:46:57.359
<v Speaker 1>what I meant by that is that I was going

0:46:57.400 --> 0:47:00.200
<v Speaker 1>to help the managers of the artist signed to my

0:47:00.280 --> 0:47:06.880
<v Speaker 1>label with every aspect of their artist career, touring, merch sponsorship, strategy,

0:47:07.239 --> 0:47:11.160
<v Speaker 1>social media, press, whatever it is. I wanted to act

0:47:11.200 --> 0:47:13.399
<v Speaker 1>like a co manager to those artists. And that's how

0:47:13.400 --> 0:47:15.600
<v Speaker 1>I do it. That's how I feel now. You know,

0:47:17.200 --> 0:47:19.440
<v Speaker 1>there's nothing that I'm not involved in and that my

0:47:19.560 --> 0:47:22.520
<v Speaker 1>artists feel like they can't come to me forward because

0:47:22.520 --> 0:47:29.440
<v Speaker 1>I'm the label. UM. Trying to think so the chain Smokers,

0:47:29.880 --> 0:47:32.319
<v Speaker 1>the track comes and goes, let's play it out their

0:47:32.480 --> 0:47:36.759
<v Speaker 1>Universal Republic. Um. It came, and it came and went.

0:47:37.160 --> 0:47:43.400
<v Speaker 1>And you know, I started signing artists at my joint venture, Disruptor.

0:47:43.640 --> 0:47:49.600
<v Speaker 1>And how did you find those acts? Um? A variety

0:47:49.600 --> 0:47:51.879
<v Speaker 1>of ways. Some of them kind of found me through

0:47:51.920 --> 0:47:57.320
<v Speaker 1>managing the Chain Smokers, Some was just scouring the internet. Um.

0:47:57.400 --> 0:48:02.439
<v Speaker 1>Some was word of mouth, various various ways. And you're

0:48:02.440 --> 0:48:06.600
<v Speaker 1>still managing and booking your traditional DJs. Oh no, no, no,

0:48:06.600 --> 0:48:09.000
<v Speaker 1>no no. I wasn't booking anything by that point. I

0:48:09.680 --> 0:48:15.160
<v Speaker 1>was oh so so around this time when I got

0:48:15.160 --> 0:48:18.480
<v Speaker 1>offered the joint venture, I had to sell my piece

0:48:18.680 --> 0:48:23.200
<v Speaker 1>of my my DJ management company, which I did, and

0:48:23.239 --> 0:48:25.720
<v Speaker 1>then I started this new Okay, but if you started

0:48:25.760 --> 0:48:27.799
<v Speaker 1>who's who? Just who's you had a part I had

0:48:27.840 --> 0:48:30.680
<v Speaker 1>partners at the time, Okay, but you didn't start with partners.

0:48:30.840 --> 0:48:34.480
<v Speaker 1>I started with partners, and so you sold it was

0:48:34.680 --> 0:48:38.440
<v Speaker 1>lucrative or was just something I was getting a great

0:48:38.680 --> 0:48:42.359
<v Speaker 1>new offer, and and the Chain Smokers came with me.

0:48:43.000 --> 0:48:46.719
<v Speaker 1>So so only the Chain Smokers only. Okay, so you

0:48:46.760 --> 0:48:49.640
<v Speaker 1>start the label. How long after you signed with Universal

0:48:49.680 --> 0:48:54.279
<v Speaker 1>with the Chain Smokers, do you start disruptor not long.

0:48:54.360 --> 0:48:57.840
<v Speaker 1>It's months a few and you start and you sign

0:48:57.880 --> 0:49:04.880
<v Speaker 1>how many acts? Uh? Um I signed? It wasn't a

0:49:04.880 --> 0:49:07.560
<v Speaker 1>lot I was signed. I signed like two, you know.

0:49:08.320 --> 0:49:11.960
<v Speaker 1>And um, you know there was a little bit of

0:49:12.000 --> 0:49:15.759
<v Speaker 1>a disconnect because I was signing acts at Sony, but

0:49:15.800 --> 0:49:20.240
<v Speaker 1>I managed an act that was at Universal. Um. And

0:49:20.800 --> 0:49:24.560
<v Speaker 1>you know, the thing about Selfie is it was never

0:49:25.600 --> 0:49:30.080
<v Speaker 1>the you know, the path selected by chain smokers. You know,

0:49:30.200 --> 0:49:36.759
<v Speaker 1>they were making very cool, uh progressive house remixes of

0:49:36.840 --> 0:49:40.920
<v Speaker 1>indie bands, and they thought that they weren't even ready

0:49:41.040 --> 0:49:43.200
<v Speaker 1>to make their own songs, you know. And all of

0:49:43.280 --> 0:49:45.680
<v Speaker 1>a sudden, this novelty record happened, which was meant to

0:49:45.719 --> 0:49:49.000
<v Speaker 1>be a Facebook joke, and you know, a lot of

0:49:49.000 --> 0:49:51.279
<v Speaker 1>people thought this is the type of music that they

0:49:51.280 --> 0:49:54.279
<v Speaker 1>wanted to make, but it never was. You know, they

0:49:54.280 --> 0:49:57.440
<v Speaker 1>hadn't even gotten to the point where they were ready

0:49:57.440 --> 0:50:01.879
<v Speaker 1>to decide what what and when they thought that they

0:50:01.880 --> 0:50:04.160
<v Speaker 1>had to earn the right to make original music, and

0:50:04.200 --> 0:50:06.720
<v Speaker 1>they didn't. They weren't even thinking about that at this point,

0:50:07.480 --> 0:50:11.720
<v Speaker 1>and then they were thrust into this situation. Um. But

0:50:11.880 --> 0:50:16.600
<v Speaker 1>you know, Selfie did make them globally famous, and we

0:50:16.800 --> 0:50:24.480
<v Speaker 1>had built a kind of small, very small cult following

0:50:25.200 --> 0:50:28.400
<v Speaker 1>just from the remixes and from them deejaying, But now

0:50:29.160 --> 0:50:32.720
<v Speaker 1>their fan base was a million times as big, and

0:50:34.400 --> 0:50:37.560
<v Speaker 1>of those fans were selfie fans, not chain smokers fans.

0:50:38.239 --> 0:50:42.160
<v Speaker 1>And so what I was testing, what we three of

0:50:42.200 --> 0:50:43.920
<v Speaker 1>us kind of were tesked with for the for the

0:50:44.000 --> 0:50:47.239
<v Speaker 1>few years after that, was converting selfie fans into chain

0:50:47.320 --> 0:50:55.400
<v Speaker 1>smokers fans. Um. But eventually what happened was, Um, Republic

0:50:55.480 --> 0:50:59.080
<v Speaker 1>let them go, and I brought them over and signed

0:50:59.080 --> 0:51:02.359
<v Speaker 1>them to my late Okay, a little bit slower. Did

0:51:02.360 --> 0:51:11.520
<v Speaker 1>you negotiate them away or did they let them go? Um,

0:51:12.440 --> 0:51:15.759
<v Speaker 1>we had a conversation, had a conversation, but based on

0:51:15.840 --> 0:51:19.360
<v Speaker 1>prior conversation, you were not thrilled with the job Republic

0:51:19.440 --> 0:51:25.200
<v Speaker 1>was doing with your act. I will talk, okay. Is

0:51:25.280 --> 0:51:28.760
<v Speaker 1>that Monty is specializes in this and picking up records,

0:51:28.800 --> 0:51:31.799
<v Speaker 1>which he actually learned from Doug, and that was successful.

0:51:31.840 --> 0:51:34.440
<v Speaker 1>But you did not have another successful track at Universal.

0:51:34.640 --> 0:51:36.719
<v Speaker 1>I don't want to go there. I don't think we

0:51:36.800 --> 0:51:38.920
<v Speaker 1>got to that point. I just you know, they signed

0:51:38.920 --> 0:51:42.360
<v Speaker 1>a novelty record, and they got a novelty record. Um,

0:51:42.400 --> 0:51:45.840
<v Speaker 1>that's not what that band was meant to do or

0:51:45.920 --> 0:51:50.200
<v Speaker 1>wanted to do. Okay, did they ever put out an album? Now? Okay,

0:51:50.239 --> 0:51:52.520
<v Speaker 1>they just put out how many tracks? We put out?

0:51:52.560 --> 0:51:58.040
<v Speaker 1>Three songs? Okay. And it was amicable with Republicans. Okay,

0:51:58.120 --> 0:52:02.560
<v Speaker 1>so you're bringing him over to the Disruptor, yes, um, yes,

0:52:02.719 --> 0:52:05.319
<v Speaker 1>so it was definitely amicable. And Monty is still a

0:52:05.320 --> 0:52:10.360
<v Speaker 1>good friend and mentor to me to this day. Um. So,

0:52:10.680 --> 0:52:13.880
<v Speaker 1>you know, they really didn't have any choices because they

0:52:13.880 --> 0:52:17.360
<v Speaker 1>were the guys that had a novelty record, so you know,

0:52:17.440 --> 0:52:21.440
<v Speaker 1>they uh, you know, luckily I had this labeled to

0:52:21.640 --> 0:52:25.080
<v Speaker 1>give them a um an outlet to put out music.

0:52:25.239 --> 0:52:27.680
<v Speaker 1>And so we brought them over to my label and

0:52:28.120 --> 0:52:33.920
<v Speaker 1>they had made all this music. Um um. They had

0:52:33.960 --> 0:52:37.120
<v Speaker 1>made about ten songs over this period that they hadn't

0:52:37.160 --> 0:52:39.000
<v Speaker 1>been able to release. And so I said to them,

0:52:39.040 --> 0:52:44.680
<v Speaker 1>you know, let's just release a song every month and

0:52:44.920 --> 0:52:47.880
<v Speaker 1>we will feed our core fans that really care about

0:52:48.000 --> 0:52:51.000
<v Speaker 1>us and will continue to tour, and we'll just build

0:52:51.040 --> 0:52:55.080
<v Speaker 1>it organically, and our fans will love us because they

0:52:55.120 --> 0:52:57.560
<v Speaker 1>love chain smokers and if we deliver them a chain

0:52:57.600 --> 0:53:02.680
<v Speaker 1>Smoker song every month, it's better than that. And hopefully

0:53:02.760 --> 0:53:05.319
<v Speaker 1>every time we released one of those songs will make

0:53:05.360 --> 0:53:10.239
<v Speaker 1>a few new fans. And so UM none of the

0:53:10.280 --> 0:53:14.759
<v Speaker 1>other labels at Sony UM, because my joint venture, I

0:53:14.760 --> 0:53:17.439
<v Speaker 1>can go through any of the labels at Sony. None

0:53:17.440 --> 0:53:20.680
<v Speaker 1>of them wanted to work with the Chain Smokers because

0:53:20.680 --> 0:53:25.440
<v Speaker 1>they were the guys who and chose and who chose Universal,

0:53:26.560 --> 0:53:30.680
<v Speaker 1>And so I was on my own. And so we

0:53:30.719 --> 0:53:36.600
<v Speaker 1>started putting out UM a song a month, and you know,

0:53:36.719 --> 0:53:38.960
<v Speaker 1>three or four months go by, three or four songs

0:53:39.000 --> 0:53:42.160
<v Speaker 1>come out, and I'm looking at the data and you know,

0:53:42.200 --> 0:53:45.600
<v Speaker 1>one of the amazing things about Doug Um is that,

0:53:45.920 --> 0:53:48.799
<v Speaker 1>you know, he really mentored me and like taught me

0:53:49.120 --> 0:53:53.920
<v Speaker 1>how to read records, UM the way we don't, a

0:53:53.960 --> 0:53:57.440
<v Speaker 1>different way than we read records today. UM. But I

0:53:57.440 --> 0:54:02.560
<v Speaker 1>would look at UM, you know, numbers by city, downloads

0:54:02.600 --> 0:54:08.640
<v Speaker 1>by city, UM, and I noticed that this one song,

0:54:08.719 --> 0:54:12.000
<v Speaker 1>which was the second song we put out, was selling

0:54:12.000 --> 0:54:16.279
<v Speaker 1>and streaming double what the other songs were doing. And

0:54:16.320 --> 0:54:18.880
<v Speaker 1>then I was like, something's going on here this record.

0:54:18.880 --> 0:54:24.479
<v Speaker 1>Why is this record doing more than our normal and UM,

0:54:24.640 --> 0:54:29.240
<v Speaker 1>I H I started looking at Shazam and I found

0:54:29.239 --> 0:54:32.120
<v Speaker 1>that it was Shazam ing in UM Houston and San

0:54:32.160 --> 0:54:38.239
<v Speaker 1>Francisco and I brought it to Doug and UM. When

0:54:38.239 --> 0:54:40.480
<v Speaker 1>I walked into his office, Rob Stringer was in his

0:54:40.560 --> 0:54:44.920
<v Speaker 1>office and I said, Doug, Doug, this record jasaming in

0:54:44.960 --> 0:54:47.480
<v Speaker 1>Houston and San Francisco, like, I think I got something here,

0:54:48.080 --> 0:54:51.839
<v Speaker 1>and Rob was like, what, Yeah, you should probably show

0:54:51.880 --> 0:54:54.359
<v Speaker 1>this at some of the team at Columbia. And so

0:54:54.520 --> 0:54:58.880
<v Speaker 1>I showed it to the guys at Columbia and actually

0:54:58.920 --> 0:55:01.920
<v Speaker 1>that's not true. I called UM in A and R

0:55:02.040 --> 0:55:06.279
<v Speaker 1>Columbia and got his message that he was on his honeymoon.

0:55:06.840 --> 0:55:09.160
<v Speaker 1>And I left him a message, figuring I'll never hear

0:55:09.239 --> 0:55:13.440
<v Speaker 1>back from them. And UM. About three days later, I

0:55:13.440 --> 0:55:17.000
<v Speaker 1>got a call from a different guy saying, hey, so

0:55:17.120 --> 0:55:19.200
<v Speaker 1>and so told me to check his voicemail and I

0:55:19.200 --> 0:55:21.160
<v Speaker 1>got your message and I just looked at this record

0:55:21.200 --> 0:55:25.600
<v Speaker 1>and I think you got something here. And UM. By

0:55:25.640 --> 0:55:28.520
<v Speaker 1>that time I had already started going to radio myself.

0:55:29.440 --> 0:55:35.040
<v Speaker 1>UM and Columbia came in and up streamed it, and

0:55:36.440 --> 0:55:39.400
<v Speaker 1>we continue to put out a song every month. They

0:55:39.840 --> 0:55:43.799
<v Speaker 1>let me keep doing what I was doing. UM, but

0:55:43.840 --> 0:55:47.080
<v Speaker 1>it was really unheard of at the time to put

0:55:47.080 --> 0:55:50.719
<v Speaker 1>out records when you're working a record at radio. But

0:55:50.840 --> 0:55:54.919
<v Speaker 1>my attitude was I'm delivering to the fan. The fan

0:55:55.000 --> 0:55:58.279
<v Speaker 1>has been listening to this record already for a really

0:55:58.320 --> 0:56:01.040
<v Speaker 1>long time. You go play it for the masters on

0:56:01.040 --> 0:56:03.360
<v Speaker 1>the radio, and I'm going to keep delivering to my

0:56:03.440 --> 0:56:05.759
<v Speaker 1>fan because I want my artists to keep being able

0:56:05.800 --> 0:56:08.600
<v Speaker 1>to tour. And they just let me do it. And

0:56:08.640 --> 0:56:12.319
<v Speaker 1>it worked. But everyone people didn't understand it. Radio didn't

0:56:12.400 --> 0:56:17.279
<v Speaker 1>understand it. Even streaming services didn't really understand why I

0:56:17.320 --> 0:56:22.520
<v Speaker 1>was doing it. Um, And you know what ended up

0:56:22.560 --> 0:56:24.799
<v Speaker 1>happening is we just started having hit after hit after

0:56:24.880 --> 0:56:28.719
<v Speaker 1>hit after hit, and because there were different singers on

0:56:28.719 --> 0:56:31.719
<v Speaker 1>the songs, we got to a point where we could

0:56:31.760 --> 0:56:34.400
<v Speaker 1>have multiple songs on the radio at the same time.

0:56:35.760 --> 0:56:39.640
<v Speaker 1>And you know, and then we just went on a

0:56:40.000 --> 0:56:46.840
<v Speaker 1>on a crazy run. Um. And you know now they've

0:56:47.000 --> 0:56:51.000
<v Speaker 1>and and you know since then, um, you know, Drew

0:56:51.080 --> 0:56:54.239
<v Speaker 1>became a singer, Alex became a piano player, and they

0:56:54.239 --> 0:56:59.520
<v Speaker 1>really evolved and now this DJ act is a full band. Okay,

0:56:59.760 --> 0:57:02.359
<v Speaker 1>just stopping there for a second. How many acts are

0:57:02.360 --> 0:57:06.000
<v Speaker 1>signed to Disruptor right now? Eight eight on the label

0:57:06.239 --> 0:57:11.120
<v Speaker 1>five that we manage? Okay, so how's the if you

0:57:11.239 --> 0:57:13.600
<v Speaker 1>have a management deal? That's all about the money. But

0:57:13.640 --> 0:57:17.280
<v Speaker 1>how's the money split up? Um, if you're both signed

0:57:17.280 --> 0:57:21.200
<v Speaker 1>to label and manage from me. UM. So if you're

0:57:21.200 --> 0:57:25.240
<v Speaker 1>signed to label and managed by me, UM, the label

0:57:25.320 --> 0:57:29.320
<v Speaker 1>does not take UM three sixty rights because you're already

0:57:29.320 --> 0:57:32.959
<v Speaker 1>paying commission and we don't commission your record royalties because

0:57:33.000 --> 0:57:35.600
<v Speaker 1>you're signed to our label. So it's actually from a

0:57:35.640 --> 0:57:40.200
<v Speaker 1>financial level, really really beneficial, UM, because we don't double

0:57:40.240 --> 0:57:44.760
<v Speaker 1>dip obviously. And who other than the Chain Smokers has

0:57:44.800 --> 0:57:48.480
<v Speaker 1>been successful on your label? UM? Well them the most

0:57:48.560 --> 0:57:53.120
<v Speaker 1>by far. UM. The next biggest artist I would say,

0:57:53.320 --> 0:57:57.520
<v Speaker 1>UM that that we've had for a while is lost Kings. UM.

0:57:57.560 --> 0:58:00.320
<v Speaker 1>But I just recently signed signed this dis these star

0:58:00.480 --> 0:58:04.720
<v Speaker 1>named Dove Cameron, who I'm super excited about. Okay. So

0:58:04.960 --> 0:58:07.680
<v Speaker 1>of the acts that are signed, how many your electronic

0:58:07.800 --> 0:58:11.720
<v Speaker 1>music acts? Three? Okay? So it is all types of

0:58:12.040 --> 0:58:14.880
<v Speaker 1>all types. I sign what I like. That's it. Okay,

0:58:15.200 --> 0:58:19.000
<v Speaker 1>So the Chain Smokers, let's play that out. So where

0:58:19.160 --> 0:58:24.360
<v Speaker 1>where the Chain Smokers at today? Um? They are full bands.

0:58:24.800 --> 0:58:27.800
<v Speaker 1>As I mentioned, UM, they write and sing all the

0:58:27.920 --> 0:58:30.680
<v Speaker 1>and play the instruments on all their own songs. I mean,

0:58:30.920 --> 0:58:33.040
<v Speaker 1>you know, they write with other people, but you know

0:58:33.120 --> 0:58:37.680
<v Speaker 1>they're the main songwriter, UM for the most part. And

0:58:38.200 --> 0:58:41.800
<v Speaker 1>you know they do arenas. UM. They have a residency

0:58:41.840 --> 0:58:45.720
<v Speaker 1>in Vegas which is still djaying. UM. They have a

0:58:45.800 --> 0:58:50.120
<v Speaker 1>lot of other businesses that are involved that they're involved in. Um.

0:58:50.280 --> 0:58:54.120
<v Speaker 1>We have a film and television production company. We have

0:58:54.680 --> 0:59:01.600
<v Speaker 1>a tequila we have a ticketing company that we found it. UM.

0:59:01.680 --> 0:59:04.200
<v Speaker 1>We do a lot of different things, and of those

0:59:04.240 --> 0:59:12.320
<v Speaker 1>other things profitable. Uh answer okay, And the acts where

0:59:12.320 --> 0:59:16.920
<v Speaker 1>you're not the manager, those are three sixty deals. Uh, yes,

0:59:16.960 --> 0:59:21.160
<v Speaker 1>they are so. Like I said, we're the type of

0:59:21.280 --> 0:59:24.240
<v Speaker 1>label that actually helps in the areas where we take

0:59:24.240 --> 0:59:26.960
<v Speaker 1>three sixty. We don't just take three sixty and not

0:59:27.040 --> 0:59:31.040
<v Speaker 1>do the work. How many people work for Disruptor right now? Um?

0:59:31.080 --> 0:59:35.000
<v Speaker 1>Full time seven Um. But the great thing about the

0:59:35.080 --> 0:59:37.400
<v Speaker 1>joint venture setup is that you get to use all

0:59:37.440 --> 0:59:40.680
<v Speaker 1>the departments at Sony. How do you motivate them to

0:59:40.720 --> 0:59:45.640
<v Speaker 1>work for you? I don't think I need to. I

0:59:45.680 --> 0:59:49.080
<v Speaker 1>think everyone's super motivated and wants to work. But they

0:59:49.120 --> 0:59:55.320
<v Speaker 1>only work if the record is upstreamed. No. UM, you

0:59:55.360 --> 0:59:59.040
<v Speaker 1>mean the individual labels, Yes they do, but we you know,

0:59:59.120 --> 1:00:04.240
<v Speaker 1>we use other Sony resources like legal and graphic design, okay,

1:00:04.280 --> 1:00:08.280
<v Speaker 1>and you're not charged back for that stuff. Okay, But

1:00:08.360 --> 1:00:13.439
<v Speaker 1>Doug ultimately leaves. How does that? Where does that leave you? Um? Well,

1:00:13.560 --> 1:00:18.360
<v Speaker 1>by that time, you know, we were doing great and UM,

1:00:19.960 --> 1:00:24.080
<v Speaker 1>I got super lucky because the best next person for

1:00:24.120 --> 1:00:26.560
<v Speaker 1>me to get the job was Rob and Rob and

1:00:26.600 --> 1:00:30.680
<v Speaker 1>I had just gone on this historic run at Columbia

1:00:30.760 --> 1:00:36.200
<v Speaker 1>with the chain smokers, um, and he was far and away.

1:00:36.240 --> 1:00:38.400
<v Speaker 1>There was no other choice for that job. He was

1:00:38.440 --> 1:00:41.000
<v Speaker 1>the best for it, and I couldn't have asked. Okay,

1:00:41.000 --> 1:00:44.760
<v Speaker 1>so who your mentors today? Oh goodness, it's a long list.

1:00:45.280 --> 1:00:56.440
<v Speaker 1>I mean Rob number one, Doug Um, there's so many Um,

1:00:56.640 --> 1:01:04.840
<v Speaker 1>Rob Light, Um, Marty bandar Um. You know, I've been

1:01:04.920 --> 1:01:06.760
<v Speaker 1>lucky to work with a lot of great Okay, So

1:01:06.920 --> 1:01:09.840
<v Speaker 1>what is your style? You're the guy who actually jumps

1:01:09.880 --> 1:01:11.920
<v Speaker 1>on the phone or do an email guy? What kind

1:01:11.920 --> 1:01:14.600
<v Speaker 1>of how do you operate? Um? I do everything I work.

1:01:17.280 --> 1:01:20.280
<v Speaker 1>I do a lot of email, but I I don't

1:01:20.320 --> 1:01:22.960
<v Speaker 1>email a second time. If if I don't get the

1:01:23.040 --> 1:01:25.400
<v Speaker 1>email back, I don't get the email response I want,

1:01:25.440 --> 1:01:28.960
<v Speaker 1>then I'm on the phone right away. I hate when

1:01:29.040 --> 1:01:31.680
<v Speaker 1>somebody who works for me says, oh so I haven't

1:01:31.720 --> 1:01:36.000
<v Speaker 1>heard from so and some call. Um. You know that

1:01:36.360 --> 1:01:38.240
<v Speaker 1>things always get worked out if you pick up the phone.

1:01:38.400 --> 1:01:40.280
<v Speaker 1>And about how many phone calls do you make a day?

1:01:41.480 --> 1:01:45.600
<v Speaker 1>I never counted. I think I get I think I get, um,

1:01:45.640 --> 1:01:48.960
<v Speaker 1>six thousand emails a day. But how do you decide

1:01:49.000 --> 1:01:52.720
<v Speaker 1>what to read? I read every single email, six thousand emails.

1:01:52.760 --> 1:01:54.600
<v Speaker 1>I get a lot of email. That's you know, your

1:01:54.640 --> 1:01:57.320
<v Speaker 1>your brain goes into a fog after a certain number.

1:01:58.680 --> 1:02:02.920
<v Speaker 1>I'm a different generation. I'm not sure that's true. Okay, boom,

1:02:03.040 --> 1:02:06.120
<v Speaker 1>But so I asked my wife. Okay, we're looking at

1:02:06.160 --> 1:02:09.000
<v Speaker 1>the business. We're along this uh and in this timeline,

1:02:09.000 --> 1:02:12.360
<v Speaker 1>do you meet your wife? My wife three years ago?

1:02:13.200 --> 1:02:17.760
<v Speaker 1>She was in the studio when they were recording Paris. Okay,

1:02:17.960 --> 1:02:22.600
<v Speaker 1>she was there? Why? Uh? Because the studio was around

1:02:22.640 --> 1:02:26.320
<v Speaker 1>the corner from our from our apartment at the time. No,

1:02:26.440 --> 1:02:29.640
<v Speaker 1>I mean, why was how you met her there? No? No,

1:02:29.720 --> 1:02:31.960
<v Speaker 1>I'm just saying that's that's the point in my career

1:02:31.960 --> 1:02:37.080
<v Speaker 1>where the Chain Smokers that that she we met. Okay, Well,

1:02:37.240 --> 1:02:40.520
<v Speaker 1>was that really the time you met? Yeah? Like I mean,

1:02:40.920 --> 1:02:43.000
<v Speaker 1>and I'm talking about just in a lifespan of the

1:02:43.080 --> 1:02:47.680
<v Speaker 1>Chain Smokers. Okay, So just how did you literally meet

1:02:47.960 --> 1:02:52.560
<v Speaker 1>A friend introduced us. A friend told me about her

1:02:53.120 --> 1:02:55.080
<v Speaker 1>and that he wanted to set me up with her,

1:02:55.840 --> 1:02:59.800
<v Speaker 1>and I wanted to get set up with her. And

1:03:01.120 --> 1:03:05.480
<v Speaker 1>he had tried to get her to come out to

1:03:05.560 --> 1:03:09.080
<v Speaker 1>a social gathering, out one night to a bar restaurant,

1:03:09.200 --> 1:03:12.400
<v Speaker 1>and she always said no. Um. I think she had

1:03:12.400 --> 1:03:15.360
<v Speaker 1>a fear of dating anyone in the music business. I

1:03:15.400 --> 1:03:20.520
<v Speaker 1>don't really know why. Um. So strategically, what I did

1:03:21.080 --> 1:03:26.040
<v Speaker 1>was on my friend's birthday, I got him four tickets

1:03:26.160 --> 1:03:30.560
<v Speaker 1>to Kanye West at Madison Square Garden. Um. This was

1:03:30.600 --> 1:03:34.320
<v Speaker 1>the tour three years ago when he was on the stage. Yeah,

1:03:34.440 --> 1:03:37.920
<v Speaker 1>And so I said, here's four tickets to Kanye, bring

1:03:37.960 --> 1:03:43.080
<v Speaker 1>your girlfriend me and asked Ashley if she wants to go.

1:03:43.320 --> 1:03:46.360
<v Speaker 1>So I kind of set up a double date um

1:03:46.400 --> 1:03:50.040
<v Speaker 1>on purpose, using my friend, and he did and she came.

1:03:50.360 --> 1:03:52.760
<v Speaker 1>And so that was kind of like the first night

1:03:52.800 --> 1:03:54.840
<v Speaker 1>we met. Was that cokay, and you were since you'd

1:03:54.880 --> 1:03:57.200
<v Speaker 1>never met her, she was so appealing to you because

1:03:57.960 --> 1:04:01.040
<v Speaker 1>I thought she was cute, okay, and how long you're

1:04:01.080 --> 1:04:04.600
<v Speaker 1>instant you go to Kanye you're smitten? Is she smitten?

1:04:05.680 --> 1:04:08.520
<v Speaker 1>I was? She definitely was not smitten at that. So

1:04:08.560 --> 1:04:13.720
<v Speaker 1>how did your closer, um convinced her to come out

1:04:13.760 --> 1:04:17.080
<v Speaker 1>with me another night? And and then I closed there? Okay?

1:04:17.120 --> 1:04:19.800
<v Speaker 1>And what was she doing for work at the time? Um?

1:04:20.040 --> 1:04:23.080
<v Speaker 1>She was a model? She is a model. So she

1:04:23.120 --> 1:04:26.160
<v Speaker 1>continues to work as a model. Yes, Well, they say

1:04:26.200 --> 1:04:29.800
<v Speaker 1>that rock stars and models work because they understand the

1:04:29.800 --> 1:04:32.480
<v Speaker 1>same schedule and that you know you wake up late,

1:04:32.480 --> 1:04:34.720
<v Speaker 1>you work night, you know you work heavily certain days.

1:04:35.120 --> 1:04:40.000
<v Speaker 1>Does she understand your schedule? Absolutely? And she's fine with

1:04:40.040 --> 1:04:46.800
<v Speaker 1>you working seven? That's debatable. And you have how many kids?

1:04:47.360 --> 1:04:49.600
<v Speaker 1>One on the way, one on the way. Okay, so

1:04:49.640 --> 1:04:54.720
<v Speaker 1>you haven't hit that threshold? No, when is that coming February? Okay?

1:04:54.560 --> 1:04:58.120
<v Speaker 1>So is that something you wanted to do at this point? Okay?

1:04:58.480 --> 1:05:02.800
<v Speaker 1>So how many kids do you want? Well? I think

1:05:03.000 --> 1:05:06.080
<v Speaker 1>probably three, but my attitude is let's start with one

1:05:06.080 --> 1:05:10.320
<v Speaker 1>and see how that goes. Yeah, okay, so you're doing

1:05:10.360 --> 1:05:16.280
<v Speaker 1>this now? So how much are you traveling now? Um?

1:05:16.320 --> 1:05:18.880
<v Speaker 1>A lot? I travel a lot. I mean I'm definitely

1:05:18.960 --> 1:05:21.880
<v Speaker 1>I'm in l a four or five days a week.

1:05:22.400 --> 1:05:26.120
<v Speaker 1>I'm sorry, four or five days a month. Um, And

1:05:26.160 --> 1:05:29.720
<v Speaker 1>I go to shows and festivals and meetings when when

1:05:29.760 --> 1:05:32.760
<v Speaker 1>I have to be there. Okay, so what's the dream?

1:05:32.760 --> 1:05:38.480
<v Speaker 1>Not if you're not living great now? Um, there's nothing

1:05:38.520 --> 1:05:42.080
<v Speaker 1>more satisfying to me than breaking artists, you know. So

1:05:42.200 --> 1:05:45.560
<v Speaker 1>for me, first and foremost, it's about breaking as many

1:05:45.640 --> 1:05:49.240
<v Speaker 1>artists as I can and building disruptor the label, UM

1:05:49.280 --> 1:05:51.720
<v Speaker 1>to be the biggest it can be. Um. You know,

1:05:51.800 --> 1:05:59.320
<v Speaker 1>obviously I'm entrepreneurial, and I'm really interested in tech and

1:05:59.360 --> 1:06:02.200
<v Speaker 1>how it can help music business and you know, film

1:06:02.200 --> 1:06:06.480
<v Speaker 1>and television and other aspects of the entertainment industry. Um.

1:06:06.520 --> 1:06:11.960
<v Speaker 1>Like I said, we have the film and television production company. UM.

1:06:12.000 --> 1:06:14.840
<v Speaker 1>But yeah, building a label breaking artists number one. Does

1:06:14.880 --> 1:06:17.720
<v Speaker 1>anyone try to poach you do a different job as

1:06:17.720 --> 1:06:21.200
<v Speaker 1>opposed to working your joint venture? Absolutely? And what your

1:06:21.360 --> 1:06:25.120
<v Speaker 1>what do you tell them now? I'm good, no matter

1:06:25.160 --> 1:06:28.680
<v Speaker 1>how much do they throw on the table. Uh. It

1:06:28.720 --> 1:06:37.120
<v Speaker 1>never gets to that point. So one thing we were

1:06:37.160 --> 1:06:39.040
<v Speaker 1>talking about the last time, we were talking about the

1:06:39.080 --> 1:06:42.400
<v Speaker 1>way you constructed album on Spotify. Oh yes, so can

1:06:42.440 --> 1:06:45.120
<v Speaker 1>you tell my audience about that? Yeah? So you know

1:06:45.280 --> 1:06:47.480
<v Speaker 1>in those days when the Chain Smokers and I were

1:06:47.480 --> 1:06:50.040
<v Speaker 1>putting out a song a month, nobody was doing that

1:06:50.120 --> 1:06:51.919
<v Speaker 1>like that. That was tell us what you were doing.

1:06:52.680 --> 1:06:54.560
<v Speaker 1>At that time, we were just putting out a single

1:06:54.600 --> 1:06:58.360
<v Speaker 1>every four weeks on the dot and UM, nobody was

1:06:58.440 --> 1:07:03.600
<v Speaker 1>doing that and UM. So so we just kept on

1:07:03.680 --> 1:07:06.840
<v Speaker 1>doing that. And each year what we would do is

1:07:06.960 --> 1:07:09.720
<v Speaker 1>we would just at the end, we were just wrap

1:07:09.760 --> 1:07:14.400
<v Speaker 1>it into an EP. UM. And so we had two

1:07:14.680 --> 1:07:19.480
<v Speaker 1>you know, eventually we had two EPs. And by that

1:07:19.560 --> 1:07:24.880
<v Speaker 1>point we had had like four or five global hits. UM.

1:07:24.920 --> 1:07:27.960
<v Speaker 1>You know, Closer, which was one of the biggest songs

1:07:27.960 --> 1:07:32.000
<v Speaker 1>of the decade. UM. And so they said, you know,

1:07:32.360 --> 1:07:36.320
<v Speaker 1>we really want to do an album because we've never

1:07:36.360 --> 1:07:38.520
<v Speaker 1>done it before, and we want to make a body

1:07:38.520 --> 1:07:40.240
<v Speaker 1>of work and we want to see what that's like

1:07:40.360 --> 1:07:42.920
<v Speaker 1>and we want to experience that and and and at

1:07:42.960 --> 1:07:47.040
<v Speaker 1>that time, you know, we had all felt like we deserved,

1:07:47.040 --> 1:07:50.920
<v Speaker 1>we had earned the right to put out an album. UM.

1:07:50.960 --> 1:07:55.920
<v Speaker 1>You know, we had we had UM. I think by

1:07:55.920 --> 1:07:58.080
<v Speaker 1>that time we were there was a there was a

1:07:58.120 --> 1:08:01.280
<v Speaker 1>time where we had we were in uh the billboard

1:08:01.640 --> 1:08:04.000
<v Speaker 1>top ten for sixty one weeks in a row or

1:08:04.040 --> 1:08:08.720
<v Speaker 1>something like that. UM, and we had just had three

1:08:08.760 --> 1:08:11.040
<v Speaker 1>songs in the top ten on billboards. Like we really

1:08:11.080 --> 1:08:14.280
<v Speaker 1>felt like we had earned the right to put out

1:08:14.280 --> 1:08:16.439
<v Speaker 1>an album, and so they did it. They made an

1:08:16.479 --> 1:08:19.600
<v Speaker 1>album and and and making that album was one of

1:08:19.640 --> 1:08:22.960
<v Speaker 1>the hardest That first album, UM, Memories Do Not Open

1:08:23.120 --> 1:08:25.160
<v Speaker 1>was probably one of the hardest things that I was

1:08:25.200 --> 1:08:28.759
<v Speaker 1>ever involved in. It was just so much work and

1:08:28.960 --> 1:08:34.400
<v Speaker 1>we did uh the traditional single single album rollout, and

1:08:34.439 --> 1:08:38.800
<v Speaker 1>the album came out UM. I want to say in

1:08:38.880 --> 1:08:42.559
<v Speaker 1>like March or April, I don't remember exactly, but what

1:08:42.600 --> 1:08:46.280
<v Speaker 1>happened was, even though we had two big hits and

1:08:46.320 --> 1:08:49.240
<v Speaker 1>they were all over the radio, after they put the

1:08:49.280 --> 1:08:52.960
<v Speaker 1>album out, they couldn't put music out for six or

1:08:53.000 --> 1:08:56.519
<v Speaker 1>eight months, and it destroyed them. They didn't know that

1:08:56.680 --> 1:08:59.559
<v Speaker 1>they had never experienced what it felt like to not

1:08:59.680 --> 1:09:02.679
<v Speaker 1>put music all the time. Even though they were super

1:09:02.680 --> 1:09:04.560
<v Speaker 1>proud of this album, they were like, when can we

1:09:04.600 --> 1:09:06.639
<v Speaker 1>put out another song? When can we put another another song?

1:09:06.760 --> 1:09:10.400
<v Speaker 1>So they got super frustrated. UM. And the way we

1:09:10.479 --> 1:09:15.360
<v Speaker 1>defined success of that album was based on the consumption

1:09:15.640 --> 1:09:20.200
<v Speaker 1>of the songs that weren't singles. And you know, it

1:09:20.280 --> 1:09:22.640
<v Speaker 1>was the number one album and it went platinum. But

1:09:22.720 --> 1:09:24.479
<v Speaker 1>the thing I think for us that was the most

1:09:24.479 --> 1:09:27.920
<v Speaker 1>satisfying is that the non singles were all consumed in

1:09:28.120 --> 1:09:32.519
<v Speaker 1>equal amount, which meant people were actually consuming this album.

1:09:32.560 --> 1:09:36.400
<v Speaker 1>So we had kind of checked that box and UM

1:09:36.439 --> 1:09:40.519
<v Speaker 1>after that, they were like, no, we can't do like this,

1:09:40.640 --> 1:09:45.280
<v Speaker 1>this doesn't work for us. So so we came up

1:09:45.320 --> 1:09:48.080
<v Speaker 1>this way to kind of marry the two strategies where

1:09:48.080 --> 1:09:51.720
<v Speaker 1>we can make a body of work, put out an

1:09:51.720 --> 1:09:56.760
<v Speaker 1>album but also released music regularly. UM and so we

1:09:56.800 --> 1:10:00.160
<v Speaker 1>came up with this strategy called the building album, whereby

1:10:00.280 --> 1:10:05.920
<v Speaker 1>essentially we release a song every month or two, and

1:10:06.320 --> 1:10:10.639
<v Speaker 1>instead of making it a single on streaming platforms, we

1:10:11.000 --> 1:10:13.920
<v Speaker 1>add it to the records that have come out before it.

1:10:14.120 --> 1:10:17.280
<v Speaker 1>So the first song comes out, and the second song

1:10:17.360 --> 1:10:19.639
<v Speaker 1>comes out and it's a two song album. Then when

1:10:19.680 --> 1:10:22.720
<v Speaker 1>the third song comes out, it's a three song album.

1:10:22.800 --> 1:10:25.920
<v Speaker 1>And what we would do is deliver these products and

1:10:25.960 --> 1:10:30.320
<v Speaker 1>revoke the product before it. UM. People who work at

1:10:30.360 --> 1:10:33.160
<v Speaker 1>labels know what I mean when I'm saying that, But basically,

1:10:33.160 --> 1:10:35.559
<v Speaker 1>you deliver a four song album and the three song

1:10:35.600 --> 1:10:38.280
<v Speaker 1>album that was there before you take down. But you

1:10:38.320 --> 1:10:41.360
<v Speaker 1>can still stream it. It's just not an album. It's

1:10:41.439 --> 1:10:45.519
<v Speaker 1>a four song album. But okay, what would you saw

1:10:45.560 --> 1:10:48.120
<v Speaker 1>on the fourth on the fourth month when the fourth

1:10:48.160 --> 1:10:50.920
<v Speaker 1>song comes out? We put out a four song album

1:10:50.960 --> 1:10:53.960
<v Speaker 1>which has one new song and the three songs that

1:10:54.000 --> 1:10:56.880
<v Speaker 1>have come out prior. But the month before we had

1:10:56.920 --> 1:11:00.759
<v Speaker 1>put out a three song album. So when the fourth

1:11:00.760 --> 1:11:04.439
<v Speaker 1>song album comes out, we take down the product that

1:11:04.560 --> 1:11:06.640
<v Speaker 1>was the three song album that we had released a

1:11:06.680 --> 1:11:10.800
<v Speaker 1>month prior. And so it's an album that increases by

1:11:10.840 --> 1:11:14.760
<v Speaker 1>one song every time we release a song. And what

1:11:14.840 --> 1:11:17.559
<v Speaker 1>that does is it keeps our album as the most

1:11:17.880 --> 1:11:24.000
<v Speaker 1>real as the um most recent release. Let's go slowly

1:11:24.000 --> 1:11:26.040
<v Speaker 1>because the audience may not be able to visualize. It

1:11:26.320 --> 1:11:29.240
<v Speaker 1>may not be able to visualize at this point in time. Yes,

1:11:29.600 --> 1:11:34.320
<v Speaker 1>there's one ever evolving Jamee Smoker's album. Yes, and how

1:11:34.360 --> 1:11:40.960
<v Speaker 1>many songs in maximum ten? I mean twelve months? It

1:11:41.000 --> 1:11:43.559
<v Speaker 1>should be twelve songs, but life it's not perfect, so

1:11:43.560 --> 1:11:46.599
<v Speaker 1>it's about tens. Okay, So if there are twelve songs

1:11:46.600 --> 1:11:49.640
<v Speaker 1>in the album, every month a song is added and

1:11:49.720 --> 1:11:54.320
<v Speaker 1>a song is dropped. No, every month a song is added,

1:11:56.120 --> 1:12:00.559
<v Speaker 1>but um, the album that was put out the before

1:12:01.439 --> 1:12:04.840
<v Speaker 1>is short a song. It's a different product every time

1:12:04.880 --> 1:12:08.600
<v Speaker 1>you deliver the album. It's a different product on streaming services,

1:12:08.640 --> 1:12:11.280
<v Speaker 1>so you would see, let's say we're in month four.

1:12:11.600 --> 1:12:14.760
<v Speaker 1>When we deliver, you see a four song album, but

1:12:14.840 --> 1:12:17.479
<v Speaker 1>there's also on their page the three song album that

1:12:17.600 --> 1:12:20.439
<v Speaker 1>was released the month before. So we take down the

1:12:20.479 --> 1:12:23.840
<v Speaker 1>three song album, which those three songs are still on

1:12:23.920 --> 1:12:26.640
<v Speaker 1>the four song album, but the four song album is

1:12:26.680 --> 1:12:29.719
<v Speaker 1>the current form because it has the one new song. Okay,

1:12:29.840 --> 1:12:32.200
<v Speaker 1>let's go to the month after that, a five song

1:12:32.280 --> 1:12:35.280
<v Speaker 1>album gets released with one new song and the four

1:12:35.320 --> 1:12:39.640
<v Speaker 1>prior songs, and that four song album gets taken down. Okay,

1:12:39.800 --> 1:12:45.080
<v Speaker 1>once you hit twelve songs, then you just keep it

1:12:45.120 --> 1:12:49.400
<v Speaker 1>as twelve. Correct, So every month you add a track

1:12:50.360 --> 1:12:53.400
<v Speaker 1>to the previous existing and you drop a track and

1:12:53.600 --> 1:12:57.880
<v Speaker 1>delete that. You know, that album title. So if I

1:12:57.920 --> 1:13:01.120
<v Speaker 1>went on streaming, if I want to Spotify, now, how

1:13:01.160 --> 1:13:05.880
<v Speaker 1>many Chain Smoker's albums would I see? So there's two

1:13:05.920 --> 1:13:11.560
<v Speaker 1>full albums and one album that's being built right now. Okay.

1:13:11.600 --> 1:13:13.720
<v Speaker 1>One of those two one was obviously the album you

1:13:13.760 --> 1:13:16.719
<v Speaker 1>were talking about the first The first one was Memories

1:13:16.760 --> 1:13:19.960
<v Speaker 1>Doing It Open, and the second one was Sick Boy,

1:13:20.040 --> 1:13:22.479
<v Speaker 1>which was last year, which was also done as a

1:13:22.520 --> 1:13:26.240
<v Speaker 1>building album. Okay, so after twelve months you start a

1:13:26.240 --> 1:13:29.559
<v Speaker 1>new album. Yeah, they make each year as a chapter.

1:13:29.760 --> 1:13:32.040
<v Speaker 1>Each year is an okay, so tell us what the

1:13:32.080 --> 1:13:35.639
<v Speaker 1>advantages of doing it this way are. So obviously there

1:13:35.680 --> 1:13:41.440
<v Speaker 1>are um business advantages, but there are also artistic advantage.

1:13:41.520 --> 1:13:47.559
<v Speaker 1>Start with, the business advantages are that every song gets

1:13:47.600 --> 1:13:51.720
<v Speaker 1>its own campaign, Every song gets its own life, its

1:13:51.720 --> 1:13:56.240
<v Speaker 1>own chance to be something, and the fans get the

1:13:56.280 --> 1:14:00.120
<v Speaker 1>opportunity to decide if a song is if they love

1:14:00.240 --> 1:14:03.080
<v Speaker 1>something so much that it should be a single. Um.

1:14:03.280 --> 1:14:07.559
<v Speaker 1>So you know, every song gets playlisted and saved and

1:14:07.640 --> 1:14:12.840
<v Speaker 1>shared and a music video and thus there you know,

1:14:12.920 --> 1:14:15.120
<v Speaker 1>blood sweat and tears that they put into each song

1:14:15.960 --> 1:14:21.200
<v Speaker 1>is validated because each gets a shot. Where you know, nowadays,

1:14:21.640 --> 1:14:23.680
<v Speaker 1>when you put out an album, the singles get all

1:14:23.680 --> 1:14:26.679
<v Speaker 1>the shine and the album cuts only the hardcore fans

1:14:26.720 --> 1:14:31.000
<v Speaker 1>listen to. And they but that artist spent months and

1:14:31.120 --> 1:14:34.360
<v Speaker 1>years and money and blood, sweat and tears putting those

1:14:34.360 --> 1:14:38.320
<v Speaker 1>other ten songs together. They don't deserve to get under

1:14:38.600 --> 1:14:41.920
<v Speaker 1>listened to, basically, you know, and that that that was

1:14:41.960 --> 1:14:44.080
<v Speaker 1>what we were hoping to avoid with our first album,

1:14:44.120 --> 1:14:48.479
<v Speaker 1>and I think we did, but we just find so

1:14:48.560 --> 1:14:51.360
<v Speaker 1>much more satisfaction when each song Traditionally, let's you know,

1:14:51.400 --> 1:14:53.800
<v Speaker 1>there are many people they put on an album and

1:14:53.880 --> 1:14:55.840
<v Speaker 1>the album. The album could be over in a day.

1:14:55.920 --> 1:14:58.680
<v Speaker 1>At this point, they can see skip rates on Spotify

1:14:58.800 --> 1:15:00.760
<v Speaker 1>and if they're in the albums, they may not have

1:15:00.800 --> 1:15:04.400
<v Speaker 1>another album for years. Correct. Okay, So would you advise

1:15:05.240 --> 1:15:10.040
<v Speaker 1>other acts to do this? Absolutely? I mean listen, there's well,

1:15:10.760 --> 1:15:14.720
<v Speaker 1>why don't we get to the artistic Okay? Okay, I figured, okay,

1:15:14.840 --> 1:15:19.000
<v Speaker 1>keep going. So the artistic points, and this is where

1:15:19.000 --> 1:15:22.840
<v Speaker 1>Alexandrew really came up with it was that what what

1:15:22.960 --> 1:15:27.000
<v Speaker 1>they learned when they put out the traditional album was

1:15:27.040 --> 1:15:28.920
<v Speaker 1>that by the time it came out and in the

1:15:29.000 --> 1:15:32.000
<v Speaker 1>months after the songs that they had written they were

1:15:32.040 --> 1:15:35.800
<v Speaker 1>on that album, we're not how they felt anymore. So

1:15:35.840 --> 1:15:37.439
<v Speaker 1>they were like, that's how I felt when I was

1:15:37.479 --> 1:15:39.960
<v Speaker 1>writing this, but it's not how I feel right now

1:15:40.800 --> 1:15:44.479
<v Speaker 1>and in in this world like with instant gratification, like

1:15:44.840 --> 1:15:47.280
<v Speaker 1>they're like, we want to write a song and put

1:15:47.320 --> 1:15:52.719
<v Speaker 1>it out. And so that's what the building album strategy allows.

1:15:52.840 --> 1:15:55.479
<v Speaker 1>We don't finish ten songs and then put them out

1:15:55.560 --> 1:15:58.400
<v Speaker 1>once a month. They finish it, then it's the next song.

1:15:58.520 --> 1:16:00.639
<v Speaker 1>They finished, the next one, then the next. But if

1:16:00.640 --> 1:16:04.840
<v Speaker 1>there's more than one per month, uh, you know, they're

1:16:04.840 --> 1:16:07.880
<v Speaker 1>always working on a few at a time, and then

1:16:07.920 --> 1:16:10.280
<v Speaker 1>they decide which one's next, and which one comes after that,

1:16:10.360 --> 1:16:13.240
<v Speaker 1>which one comes out. It's kind of like they're finishing

1:16:13.280 --> 1:16:16.920
<v Speaker 1>them and putting them out on a rolling basis essentially. UM.

1:16:17.520 --> 1:16:21.840
<v Speaker 1>But it's so great for them because you know, if

1:16:21.880 --> 1:16:24.280
<v Speaker 1>they're depressed, they write a depressing song, they put it out.

1:16:24.320 --> 1:16:26.320
<v Speaker 1>If they're happy, they make a happy song, they put

1:16:26.320 --> 1:16:29.400
<v Speaker 1>it out. So, you know, an album is supposed to

1:16:29.439 --> 1:16:32.000
<v Speaker 1>be a body of work based on how the artist

1:16:32.120 --> 1:16:37.600
<v Speaker 1>is feeling. This allows them to do that in real time. Okay,

1:16:37.760 --> 1:16:40.639
<v Speaker 1>you put out a track, tell us how you work

1:16:40.680 --> 1:16:45.639
<v Speaker 1>it in the marketplace. UM, we make a music video

1:16:46.000 --> 1:16:51.600
<v Speaker 1>for every track, for every track with what kind of budget? UM,

1:16:51.880 --> 1:17:01.200
<v Speaker 1>sometimes five dollars sometimes we they're were creative and we

1:17:01.280 --> 1:17:06.519
<v Speaker 1>have a UM a lot of friends who do videos

1:17:06.560 --> 1:17:08.920
<v Speaker 1>with us, UM that have been with us since day one.

1:17:08.960 --> 1:17:13.320
<v Speaker 1>I mean we the Chain Smoker's team. Pretty much every

1:17:13.360 --> 1:17:15.240
<v Speaker 1>person has been with us since day one, and if

1:17:15.280 --> 1:17:19.200
<v Speaker 1>they haven't, we've never fired somebody ever. So like once

1:17:19.240 --> 1:17:22.360
<v Speaker 1>you're in, you're in, UM. And so some of our

1:17:22.439 --> 1:17:26.040
<v Speaker 1>video guys have been with us, you know, since they

1:17:26.040 --> 1:17:29.000
<v Speaker 1>were following Alex and Drew to like nightclubs in New

1:17:29.080 --> 1:17:33.479
<v Speaker 1>York City filming them, you know. UM. And so we

1:17:33.479 --> 1:17:36.360
<v Speaker 1>we turned music videos around in a day. I mean

1:17:36.680 --> 1:17:40.600
<v Speaker 1>the Closer the Closer lyric video UM has over a

1:17:40.640 --> 1:17:45.920
<v Speaker 1>billion views. And our our buddy Rory, you know, rented

1:17:45.920 --> 1:17:50.120
<v Speaker 1>a car and made it in a day. You know. UM.

1:17:50.240 --> 1:17:53.679
<v Speaker 1>There's another recent video that we did a few months

1:17:53.720 --> 1:17:57.240
<v Speaker 1>back for Hope that just like they did it in

1:17:57.280 --> 1:17:59.439
<v Speaker 1>their house one night because I told them I needed

1:17:59.439 --> 1:18:02.960
<v Speaker 1>the video by the next day and it cost me nothing.

1:18:03.320 --> 1:18:06.280
<v Speaker 1>And I think it has like million views or something

1:18:06.360 --> 1:18:09.200
<v Speaker 1>like that. Okay, so you have the video. How do

1:18:09.240 --> 1:18:18.240
<v Speaker 1>you work at its streaming services? In radio? Um? It depends. UM. Obviously,

1:18:18.920 --> 1:18:21.720
<v Speaker 1>we send streaming services the songs and we tell them

1:18:21.720 --> 1:18:24.040
<v Speaker 1>about them and why they're important and what this one

1:18:24.120 --> 1:18:26.599
<v Speaker 1>means and where it came from and who who they

1:18:26.600 --> 1:18:32.280
<v Speaker 1>wrote it with and um and you know, but at

1:18:32.280 --> 1:18:35.760
<v Speaker 1>the same time, we welcome their opinions. You know, if

1:18:35.800 --> 1:18:38.439
<v Speaker 1>if if streaming service don't want to support one song

1:18:39.080 --> 1:18:42.280
<v Speaker 1>more than the other, like I accept that, you know,

1:18:42.400 --> 1:18:46.400
<v Speaker 1>like we would never for something that people didn't want

1:18:46.439 --> 1:18:49.000
<v Speaker 1>to promote. You know, we put out a lot of songs,

1:18:49.120 --> 1:18:51.960
<v Speaker 1>you know, UM, and at the end of the day,

1:18:52.000 --> 1:18:56.120
<v Speaker 1>they have such a big following. UM. You know, just

1:18:56.160 --> 1:18:58.799
<v Speaker 1>on Spotify alone, they have I think thirty eight million

1:18:58.800 --> 1:19:01.599
<v Speaker 1>monthly listeners. Like you're gonna get a read on a record,

1:19:01.600 --> 1:19:06.320
<v Speaker 1>whether you have playlisting or not, you know, UM and

1:19:06.520 --> 1:19:11.120
<v Speaker 1>radio it depends, you know. The way I prefer is

1:19:11.160 --> 1:19:12.960
<v Speaker 1>for a record to raise its hand and then we

1:19:13.000 --> 1:19:16.479
<v Speaker 1>go UM. But also there are records that we just

1:19:16.560 --> 1:19:19.160
<v Speaker 1>happened to think are big and have big features, and

1:19:19.200 --> 1:19:23.040
<v Speaker 1>so we set them up, as they say, and prepare

1:19:23.120 --> 1:19:28.040
<v Speaker 1>to impact them and and make a planned uh campaign

1:19:28.040 --> 1:19:32.800
<v Speaker 1>at radio. Okay, but radio comes last. It works very slowly.

1:19:33.400 --> 1:19:36.439
<v Speaker 1>How does this affect your relative to your month track?

1:19:36.520 --> 1:19:41.040
<v Speaker 1>A month release pattern? UM is difficult. It's difficult. We

1:19:41.120 --> 1:19:43.360
<v Speaker 1>have to navigate it. There have been times where we've

1:19:43.360 --> 1:19:47.200
<v Speaker 1>been working a record UM, and then the next record

1:19:47.240 --> 1:19:50.040
<v Speaker 1>we put out raises its hand and we're like, oh, wait,

1:19:50.080 --> 1:19:52.080
<v Speaker 1>this one now, this one wants to go. We gotta

1:19:52.560 --> 1:19:54.960
<v Speaker 1>we gotta shift, we gotta pivot to this song, or

1:19:55.200 --> 1:19:58.200
<v Speaker 1>do we work both at the same time or so

1:19:58.560 --> 1:20:01.880
<v Speaker 1>you know, we've we've definitely faced challenging situations. But we've

1:20:01.880 --> 1:20:04.400
<v Speaker 1>also been in places where we had three songs on

1:20:04.439 --> 1:20:07.880
<v Speaker 1>the chart at the same time. Okay, So what's the

1:20:07.920 --> 1:20:10.679
<v Speaker 1>most important thing in driving success of a chain smoker's

1:20:10.720 --> 1:20:18.000
<v Speaker 1>track driving success of a chain smoker's track the song itself. Okay,

1:20:18.040 --> 1:20:22.240
<v Speaker 1>But then there's video, there's radio, there's uh streaming services,

1:20:22.280 --> 1:20:25.080
<v Speaker 1>there's playlisting. If I said you have to choose one,

1:20:25.200 --> 1:20:27.799
<v Speaker 1>what's the most important thing in terms of driving success

1:20:36.880 --> 1:20:41.000
<v Speaker 1>word of mouth by the fans. Okay, So let's go back.

1:20:41.080 --> 1:20:44.840
<v Speaker 1>You have a totally unique way of doing albums. What

1:20:45.040 --> 1:20:48.400
<v Speaker 1>other things does the business at large do now that

1:20:48.520 --> 1:20:55.920
<v Speaker 1>you think should be changed? Um, that's a tough question.

1:20:56.840 --> 1:21:01.120
<v Speaker 1>I mean, I don't really have an answer for that.

1:21:01.240 --> 1:21:07.760
<v Speaker 1>I think it's I just wish that, um, there were

1:21:07.800 --> 1:21:14.040
<v Speaker 1>more distinct avenues for people, um, to get a chance

1:21:14.080 --> 1:21:18.720
<v Speaker 1>to be heard amongst um the noise. That that's you know,

1:21:18.760 --> 1:21:21.639
<v Speaker 1>the biggest challenges You're saying the acts themselves, the music,

1:21:21.640 --> 1:21:26.160
<v Speaker 1>because there's so much cacophony. Okay, But do you find

1:21:26.240 --> 1:21:29.280
<v Speaker 1>that the business, let's talk about the recorded business. Do

1:21:29.360 --> 1:21:32.599
<v Speaker 1>you find that it's ruled by baby boomers to its detriment?

1:21:35.760 --> 1:21:38.519
<v Speaker 1>Is it? Though? Well, I would say that the labels,

1:21:38.560 --> 1:21:41.840
<v Speaker 1>generally speaking, the people who run them or baby boomers,

1:21:41.880 --> 1:21:44.880
<v Speaker 1>and generally speaking, the people below them make a lot

1:21:45.000 --> 1:21:48.800
<v Speaker 1>less money, and the baby boomers who run them tend

1:21:48.840 --> 1:21:52.120
<v Speaker 1>to be focused on radio. Radio is the number. It's

1:21:52.120 --> 1:21:55.120
<v Speaker 1>like network TV. The ratings are worse than they've ever been,

1:21:55.200 --> 1:21:58.080
<v Speaker 1>but that's where the largest audiences that I find. Like

1:21:58.120 --> 1:22:01.320
<v Speaker 1>you're talking about social media, they could use that line,

1:22:01.640 --> 1:22:03.920
<v Speaker 1>but they can't get down in the pit with the

1:22:03.920 --> 1:22:08.360
<v Speaker 1>people doing stuff. I don't think that's necessarily true, bom.

1:22:09.320 --> 1:22:12.560
<v Speaker 1>I I think that. I mean I work within a

1:22:12.640 --> 1:22:19.960
<v Speaker 1>record label. Everybody he's working on everything and cares about

1:22:20.000 --> 1:22:25.479
<v Speaker 1>every thing. Yes, radio is great, but I mean radio

1:22:25.560 --> 1:22:29.240
<v Speaker 1>more and more is for playing hits. You know, um

1:22:30.560 --> 1:22:33.920
<v Speaker 1>people understand that they have to get the help the

1:22:34.040 --> 1:22:36.680
<v Speaker 1>hit get to the point where it can get up

1:22:37.400 --> 1:22:42.240
<v Speaker 1>the radio chart. You know, it's almost impossible to force

1:22:42.280 --> 1:22:46.280
<v Speaker 1>a song that's not a hit into the top of

1:22:46.320 --> 1:22:48.600
<v Speaker 1>the radio chart. But there are also tracks that have

1:22:48.600 --> 1:22:51.679
<v Speaker 1>been hits all around the world except in America. There

1:22:51.680 --> 1:22:57.680
<v Speaker 1>have So the track raised its hand and radio said no, yes, so,

1:22:58.000 --> 1:23:00.760
<v Speaker 1>but I would say it's an imperfect system them. I

1:23:00.800 --> 1:23:03.240
<v Speaker 1>would not say the track was not good enough either,

1:23:03.360 --> 1:23:05.960
<v Speaker 1>the label didn't work it right way. Or hard enough.

1:23:06.040 --> 1:23:10.040
<v Speaker 1>It's sometimes you know, sometimes timing is a big factor.

1:23:10.600 --> 1:23:15.000
<v Speaker 1>You know, Um, timing is a really big factor. I've

1:23:15.040 --> 1:23:19.680
<v Speaker 1>definitely witnessed songs that should have been hits not be

1:23:19.840 --> 1:23:24.200
<v Speaker 1>hits because of timing, timing, because the chain the lane

1:23:24.280 --> 1:23:26.439
<v Speaker 1>is cluttered, or because what's going on in the world.

1:23:26.479 --> 1:23:30.000
<v Speaker 1>The lane is cluttered. They went to radio too late

1:23:30.920 --> 1:23:34.080
<v Speaker 1>and and the hype was dying out already. I mean,

1:23:34.120 --> 1:23:39.559
<v Speaker 1>there's so many different reasons. Okay, now, Um, to what

1:23:39.800 --> 1:23:46.799
<v Speaker 1>degree radio formats other than top forty matter? Um. Most

1:23:46.840 --> 1:23:50.559
<v Speaker 1>of my experiences in top forty UM, So I wouldn't

1:23:50.560 --> 1:23:53.000
<v Speaker 1>claim to be an expert at the other formats, but

1:23:54.479 --> 1:24:00.400
<v Speaker 1>you know I have seen records um climb to the

1:24:00.439 --> 1:24:06.280
<v Speaker 1>top of other formats charts, and that be the real

1:24:06.400 --> 1:24:09.960
<v Speaker 1>launching pad for them being global smash hits. Okay, let

1:24:09.960 --> 1:24:13.800
<v Speaker 1>me put it in different ways. Rock did. Now, So

1:24:13.880 --> 1:24:17.800
<v Speaker 1>what's the future of rock? I think it will come

1:24:17.840 --> 1:24:21.960
<v Speaker 1>back in different shapes and forms and sizes. Well, I mean,

1:24:21.960 --> 1:24:24.840
<v Speaker 1>at this point, hip hop dominates the top, Yes, it does.

1:24:25.160 --> 1:24:28.840
<v Speaker 1>Do you believe that is going to continue? That is

1:24:28.880 --> 1:24:31.880
<v Speaker 1>going to change? You're a guy who signs things and

1:24:31.920 --> 1:24:33.679
<v Speaker 1>you say that, you know they're all not the same time.

1:24:33.840 --> 1:24:37.000
<v Speaker 1>I think that things are cyclical. I mean, one of

1:24:37.000 --> 1:24:41.240
<v Speaker 1>the aspects about hip hop music is that, um, it's

1:24:41.320 --> 1:24:45.200
<v Speaker 1>very cultural, it's it's a lifestyle, it's not just the genre.

1:24:45.960 --> 1:24:49.839
<v Speaker 1>And so I think that hip hop will always do well.

1:24:50.080 --> 1:24:53.519
<v Speaker 1>But I do think that there will be a natural

1:24:53.600 --> 1:25:00.280
<v Speaker 1>selection where it won't be as um dominant. Okay, but

1:25:00.320 --> 1:25:02.559
<v Speaker 1>if we go on Spotify, where all the statistics are

1:25:02.600 --> 1:25:07.320
<v Speaker 1>visible to everybody on the desktop version, generally speaking, it's

1:25:07.400 --> 1:25:10.760
<v Speaker 1>hip hop that streams a certain amount of pop, then

1:25:10.800 --> 1:25:13.720
<v Speaker 1>a certain untain well Latin Latin is its own thing,

1:25:13.760 --> 1:25:16.479
<v Speaker 1>and a certain amount of country, and then rock down

1:25:16.479 --> 1:25:19.160
<v Speaker 1>at the bottom. So is it just a matter of

1:25:19.200 --> 1:25:23.760
<v Speaker 1>those audiences moving to the streaming services, or has the

1:25:23.800 --> 1:25:26.439
<v Speaker 1>younger generation said this is a hip hop world, screw

1:25:26.520 --> 1:25:29.000
<v Speaker 1>those other genres. I think they said this is a

1:25:29.080 --> 1:25:31.160
<v Speaker 1>hip hop world. But I don't think they said screw

1:25:31.200 --> 1:25:34.080
<v Speaker 1>those other genres. This is just what they're into right now.

1:25:35.439 --> 1:25:39.400
<v Speaker 1>You know, when when the chain smokers started getting big,

1:25:39.920 --> 1:25:42.200
<v Speaker 1>E d M, I mean used to write about this

1:25:42.360 --> 1:25:45.960
<v Speaker 1>all the time, like E d M was crushing, you know,

1:25:46.640 --> 1:25:52.400
<v Speaker 1>like they were like seventy five huge DJs that were

1:25:53.080 --> 1:25:57.559
<v Speaker 1>taking over the world, you know, and that eventually, you know,

1:25:57.680 --> 1:26:02.120
<v Speaker 1>kids were over it, and and and hip hop came

1:26:02.160 --> 1:26:06.400
<v Speaker 1>in and became, you know, the dominant genre. I think

1:26:06.439 --> 1:26:10.439
<v Speaker 1>that things are cyclical. I think rock will come back.

1:26:11.240 --> 1:26:15.559
<v Speaker 1>I think that hip hop will always do well, but

1:26:16.200 --> 1:26:18.720
<v Speaker 1>won't always necessarily do as well as it's doing right now.

1:26:18.760 --> 1:26:22.240
<v Speaker 1>So you're an intelligent, worldly guard. What's the intersection of

1:26:22.439 --> 1:26:29.559
<v Speaker 1>music with the political landscape, if there is any that's

1:26:29.560 --> 1:26:35.280
<v Speaker 1>when I you know, obviously, I've also read your newsletters

1:26:35.280 --> 1:26:43.080
<v Speaker 1>about this stuff. But I I you know, I'm curious why, Um,

1:26:43.120 --> 1:26:48.640
<v Speaker 1>there haven't been as many artists and songs that have

1:26:49.360 --> 1:26:55.640
<v Speaker 1>made an impact like in previous decades. Um. Uh, you

1:26:55.680 --> 1:26:58.439
<v Speaker 1>know the obviously I use the Chain Smokers as an

1:26:58.479 --> 1:27:00.479
<v Speaker 1>example for a lot of things. But past year they

1:27:00.479 --> 1:27:06.559
<v Speaker 1>wrote a song called sick Boy that um really address this,

1:27:06.960 --> 1:27:11.240
<v Speaker 1>and as big as they were, that that really didn't

1:27:11.280 --> 1:27:16.720
<v Speaker 1>get No one really caught onto that, you know. Um,

1:27:16.920 --> 1:27:19.200
<v Speaker 1>So I don't know the answer. I do think that

1:27:19.280 --> 1:27:22.439
<v Speaker 1>there will be an artist that kind of comes out

1:27:22.479 --> 1:27:26.160
<v Speaker 1>of nowhere, um with a lot to say, and that

1:27:26.200 --> 1:27:28.960
<v Speaker 1>people do rally around that artist, and you know, as

1:27:28.960 --> 1:27:31.759
<v Speaker 1>far as politics goes, so obviously, with the change Smokers,

1:27:31.840 --> 1:27:35.839
<v Speaker 1>you've broken the traditional release cycle. Do you believe acts

1:27:35.840 --> 1:27:40.080
<v Speaker 1>today ultimately have a shorter term or a longer term

1:27:40.080 --> 1:27:44.599
<v Speaker 1>in the marketplace. That's up to them. But I think

1:27:45.000 --> 1:27:50.320
<v Speaker 1>songs have a shorter term because you know, kids, um,

1:27:50.360 --> 1:27:57.200
<v Speaker 1>you know, teenagers and college kids um now are growing

1:27:57.400 --> 1:28:01.679
<v Speaker 1>up thinking that forty new songs a day is normal.

1:28:02.800 --> 1:28:07.400
<v Speaker 1>So they are used to burning a record out two

1:28:07.439 --> 1:28:09.439
<v Speaker 1>in a week or two weeks and then being onto

1:28:09.439 --> 1:28:13.000
<v Speaker 1>the next thing. So I think that it's harder and

1:28:13.120 --> 1:28:20.400
<v Speaker 1>harder to have, you know, quadruple platinum hits because songs

1:28:20.400 --> 1:28:25.400
<v Speaker 1>are getting used and like getting burned out super super

1:28:25.479 --> 1:28:29.120
<v Speaker 1>quickly by kids. You know. When I was younger, I

1:28:29.200 --> 1:28:32.120
<v Speaker 1>could listen to a song for on repaid for like

1:28:32.200 --> 1:28:34.840
<v Speaker 1>six months a year, you know. And I think that

1:28:34.880 --> 1:28:38.800
<v Speaker 1>the not that there aren't those songs now, but I

1:28:38.880 --> 1:28:42.040
<v Speaker 1>think that they are. They're fewer and farther between. So

1:28:42.160 --> 1:28:46.920
<v Speaker 1>I so, you know, the artists um lifespan is based

1:28:46.920 --> 1:28:49.759
<v Speaker 1>on them continuing to put out great music and create

1:28:49.800 --> 1:28:55.599
<v Speaker 1>continuing to build fan bases, But the songs themselves probably

1:28:55.640 --> 1:28:59.120
<v Speaker 1>have shorter lifespans. Okay, using the change Wokers in his

1:28:59.240 --> 1:29:03.000
<v Speaker 1>example just talk playing out some scenarios. If they had

1:29:03.080 --> 1:29:07.559
<v Speaker 1>never had another radio hit, do you think there live

1:29:07.640 --> 1:29:13.360
<v Speaker 1>business in their streaming would remain healthy? Yes, I mean

1:29:13.360 --> 1:29:17.320
<v Speaker 1>their catalog is pretty big. Okay, so you believe, just

1:29:17.400 --> 1:29:19.719
<v Speaker 1>like in the past, you have a catalog at lengthened

1:29:19.760 --> 1:29:25.280
<v Speaker 1>your career. I mean, yes, I do think so. Okay,

1:29:25.479 --> 1:29:29.080
<v Speaker 1>So what advice would you give a new act. It's

1:29:29.080 --> 1:29:33.200
<v Speaker 1>all about fans. Just all you have to focus on

1:29:33.439 --> 1:29:37.439
<v Speaker 1>is how to make fans and what your fans want

1:29:37.520 --> 1:29:41.479
<v Speaker 1>and feeding them and how you get them to help

1:29:41.560 --> 1:29:46.200
<v Speaker 1>you make new fans. I think you know, too many

1:29:46.280 --> 1:29:48.479
<v Speaker 1>new artists think that if they just get on a

1:29:48.479 --> 1:29:53.639
<v Speaker 1>playlist that they're good, you know, and I know you've

1:29:53.640 --> 1:29:55.880
<v Speaker 1>said it and everyone says it, But like there are

1:29:55.880 --> 1:29:58.280
<v Speaker 1>people that get millions of streams and can't sell a ticket,

1:29:58.640 --> 1:30:01.640
<v Speaker 1>you know, and there are people that sell tickets and

1:30:01.720 --> 1:30:05.280
<v Speaker 1>can't can't get millions of streams. But you know, if

1:30:05.280 --> 1:30:07.120
<v Speaker 1>you want to have longevity and you want to be

1:30:07.160 --> 1:30:10.200
<v Speaker 1>a real career artist like you have to have fans.

1:30:10.360 --> 1:30:13.080
<v Speaker 1>That's what the streaming services are looking for. They're not

1:30:13.120 --> 1:30:16.000
<v Speaker 1>just looking at how your songs are performing on their playlists.

1:30:16.200 --> 1:30:19.320
<v Speaker 1>They want to see that people care. So if you're

1:30:19.320 --> 1:30:21.840
<v Speaker 1>starting from zero, what's the best way to build a

1:30:21.880 --> 1:30:27.120
<v Speaker 1>fan base. I mean it's it's everything and anything. It's

1:30:27.720 --> 1:30:31.080
<v Speaker 1>you know, everything from playing an open mic night. You know.

1:30:31.439 --> 1:30:35.519
<v Speaker 1>I always tell like, you know, I signed artists very early.

1:30:36.000 --> 1:30:39.400
<v Speaker 1>You know, I'm a joint venture so we do artist development.

1:30:39.520 --> 1:30:42.000
<v Speaker 1>So I have to sign artists before the majors are

1:30:42.000 --> 1:30:44.519
<v Speaker 1>going to sign them, before they have things going on,

1:30:45.040 --> 1:30:48.640
<v Speaker 1>and really help them build from nothing. So you know,

1:30:49.000 --> 1:30:51.400
<v Speaker 1>there's some are some artists that I'm working with that

1:30:51.479 --> 1:30:56.120
<v Speaker 1>it's like, go play in this bar. I don't care

1:30:56.160 --> 1:30:59.519
<v Speaker 1>if there's ten people there. If you walk away with

1:30:59.680 --> 1:31:03.040
<v Speaker 1>three new fans, it was worth it. If three of

1:31:03.040 --> 1:31:06.160
<v Speaker 1>those people will go home and say I saw this

1:31:06.240 --> 1:31:08.840
<v Speaker 1>act last night and they were amazing. To their friend,

1:31:09.400 --> 1:31:12.240
<v Speaker 1>it was worth it. And you just build it like that,

1:31:12.360 --> 1:31:16.360
<v Speaker 1>just organically, and you just grind it out and you know,

1:31:16.479 --> 1:31:19.160
<v Speaker 1>just like like I was saying before, like Alex with

1:31:19.200 --> 1:31:23.160
<v Speaker 1>the blogs like the kids, spent ten hours writing a

1:31:23.200 --> 1:31:26.439
<v Speaker 1>thousand emails to every single blog, Like you have to

1:31:26.439 --> 1:31:32.519
<v Speaker 1>put in the work, um, and you know, you know,

1:31:32.600 --> 1:31:35.800
<v Speaker 1>obviously I see these things like people like paying to

1:31:35.840 --> 1:31:38.800
<v Speaker 1>get on playlists and like that's not the way to

1:31:38.840 --> 1:31:42.080
<v Speaker 1>do it. You really got you know, you really got

1:31:42.080 --> 1:31:44.799
<v Speaker 1>to do it. And if people like, if people believe

1:31:44.840 --> 1:31:46.880
<v Speaker 1>in you and they love your music and they believe

1:31:46.920 --> 1:31:48.920
<v Speaker 1>in what you have to say, like, it will grow,

1:31:49.520 --> 1:31:52.200
<v Speaker 1>it will. Okay. So once you've made it, which the change,

1:31:52.240 --> 1:31:56.200
<v Speaker 1>certain change workers most definitely have, how do you deal

1:31:56.240 --> 1:31:59.880
<v Speaker 1>with the fans? What's the best thing? I mean, you

1:32:00.000 --> 1:32:02.960
<v Speaker 1>wif letters whatever, you wouldn't do that now because you

1:32:03.040 --> 1:32:05.479
<v Speaker 1>already have an established base. To what degree do you

1:32:05.479 --> 1:32:07.599
<v Speaker 1>have to feed this fan base other than putting out

1:32:07.640 --> 1:32:11.280
<v Speaker 1>a track every month, playing two fifty shows a year

1:32:12.520 --> 1:32:16.639
<v Speaker 1>for seven years? Okay? And what about Instagram and and

1:32:16.720 --> 1:32:21.719
<v Speaker 1>snapchat and stories, etcetera? Amazing compelling content on a regular basis.

1:32:21.920 --> 1:32:25.559
<v Speaker 1>I mean, you know, every artists different. Alex and Drew

1:32:25.800 --> 1:32:31.719
<v Speaker 1>are fun, funny, smart, witty, like the things they say,

1:32:31.840 --> 1:32:36.040
<v Speaker 1>the videos they make, the jokes they tell. Their fans

1:32:36.360 --> 1:32:39.160
<v Speaker 1>love them for that stuff, and so that's why they

1:32:39.200 --> 1:32:42.120
<v Speaker 1>feed them with it. Okay. So let's say someone came

1:32:42.120 --> 1:32:45.519
<v Speaker 1>out with an incredible swat with if they didn't build

1:32:45.560 --> 1:32:51.080
<v Speaker 1>a fan base, etcetera, it couldn't happen organically. I mean

1:32:51.560 --> 1:32:55.240
<v Speaker 1>it did for us, with selfie. But you also say

1:32:55.280 --> 1:32:58.599
<v Speaker 1>that was a novelty fan base. Uh, but we had

1:32:58.680 --> 1:33:02.120
<v Speaker 1>to go on from that and make real fans and

1:33:02.200 --> 1:33:07.200
<v Speaker 1>start putting out the real music that we wanted to make. Okay,

1:33:07.240 --> 1:33:11.640
<v Speaker 1>so you're obviously an educated, intelligent guy. We live in

1:33:11.680 --> 1:33:16.040
<v Speaker 1>a world of incommittee quality. If someone wants to make

1:33:16.080 --> 1:33:18.439
<v Speaker 1>a lot of money, there are people who make twenty

1:33:18.439 --> 1:33:21.280
<v Speaker 1>million dollars a year at infiniteum at the banks, and

1:33:21.360 --> 1:33:25.200
<v Speaker 1>people make four million dollars a year. Do you think

1:33:25.680 --> 1:33:28.160
<v Speaker 1>the best and the brightest of your generation are going

1:33:28.240 --> 1:33:31.280
<v Speaker 1>into this world? You think the music business attracts this

1:33:31.400 --> 1:33:33.479
<v Speaker 1>caliber or the best of the price of going somewhere

1:33:33.600 --> 1:33:38.439
<v Speaker 1>where there's more money and more opportunity. I I don't.

1:33:39.760 --> 1:33:42.400
<v Speaker 1>I don't think it's black and white like that. Just

1:33:42.439 --> 1:33:44.799
<v Speaker 1>tell me. I know that you write about that too.

1:33:44.920 --> 1:33:48.000
<v Speaker 1>I think I think that if you love music and

1:33:48.000 --> 1:33:51.600
<v Speaker 1>you're passionate about music, and you are also brilliant, you

1:33:51.680 --> 1:33:56.200
<v Speaker 1>still go into the music business. Okay, Well, I would

1:33:56.240 --> 1:33:58.240
<v Speaker 1>just look at people. Obviously a different thing if they

1:33:58.240 --> 1:34:01.679
<v Speaker 1>look at people David Geff been irving gays off whatever.

1:34:02.040 --> 1:34:04.599
<v Speaker 1>Music was the thing that I like to think that

1:34:04.640 --> 1:34:06.840
<v Speaker 1>I was a pretty smart guy. Growing up, I did

1:34:06.920 --> 1:34:10.120
<v Speaker 1>not want to work at an investment bank and sleep

1:34:10.200 --> 1:34:12.479
<v Speaker 1>under my desk every single day out of college. I

1:34:12.520 --> 1:34:16.439
<v Speaker 1>didn't want to do that. I loved hospitality, I loved

1:34:16.560 --> 1:34:21.400
<v Speaker 1>entertaining people, and I loved music like I I. You know,

1:34:21.439 --> 1:34:24.439
<v Speaker 1>we didn't talk about this, but I've been a music

1:34:24.520 --> 1:34:28.560
<v Speaker 1>lover my whole life. I mean, you know, being in nightclubs.

1:34:28.600 --> 1:34:31.000
<v Speaker 1>You can't not be a music fan being in nightclubs,

1:34:31.120 --> 1:34:33.120
<v Speaker 1>and what kind of music do you play if you're

1:34:33.200 --> 1:34:41.679
<v Speaker 1>not conducting business? Um? So I am a die hard

1:34:42.479 --> 1:34:45.120
<v Speaker 1>Dave Matthews band fan. Really, how many times you've seen

1:34:45.160 --> 1:34:51.919
<v Speaker 1>the Dave Matthews And the best Dave Matthews work is album? Yeah?

1:34:51.920 --> 1:34:57.960
<v Speaker 1>Oh boy. I have to say Crash just because of

1:34:58.000 --> 1:35:00.200
<v Speaker 1>the number of favorites that I have on their But

1:35:00.520 --> 1:35:02.839
<v Speaker 1>my number one favorite song is not even on that album.

1:35:03.080 --> 1:35:06.840
<v Speaker 1>Your number one favorite song is it's called Recently? Okay,

1:35:06.840 --> 1:35:09.880
<v Speaker 1>I would say Before these Crowded Streets because of Dreaming Tree,

1:35:10.320 --> 1:35:13.760
<v Speaker 1>But okay, anybody else I love that answer because it's

1:35:14.120 --> 1:35:18.639
<v Speaker 1>not a common answer. But there's no way that's their

1:35:18.640 --> 1:35:21.360
<v Speaker 1>best album. I would know. I didn't say it was

1:35:21.360 --> 1:35:24.840
<v Speaker 1>the best album for me. Maybe that's my favorite. Okay,

1:35:25.120 --> 1:35:27.160
<v Speaker 1>maybe I know those are two different things. I agree,

1:35:27.280 --> 1:35:31.400
<v Speaker 1>Other than the Dave Matthews being anybody now or when

1:35:32.000 --> 1:35:36.280
<v Speaker 1>growing up? You're a fan Beatles? Yeah, my mom was

1:35:36.439 --> 1:35:40.400
<v Speaker 1>a beatlemaniac. Yeah, she was one of those screaming girls.

1:35:40.640 --> 1:35:44.040
<v Speaker 1>And you fell into the E d M thing. Are

1:35:44.040 --> 1:35:46.720
<v Speaker 1>you a hip hop fan? Oh? Yeah? I was a

1:35:46.720 --> 1:35:51.080
<v Speaker 1>biggie before I got into Dave Matthews. All I listened

1:35:51.080 --> 1:35:56.840
<v Speaker 1>to is Biggie. How did you get into Dave Matthews then? Um,

1:35:57.040 --> 1:35:59.840
<v Speaker 1>the real answer is I was in somebody's car and

1:36:00.040 --> 1:36:02.400
<v Speaker 1>it was playing and it wasn't even a single. It

1:36:02.479 --> 1:36:05.280
<v Speaker 1>was a song called Tripping Billy's and I was like,

1:36:05.960 --> 1:36:09.000
<v Speaker 1>what is this and they were like, this is Dave Matthews.

1:36:09.080 --> 1:36:10.840
<v Speaker 1>And I was like, this is Dave Matthews because I

1:36:10.920 --> 1:36:14.559
<v Speaker 1>knew their singles from the radio. And I went and

1:36:14.600 --> 1:36:16.479
<v Speaker 1>got the album that day and I listened to it

1:36:16.520 --> 1:36:19.479
<v Speaker 1>and repeat and I was like completely hooked. And then

1:36:19.520 --> 1:36:22.479
<v Speaker 1>I just became a fanatic. Okay, they have a great manager.

1:36:22.520 --> 1:36:25.599
<v Speaker 1>Corn capsule, Between were the manager, what would you advise

1:36:25.680 --> 1:36:28.240
<v Speaker 1>them to do that they may not be doing. I

1:36:28.240 --> 1:36:30.600
<v Speaker 1>wouldn't dare say that, But what I can say is

1:36:30.640 --> 1:36:34.400
<v Speaker 1>that I used a lot of I used a lot

1:36:34.439 --> 1:36:37.880
<v Speaker 1>of what I saw them do in building the Chain Smokers.

1:36:38.840 --> 1:36:42.720
<v Speaker 1>There were lots of little things that they did UM

1:36:42.840 --> 1:36:47.040
<v Speaker 1>in the late nineties and early two thousand's, and I

1:36:47.120 --> 1:36:50.960
<v Speaker 1>completely copied it, you know, and used those strategies for

1:36:50.960 --> 1:36:53.400
<v Speaker 1>the Chain Smokers. And how about the acts that made

1:36:53.439 --> 1:36:56.160
<v Speaker 1>it in the pre Internet era? Of the classic acts?

1:36:56.439 --> 1:36:59.360
<v Speaker 1>Actually they have any chance in today's world because generally speaking,

1:36:59.400 --> 1:37:03.639
<v Speaker 1>their music is not successful commercially. Acts from the pre

1:37:03.720 --> 1:37:08.240
<v Speaker 1>Internet erea era today, like give me an example, like

1:37:08.360 --> 1:37:14.080
<v Speaker 1>you two, can they be successful today? It's all about

1:37:14.080 --> 1:37:17.280
<v Speaker 1>the songs. So you think the songs they have just

1:37:17.360 --> 1:37:19.320
<v Speaker 1>in general, if you have a great song, you could

1:37:19.320 --> 1:37:21.720
<v Speaker 1>be a classic act. You could be sixty and the

1:37:21.760 --> 1:37:26.440
<v Speaker 1>song could be successful. Yes. I think the reason why

1:37:26.600 --> 1:37:32.160
<v Speaker 1>UM acts when they get much, very very successful over

1:37:32.280 --> 1:37:35.599
<v Speaker 1>decades and they get older, why they don't have hits,

1:37:36.000 --> 1:37:40.800
<v Speaker 1>new hits, is because I think it's very hard to

1:37:40.960 --> 1:37:43.960
<v Speaker 1>write the same way you did when you were young

1:37:44.040 --> 1:37:47.280
<v Speaker 1>and you weren't rich, and you didn't have the struggles

1:37:47.360 --> 1:37:51.320
<v Speaker 1>and you know, and you weren't married and you were

1:37:51.320 --> 1:37:54.880
<v Speaker 1>having relationships and you're heartbroken like you know, you don't

1:37:55.360 --> 1:37:58.640
<v Speaker 1>have that material to write about anymore, you know, so

1:37:58.720 --> 1:38:03.160
<v Speaker 1>I think that's that's the reason. I actually think it's

1:38:03.240 --> 1:38:06.240
<v Speaker 1>they have a fantasy that if they become very successful,

1:38:06.560 --> 1:38:09.240
<v Speaker 1>their lives will work. And when they reach the pinnacle

1:38:09.640 --> 1:38:12.080
<v Speaker 1>and their lives don't work, they lose the motivation, which

1:38:12.120 --> 1:38:16.320
<v Speaker 1>is not radically different from what you say. It depends

1:38:16.320 --> 1:38:19.520
<v Speaker 1>on the artist, that's for sure. Adam, this has been fantastic.

1:38:19.720 --> 1:38:21.800
<v Speaker 1>Thanks for all your insights. Can I can I give

1:38:21.840 --> 1:38:26.800
<v Speaker 1>one anecdotes? It's about you so um so obviously I've

1:38:26.840 --> 1:38:30.120
<v Speaker 1>been reading your newsletter for a long time. Um, you

1:38:30.160 --> 1:38:31.960
<v Speaker 1>probably don't know. I don't know if I told you this,

1:38:32.080 --> 1:38:35.200
<v Speaker 1>but the first time I met you was at Summit

1:38:35.200 --> 1:38:39.760
<v Speaker 1>at Sea. Really yeah, So I was on summit at

1:38:39.800 --> 1:38:44.639
<v Speaker 1>S and I went to your lecture and afterwards, Um,

1:38:44.920 --> 1:38:48.040
<v Speaker 1>you waited around to answer questions from people and we

1:38:48.120 --> 1:38:51.479
<v Speaker 1>chatted for like two minutes. And you know, you don't

1:38:51.720 --> 1:38:53.640
<v Speaker 1>I don't because you were the guy who continued to

1:38:53.640 --> 1:38:56.280
<v Speaker 1>talk when the other people went away. Maybe maybe that

1:38:56.520 --> 1:38:58.600
<v Speaker 1>maybe that's true. And you said, yeah, email me And

1:38:58.640 --> 1:39:00.599
<v Speaker 1>I said, oh, you answer emails and you said yeah,

1:39:00.600 --> 1:39:03.840
<v Speaker 1>if I know you, I answered them and you know

1:39:03.880 --> 1:39:08.120
<v Speaker 1>you didn't know anything about me, and uh, when I

1:39:08.160 --> 1:39:12.800
<v Speaker 1>got home, I wrote you this long email about, um,

1:39:13.000 --> 1:39:15.439
<v Speaker 1>how I did this showing a venture with Doug at

1:39:15.479 --> 1:39:17.360
<v Speaker 1>Sony and I have a chain smokers and we have

1:39:17.439 --> 1:39:20.280
<v Speaker 1>this really cool strategy and they're having their right now,

1:39:20.360 --> 1:39:22.439
<v Speaker 1>having their first hit. It was the song Roses, their

1:39:22.439 --> 1:39:28.280
<v Speaker 1>first real hit. And um, you didn't write back to me.

1:39:28.840 --> 1:39:32.320
<v Speaker 1>And then you wrote a newsletter about trying to talk

1:39:32.360 --> 1:39:35.559
<v Speaker 1>to Eric Schmidt from Google on someone at sea and

1:39:35.680 --> 1:39:40.000
<v Speaker 1>he blew you off and you like destroyed him in

1:39:40.080 --> 1:39:44.880
<v Speaker 1>this email. And you have the same experience with me. Okay.

1:39:44.880 --> 1:39:46.760
<v Speaker 1>Then I got an email from you. Hold on, I

1:39:46.800 --> 1:39:49.280
<v Speaker 1>get the email back from you, and you you know

1:39:49.280 --> 1:39:53.280
<v Speaker 1>what you wrote? What good luck? And I And I

1:39:53.360 --> 1:40:00.160
<v Speaker 1>was like, just because I have all my email, but

1:40:01.200 --> 1:40:04.920
<v Speaker 1>in this particular case, what I tell everybody that I

1:40:04.960 --> 1:40:08.439
<v Speaker 1>meet under those circumstances, say reference the fact that you

1:40:08.600 --> 1:40:11.760
<v Speaker 1>met me. Of course I said that. Okay, then there

1:40:11.800 --> 1:40:14.680
<v Speaker 1>was something in there was something. I guess what it was.

1:40:14.720 --> 1:40:19.160
<v Speaker 1>I'd have to go back to the actual email. Okay,

1:40:19.240 --> 1:40:22.960
<v Speaker 1>let me answer the question a little bit broader. I've

1:40:23.000 --> 1:40:28.160
<v Speaker 1>gotten into a lot of trouble saying anything about the

1:40:28.280 --> 1:40:32.439
<v Speaker 1>quality of material. I've had both good and bad experience.

1:40:32.479 --> 1:40:35.040
<v Speaker 1>I say something mildly positive, all of a sudden, you

1:40:35.040 --> 1:40:37.679
<v Speaker 1>see an ad, it's got my name in it. Okay,

1:40:38.240 --> 1:40:43.080
<v Speaker 1>say something negative. People call their followers out. Okay. In

1:40:43.200 --> 1:40:48.240
<v Speaker 1>your particular case, you're an aggressive guy. I thought you

1:40:48.280 --> 1:40:50.240
<v Speaker 1>were selling me. Now i'd have to go back to

1:40:50.240 --> 1:40:52.080
<v Speaker 1>the email, the emails for you. That's think that's four

1:40:52.160 --> 1:40:54.400
<v Speaker 1>years ago. Now, maybe I just fucked up. I mean,

1:40:54.439 --> 1:40:59.360
<v Speaker 1>that's certainly possible. Okay. The other thing was it was

1:41:00.400 --> 1:41:03.439
<v Speaker 1>you didn't It wasn't clear what you wanted from me.

1:41:05.560 --> 1:41:08.400
<v Speaker 1>I guess at the time, I was hoping you said, wow,

1:41:08.479 --> 1:41:13.360
<v Speaker 1>this sounds interesting, pretty cool. Let's talk like you did

1:41:15.160 --> 1:41:20.799
<v Speaker 1>six years later. Okay. Well, obviously for whatever reason I didn't.

1:41:21.400 --> 1:41:23.680
<v Speaker 1>Maybe you know, it's like people at the point that

1:41:23.720 --> 1:41:27.840
<v Speaker 1>I was trying to make the difference between a Schmidt

1:41:27.880 --> 1:41:30.760
<v Speaker 1>and that was Eric Schmidt blew me off live. I

1:41:30.760 --> 1:41:35.400
<v Speaker 1>didn't you blew you off? Okay, But your point, uh,

1:41:35.439 --> 1:41:37.439
<v Speaker 1>you know this is so I was gonna write back

1:41:37.880 --> 1:41:42.080
<v Speaker 1>what an Eric Schmidt type response? But I decided not to. Well,

1:41:42.120 --> 1:41:44.679
<v Speaker 1>you could I get that type of email all day

1:41:44.720 --> 1:41:46.479
<v Speaker 1>every time? I mean, I might not be sitting here

1:41:46.520 --> 1:41:48.679
<v Speaker 1>if I had written that email. No, you know that's

1:41:48.680 --> 1:41:51.960
<v Speaker 1>not you know, I don't know if I would have

1:41:52.000 --> 1:41:55.080
<v Speaker 1>remembered it to be honest with you, but you have to.

1:41:55.760 --> 1:41:57.760
<v Speaker 1>I mean, this gets into my life and it's really

1:41:57.840 --> 1:42:01.240
<v Speaker 1>a podcast about you. But there's not enough time for

1:42:01.320 --> 1:42:05.439
<v Speaker 1>me to do everything that I want to do, and

1:42:06.040 --> 1:42:10.520
<v Speaker 1>how I use my time may not be the appropriate

1:42:10.720 --> 1:42:14.559
<v Speaker 1>use of that particular time. But you certainly made it.

1:42:15.320 --> 1:42:19.000
<v Speaker 1>I don't didn't sound like it needed my advice. Thank you.

1:42:19.040 --> 1:42:22.200
<v Speaker 1>I appreciate it. Okay, until next time. This is Bob,

1:42:22.280 --> 1:42:22.760
<v Speaker 1>less sens