WEBVTT - Rob Price

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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 Rob Bright's CEO of the School

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<v Speaker 1>of Rock. Rob. How many schools of Rock are there?

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<v Speaker 2>Not enough, Bob? But today we've got three hundred, just

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<v Speaker 2>under three hundred and forty around the globe in fifteen

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<v Speaker 2>countries altogether.

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<v Speaker 1>Okay, And how many are owned by School of Rock

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<v Speaker 1>or they all franchised? How does it work?

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<v Speaker 2>We operate forty six of the schools. Those are exclusively

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<v Speaker 2>in the US, scattered about in key markets, but the

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<v Speaker 2>rest are franchised all through the US and internationally.

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<v Speaker 1>So let's say I want to have a franchise, walk

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<v Speaker 1>me through it.

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<v Speaker 2>Well, you know what's interesting is we tend to appeal

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<v Speaker 2>to people who've never done a franchise before, because ours

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<v Speaker 2>is really a purpose driven passion area where folks arrive

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<v Speaker 2>at their interest in School of Rock either having been

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<v Speaker 2>a parent of a student student themselves as an adult student.

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<v Speaker 2>They may have seen one of our bands perform, they

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<v Speaker 2>may be a fan of the movie and and come

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<v Speaker 2>across come across our franchise, so they'll reach out to us,

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<v Speaker 2>and there's there's a there's kind of a long dating process.

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<v Speaker 2>We want to find out the intent. We want to

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<v Speaker 2>understand if they're doing this for the right combinations of

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<v Speaker 2>changing the world and and doing something that's economically viable,

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<v Speaker 2>and then we step through a series of discussions that

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<v Speaker 2>can take weeks or even months to make sure that

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<v Speaker 2>the match is there. In some ways, it's really similar

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<v Speaker 2>to other franchise businesses. In other ways it's really different

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<v Speaker 2>because we are searching for people who have an equal

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<v Speaker 2>amount of an interest in return on effort as return

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<v Speaker 2>on investment. People are really looking to bend the universe

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<v Speaker 2>by transforming lives through music.

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<v Speaker 1>Okay, so let's assume I'm excited. What is the deal

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<v Speaker 1>I'm going to get with you? And is every deal

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<v Speaker 1>the same or is every deal unique?

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<v Speaker 2>Yeah, the deals are all the same. We've got standard

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<v Speaker 2>economics that have a initial franchise fee that's just under

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<v Speaker 2>fifty thousand dollars, and then the economics going forward, there's

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<v Speaker 2>the startup costs. There'll be the construction, they'll be build

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<v Speaker 2>out soft costs, architecture, et cetera, et cetera, to build

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<v Speaker 2>a unit that is physical unit, physical school about twenty

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<v Speaker 2>five hundred square feet, and then going forward, once that

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<v Speaker 2>school opens. The transactions are as follows, is that we

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<v Speaker 2>earn a eight percent royalty and we earn a three

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<v Speaker 2>percent brand fund that we spend on behalf the franchise ease,

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<v Speaker 2>on paid marketing, and on infrastructure, and then the rest

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<v Speaker 2>of the residual economics flow through to the franchise e.

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<v Speaker 2>And you know, many of our franchises choose to do

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<v Speaker 2>more than one, but about three quarters of our franchisese

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<v Speaker 2>are single unit franchisees and most are owner operators.

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<v Speaker 1>Let me ask you, I've always been interested same thing

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<v Speaker 1>with royalties in the music business. Okay, ultimately you're getting

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<v Speaker 1>the better part of ten percent. How do you make

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<v Speaker 1>sure you get your money?

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<v Speaker 2>Yeah, it's a it's a great question, and that's that's

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<v Speaker 2>a challenge for some franchises. For us, we have an

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<v Speaker 2>integrated point of sale system. We have a monthly subscription

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<v Speaker 2>for our services at the individual school level, so a

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<v Speaker 2>parent or an adult student will will kind of sign

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<v Speaker 2>up for renewing participation, hopefully in our performance program, which

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<v Speaker 2>I'm sure we'll talk about, and as those transactions happen,

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<v Speaker 2>the royalties are automatically dispersed to School of Rock, so

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<v Speaker 2>we don't really have any collections issues, and frankly, our

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<v Speaker 2>franchisees of such high integrity, I don't even imagine if

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<v Speaker 2>we were in a scenario where the technology wasn't our friend,

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<v Speaker 2>where we would've got a high degree of professionalism within

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<v Speaker 2>the community. But thankfully we don't have to face that

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<v Speaker 2>uncertainty because it all happens in an automated way.

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<v Speaker 1>Now, have any franchises gone billy up or has the

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<v Speaker 1>parent organization need to reclaim them?

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<v Speaker 2>We have had an extraordinary situation. You know, you will

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<v Speaker 2>typically see in most franchise systems that you will see

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<v Speaker 2>a meaningful number on a percentage basis, maybe three four

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<v Speaker 2>five percent of the system might fail in a given year.

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<v Speaker 2>We are well below one percent in our history, and

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<v Speaker 2>that's a source of extraordinary pride, especially given COVID. I mean,

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<v Speaker 2>COVID should have put us out of business entirely. So

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<v Speaker 2>we've only had a few circumstances where we've had where

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<v Speaker 2>we've had schools close their doors, and in many circumstances

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<v Speaker 2>where there is some concerns that a school has, they're

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<v Speaker 2>able to transfer it to another enthusiastic perspective franchise e,

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<v Speaker 2>and in some cases we've acquired schools, but we don't

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<v Speaker 2>typically acquire schools to operate that are not strong performers.

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<v Speaker 2>We like to buy schools that are great performers, that

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<v Speaker 2>we think have substantial upside potential. So I, you know,

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<v Speaker 2>knock on wood. I'm not sure if I'm in a

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<v Speaker 2>room with any real wood. But the thankfully, we have

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<v Speaker 2>not had the kinds of situations that many multi unit

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<v Speaker 2>operations have where we see periods or even averages of

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<v Speaker 2>meaningful reduction over time.

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<v Speaker 1>Okay, so you get someone who's interested, they have the money.

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<v Speaker 1>You know, when it comes to cost structure and a

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<v Speaker 1>successful business, location is very important. So to what did

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<v Speaker 1>we as a parent organization involved in location?

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<v Speaker 2>It's incredibly important and it's really good instinct that you

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<v Speaker 2>ask that because it's not obvious. You know, we think

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<v Speaker 2>when we were kids, you didn't think about visibility or

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<v Speaker 2>location for music lessons or youth and Richmond activities. It

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<v Speaker 2>was word of mouth and you'd hear it from your

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<v Speaker 2>neighbor or a church or synagogue or whatever. Get you

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<v Speaker 2>just get a hunch where to go for the things.

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<v Speaker 2>For kids today, locations really important. We provide a we

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<v Speaker 2>have a kind of preferred partnership with a national real

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<v Speaker 2>estate site selection firm that helps the franchisees facilitate the

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<v Speaker 2>selection the negotiation of their leases. They're not obligated to

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<v Speaker 2>use it. We don't participate in the economics, so we

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<v Speaker 2>can be an honest broker in regards to making that connection.

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<v Speaker 2>We approve each site, so we also use our own tools.

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<v Speaker 2>We've got a really really extensive statistical model that we

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<v Speaker 2>use that takes all the sites that we have today,

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<v Speaker 2>evaluates what makes them successful, and that gives us a

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<v Speaker 2>sense for where we should put a school in a

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<v Speaker 2>given part of a territory and even more specifically which

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<v Speaker 2>street or which shopping center based on the data that

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<v Speaker 2>we have. So we've got a lot of support for that.

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<v Speaker 2>And then of course there's always art to the sciences,

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<v Speaker 2>as you know, you know, the location is something that

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<v Speaker 2>a local entrepreneur, a local community member may know a

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<v Speaker 2>little bit more about than even a broker. They may

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<v Speaker 2>know what's happening from a residential development standpoint, they may

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<v Speaker 2>know where the schools are. And then those weird dynamics

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<v Speaker 2>where somebody may not drive past this highway because that's

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<v Speaker 2>just not where we drive or morning side of the street,

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<v Speaker 2>afternoon side of the street, et cetera. So we're very

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<v Speaker 2>very active in the selection or in the help of

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<v Speaker 2>the selection of the locations because we want these to

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<v Speaker 2>be of enduring value. We want them to be successful

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<v Speaker 2>for decades, not just for the next five years.

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<v Speaker 1>Okay, what are some of the criteria that make a

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<v Speaker 1>location successful.

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<v Speaker 2>Well, you know, we tend to focus in areas that

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<v Speaker 2>have combination the following attributes, high disposable income, high percentage

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<v Speaker 2>of kids, and where there's enough aggregate population to provide

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<v Speaker 2>you know, enough of a rich target set for just

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<v Speaker 2>enough people to populate the school. And then beyond that,

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<v Speaker 2>we always in the territory. Since we're performance based and

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<v Speaker 2>our real product is producing young performers. How that comes

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<v Speaker 2>to life is in venues. So we'll always look at

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<v Speaker 2>what the venue configuration is in a given territory and

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<v Speaker 2>make sure there's enough proximity and magnitude of venues. We're

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<v Speaker 2>huge fans of independent venue operators in part because we're

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<v Speaker 2>really dependent on strength of that community to make sure

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<v Speaker 2>that we've got these sweet spot sizes of the two hundred,

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<v Speaker 2>three hundred, four hundred seat venues. And so we take

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<v Speaker 2>that into consideration as well, and then it gets down

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<v Speaker 2>to really specific things bob visibility, co tenancy. We do

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<v Speaker 2>well as you can imagine near places like a Whole

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<v Speaker 2>Foods and where there's other things for mom to do.

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<v Speaker 2>Once she drops her young artist off at the school,

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<v Speaker 2>we want her to be in a position to go

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<v Speaker 2>do her thing, be convenient, come back when that kid's

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<v Speaker 2>a little more proficient and a little happier.

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<v Speaker 1>Okay, how many of the franchisees is this their primary

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<v Speaker 1>mode of income?

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<v Speaker 2>We don't have good data on that, so I can

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<v Speaker 2>only give you an anecdotal answer to it. Would suspect

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<v Speaker 2>that the majority it is, but I'm not certain that

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<v Speaker 2>it would be the vast majority. We have a mix

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<v Speaker 2>of both. And what's what's interesting is that I'm often asked,

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<v Speaker 2>is the success model in our franchise system single unit

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<v Speaker 2>or multi unit owner operator versus passive operation? And if

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<v Speaker 2>you map our units, we've got we've got schools in

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<v Speaker 2>every one of those categories, and we've examples where the

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<v Speaker 2>unit economics and the customer satisfaction are super high. So

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<v Speaker 2>the answer is that while it's most most is the case,

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<v Speaker 2>we are not exclusively focused on that because if you

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<v Speaker 2>can build a team as a investor or a more

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<v Speaker 2>passive operator, and build a team that has passion like

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<v Speaker 2>they're the they're the owners themselves, this can be a

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<v Speaker 2>very very very successful, more passive ownership model. We always

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<v Speaker 2>want the owner to be engaged. They should be there

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<v Speaker 2>at the shows. They should be making sure that the

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<v Speaker 2>facility and the culture and the core operations are excellent.

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<v Speaker 2>But I think that ultimately we're actually open to all

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<v Speaker 2>of the different models, which may be a little different

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<v Speaker 2>than some other franchise systems.

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<v Speaker 1>How much money can I make owning a school of rock?

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<v Speaker 2>Well, the good news is we have some data in

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<v Speaker 2>our in our franchise disclosure document. I always to be

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<v Speaker 2>careful because the FTC could you know, you can see

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<v Speaker 2>on zoom I'm short and a little stout, so stripes

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<v Speaker 2>wouldn't look so good at me on me. So but

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<v Speaker 2>what one of the benefits we have in our franchise

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<v Speaker 2>disclosure document is I can report out the profitability of

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<v Speaker 2>our corporate owned schools with great precision. And I think

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<v Speaker 2>this year we're going to be We're going to be

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<v Speaker 2>delivering kind of a twenty percent ebit DAH margin on

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<v Speaker 2>average unit volume that is well north at seven hundred

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<v Speaker 2>thousand dollars per unit, so that takes into consideration even

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<v Speaker 2>if we were if we were paying ourselves royalties, we

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<v Speaker 2>adjust that percentage as if we were franchisees. So I

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<v Speaker 2>always recommend, and this transcends music, Bob, you know, I

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<v Speaker 2>always recommend when folks are looking at franchise opportunities. If

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<v Speaker 2>the institution doesn't have any company owned schools or company

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<v Speaker 2>owned units, and you can't get precise economics, it's hard

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<v Speaker 2>to gauge the likely return on investment. And then further,

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<v Speaker 2>if you don't get good P and L information from

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<v Speaker 2>existing franchisees who are comfortable and enthusiastic to share, those

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<v Speaker 2>two things are probably a good sign that it's something

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<v Speaker 2>to stay away from. In our case, we have really

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<v Speaker 2>extensive economics in our own schools, the corporate run ones,

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<v Speaker 2>and our franchisees are very comfortable sharing the good and

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<v Speaker 2>the bad of being a School of Rock franchise. Thankfully,

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<v Speaker 2>we've had remarkable growth over the last six years, comping

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<v Speaker 2>double digits every year, and even when you take COVID

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<v Speaker 2>into account, we have an annual compound annual growth rate

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<v Speaker 2>of our ebit in the double digits, which is really

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<v Speaker 2>terrific for our schools.

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<v Speaker 1>Okay, let's say I've jumped through the hoops, I've signed

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<v Speaker 1>the agreement, I've found a location. Let's talk about physical

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<v Speaker 1>space that generally speaking, it's twenty five hundred or is

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<v Speaker 1>that the minimum? Does it vary? And once I get

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<v Speaker 1>the space, is there a specific blueprint such that every

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<v Speaker 1>school of rock I go in will be similar or

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<v Speaker 1>are they all completely different? Question?

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<v Speaker 2>You know, there are some non negotiables we want in

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<v Speaker 2>that space. The right number of rooms for lessons individual lessons,

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<v Speaker 2>but just as importantly, the right configuration of our rehearsal rooms.

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<v Speaker 2>So the magic of what we do are preparing these

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<v Speaker 2>kids to do real rock and roll gigs, and we

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<v Speaker 2>need a great back line, we need great acoustics, We

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<v Speaker 2>need a space that gives the feel and the configuration

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<v Speaker 2>of a stage environment. And so every school will have

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<v Speaker 2>a minimum number of lesson rooms, minimum number of drum

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<v Speaker 2>rooms specifically because those have unique dynamics, and then a

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<v Speaker 2>minimum number of rehearsal rooms. And then, believe it or not,

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<v Speaker 2>one of the most important parts of the design is

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<v Speaker 2>a student lounge. We're really trying to become that third

0:15:50.800 --> 0:15:55.000
<v Speaker 2>space for kids, you know, kind of where Starbucks serves

0:15:55.040 --> 0:15:59.000
<v Speaker 2>the adult population. We want them as they're transferring between

0:15:59.160 --> 0:16:03.160
<v Speaker 2>songs or on a break from a given song in

0:16:03.160 --> 0:16:07.120
<v Speaker 2>their rehearsal, sitting in the lounge, comparing notes, learning how

0:16:07.120 --> 0:16:09.600
<v Speaker 2>to interact with each other. Is a lot of what

0:16:09.680 --> 0:16:13.720
<v Speaker 2>we deliver is not just the musical proficiency. It's civics.

0:16:13.960 --> 0:16:17.880
<v Speaker 2>It's the lessons on how to socialize. So to put

0:16:17.920 --> 0:16:21.320
<v Speaker 2>that to get back to your specific question, we do

0:16:21.400 --> 0:16:26.080
<v Speaker 2>have a specific configuration, but we're really flexible. That can

0:16:26.120 --> 0:16:29.600
<v Speaker 2>be a square space, that can be long and narrow

0:16:29.840 --> 0:16:34.320
<v Speaker 2>or shallow and wide. It can be two floors, it

0:16:34.360 --> 0:16:38.520
<v Speaker 2>can be on the second floor of a shopping center.

0:16:39.120 --> 0:16:43.440
<v Speaker 2>But we do have minimum criteria and twenty five hundred

0:16:43.560 --> 0:16:48.240
<v Speaker 2>is our target. We've done less in highly urban locations.

0:16:49.720 --> 0:16:53.440
<v Speaker 2>You know, Palo Alto is a location under two thousand

0:16:53.440 --> 0:16:58.560
<v Speaker 2>square feet, one of our highest volume schools, but we

0:16:58.720 --> 0:17:00.520
<v Speaker 2>really like to be at that twenty five five hundred

0:17:00.520 --> 0:17:02.800
<v Speaker 2>square feets. Some of our schools choose to do their

0:17:02.840 --> 0:17:06.520
<v Speaker 2>own mini venue inside the school, and that might add

0:17:06.560 --> 0:17:10.000
<v Speaker 2>another five hundred to seven hundred and fifty square feet.

0:17:10.040 --> 0:17:10.960
<v Speaker 2>We don't require it.

0:17:10.920 --> 0:17:13.600
<v Speaker 1>Though, how many lesson room, how many drum rooms?

0:17:14.000 --> 0:17:17.240
<v Speaker 2>Yeah, we like to have you know, in the seven

0:17:17.240 --> 0:17:21.400
<v Speaker 2>to eight range lesson rooms and to have two drum rooms,

0:17:21.640 --> 0:17:25.520
<v Speaker 2>so those will be double kits, and then our rehearsal

0:17:25.600 --> 0:17:28.959
<v Speaker 2>rooms will have drum kits in them. And we actually

0:17:28.960 --> 0:17:32.000
<v Speaker 2>the rehearsal rooms will have the full back line, so

0:17:32.040 --> 0:17:36.000
<v Speaker 2>our rehearsal rooms will also serve as lesson rooms at

0:17:36.040 --> 0:17:40.639
<v Speaker 2>high capacity times. So so think about it as you know,

0:17:40.720 --> 0:17:47.800
<v Speaker 2>ten individual lesson spaces and typically three group rehearsal areas.

0:17:48.320 --> 0:17:51.040
<v Speaker 1>Okay, I've got the space, I've built it out, I've

0:17:51.040 --> 0:17:55.480
<v Speaker 1>got some furniture. Do I have to also purchase musical equipment?

0:17:56.520 --> 0:17:59.919
<v Speaker 2>Yeah, we help. You know, we've become a gear supply

0:18:00.600 --> 0:18:02.600
<v Speaker 2>over the last six years, which has been an area

0:18:02.640 --> 0:18:06.119
<v Speaker 2>of great passion and interest. So we've established relationships with

0:18:06.160 --> 0:18:10.320
<v Speaker 2>all the major gear players and what we do is

0:18:10.359 --> 0:18:15.880
<v Speaker 2>we provide a recommended list of gear for starting up

0:18:17.320 --> 0:18:24.880
<v Speaker 2>and really for staging the school for operation. School owners

0:18:24.920 --> 0:18:29.040
<v Speaker 2>are not required to buy through our resources. They typically

0:18:29.080 --> 0:18:32.919
<v Speaker 2>do because we get wholesale pricing on their behalf, so

0:18:32.960 --> 0:18:36.880
<v Speaker 2>they'll get that into wholesale pricing. Will help coordinate the shipment,

0:18:37.320 --> 0:18:40.879
<v Speaker 2>they'll get a couple of palettes in largely from the

0:18:40.920 --> 0:18:46.439
<v Speaker 2>same locations, so that helps as well. And then in

0:18:46.480 --> 0:18:50.600
<v Speaker 2>addition to that, since we have these wholesale arrangements, we

0:18:51.000 --> 0:18:55.919
<v Speaker 2>also can resell to students, so we might have you know,

0:18:57.720 --> 0:19:00.199
<v Speaker 2>I come from an old retail family, so there's the

0:19:00.240 --> 0:19:02.640
<v Speaker 2>phrase one to show, one to go, which may ring

0:19:02.680 --> 0:19:05.600
<v Speaker 2>a bell. You know. We have that kind of mentality

0:19:05.640 --> 0:19:09.800
<v Speaker 2>for key, high moving units like a starter pack, a

0:19:09.880 --> 0:19:15.840
<v Speaker 2>fender or epiphone starter pack or drum pad and sticks.

0:19:16.440 --> 0:19:19.840
<v Speaker 2>But we can get everything up to a Moog grandmother

0:19:21.080 --> 0:19:27.359
<v Speaker 2>if if our customers need it. And so yes, we

0:19:27.520 --> 0:19:34.080
<v Speaker 2>are a conduit for really really competitively priced gear. We

0:19:34.160 --> 0:19:37.520
<v Speaker 2>see that as a meaningful growth opportunity for us going forward.

0:19:39.080 --> 0:19:43.040
<v Speaker 1>What a local retailers in guitar center, major retailers say

0:19:43.080 --> 0:19:45.000
<v Speaker 1>about you going direct and cutting them.

0:19:44.840 --> 0:19:48.960
<v Speaker 2>Out, well, the reality is that you know the the

0:19:50.560 --> 0:19:54.280
<v Speaker 2>I will project how I feel about them, and I

0:19:54.320 --> 0:19:57.119
<v Speaker 2>hope they feel the same way about us. Which is

0:19:57.119 --> 0:20:02.120
<v Speaker 2>that so much about driving assumption and creating a new

0:20:02.160 --> 0:20:05.320
<v Speaker 2>player that will be a long term customer for any

0:20:05.359 --> 0:20:10.920
<v Speaker 2>of ours is about continuity of performance and continuity of commitment.

0:20:11.680 --> 0:20:16.159
<v Speaker 2>So in the short term. Is there a risk that

0:20:16.200 --> 0:20:22.600
<v Speaker 2>I'm going to cannibalize Guitar Center's fender starter pack? Well, yes,

0:20:22.680 --> 0:20:26.840
<v Speaker 2>there's a zero sum game for the initial buyer. But

0:20:27.640 --> 0:20:29.600
<v Speaker 2>you know the old joke, what's the right number of

0:20:29.640 --> 0:20:33.040
<v Speaker 2>guitars to buy? The answer is always is one more.

0:20:33.600 --> 0:20:38.800
<v Speaker 2>And ultimately, guitar Center has a really important role to play.

0:20:38.920 --> 0:20:43.760
<v Speaker 2>Sweetwater is a really important role to play. And since

0:20:43.840 --> 0:20:48.560
<v Speaker 2>we are meeting customers at different parts of that customer journey,

0:20:48.600 --> 0:20:52.400
<v Speaker 2>and since we're physically located in really really different places,

0:20:52.800 --> 0:20:55.639
<v Speaker 2>a guitar center can never be located where a school

0:20:55.640 --> 0:20:58.919
<v Speaker 2>of Rock is because it's hard to find thirty thousand

0:20:58.960 --> 0:21:04.400
<v Speaker 2>square feet on you know, the upper east side of

0:21:04.640 --> 0:21:07.800
<v Speaker 2>New York on seventy first, whereas we can get a

0:21:07.800 --> 0:21:11.880
<v Speaker 2>two thousand square foot location. I think the other thing

0:21:12.040 --> 0:21:17.320
<v Speaker 2>is that, you know, our view is that we play

0:21:17.359 --> 0:21:23.320
<v Speaker 2>a really important role where which is diminishing in all

0:21:23.400 --> 0:21:28.760
<v Speaker 2>the retail environments, which is very high touch, high consultative sale.

0:21:29.400 --> 0:21:33.240
<v Speaker 2>So we have the opportunity where we're spending three hours

0:21:33.320 --> 0:21:38.880
<v Speaker 2>with our students a week. Even guitar centers, most fervent

0:21:39.000 --> 0:21:42.199
<v Speaker 2>shoppers don't stay there for three hours a week, So

0:21:42.240 --> 0:21:47.080
<v Speaker 2>we have this incredible opportunity to really do that kind

0:21:47.160 --> 0:21:55.360
<v Speaker 2>of Hogwarts matching exercise where we help a student meet

0:21:55.440 --> 0:22:02.200
<v Speaker 2>it's their perfect guitar, bass, keyboard, microphone, et cetera. And

0:22:02.400 --> 0:22:04.760
<v Speaker 2>I think that's something we're in a unique position to

0:22:04.840 --> 0:22:08.679
<v Speaker 2>do when we're having that much continuity, because we have

0:22:08.800 --> 0:22:12.560
<v Speaker 2>mentors musicians themselves, and they can say, this is why

0:22:12.560 --> 0:22:14.800
<v Speaker 2>I play the Fender, this is why I pay play

0:22:14.840 --> 0:22:19.679
<v Speaker 2>this SG, this is why I choose gretch, And I

0:22:19.720 --> 0:22:21.760
<v Speaker 2>think that that's a role we earn a position to

0:22:21.840 --> 0:22:26.280
<v Speaker 2>uniquely play that. Having been said, no one likes competition,

0:22:26.800 --> 0:22:30.399
<v Speaker 2>I'm not. I don't. I'm mindful of the fact Guitar

0:22:30.520 --> 0:22:36.240
<v Speaker 2>Center teaches lessons and their music and Arts subsidiary teaches lessons.

0:22:37.040 --> 0:22:40.040
<v Speaker 2>But if they're doing a great job and lessons, that's

0:22:40.119 --> 0:22:43.400
<v Speaker 2>great for society. So in the grand scheme of things,

0:22:43.400 --> 0:22:44.159
<v Speaker 2>I'm okay with that.

0:22:51.440 --> 0:22:58.320
<v Speaker 1>Okay, In this transaction, in selling merchandise to the store

0:22:59.040 --> 0:23:03.800
<v Speaker 1>and to the customer, you are taking a spif you are.

0:23:04.000 --> 0:23:07.240
<v Speaker 1>This is a profit center, however minimal for the School

0:23:07.280 --> 0:23:07.640
<v Speaker 1>of Rock.

0:23:08.720 --> 0:23:11.560
<v Speaker 2>It's a profit center for our schools, and it's we

0:23:11.680 --> 0:23:15.920
<v Speaker 2>largely just cover our cost at the retail level. We've

0:23:16.000 --> 0:23:21.280
<v Speaker 2>chosen in the configuration of our economics, We've chosen to

0:23:21.440 --> 0:23:26.240
<v Speaker 2>participate the wholesale level, so we don't actually charge a

0:23:26.320 --> 0:23:30.480
<v Speaker 2>royalty in our sales uh to for franchisees. So we

0:23:30.520 --> 0:23:33.480
<v Speaker 2>want them to capture as much of the gross margin

0:23:33.560 --> 0:23:40.520
<v Speaker 2>as possible. And franchisees within the limits of map pricing,

0:23:40.600 --> 0:23:44.240
<v Speaker 2>which you're familiar with, you know, they are allowed to

0:23:44.240 --> 0:23:50.640
<v Speaker 2>have certain flexibility to h to charge and advertise promote

0:23:50.680 --> 0:23:53.280
<v Speaker 2>certain pricing. We want to preserve as much of that

0:23:53.320 --> 0:23:56.280
<v Speaker 2>margin for them as we can. So I don't see

0:23:56.320 --> 0:24:06.119
<v Speaker 2>for us the idea of massive EBITDA transformation valuation transformation

0:24:06.240 --> 0:24:13.199
<v Speaker 2>by becoming a conventional retail player. Rather, I want to

0:24:13.240 --> 0:24:16.440
<v Speaker 2>reduce the friction to make sure that we're the best,

0:24:16.560 --> 0:24:23.000
<v Speaker 2>high touch, customized matchmaker between a young artist and their needs.

0:24:23.280 --> 0:24:26.159
<v Speaker 2>By the way this applies to our teachers too, is

0:24:26.200 --> 0:24:29.119
<v Speaker 2>that our teachers are all gigging musicians. We want to

0:24:29.119 --> 0:24:31.960
<v Speaker 2>put the best gear in their hands, and we may

0:24:32.000 --> 0:24:33.720
<v Speaker 2>be the only way they're going to get their hands

0:24:33.760 --> 0:24:39.320
<v Speaker 2>on an American strat as opposed to a lesser model,

0:24:39.800 --> 0:24:41.800
<v Speaker 2>because we can get it to the meta price, it's much.

0:24:41.760 --> 0:24:46.359
<v Speaker 1>Lower Okay, so I'm opening a school of rock other

0:24:46.440 --> 0:24:48.679
<v Speaker 1>than the physical plant, how much am I going to

0:24:48.720 --> 0:24:49.840
<v Speaker 1>have to spend on equipment?

0:24:51.320 --> 0:24:54.240
<v Speaker 2>Our equipment tends to be in the sort of twenty

0:24:54.280 --> 0:24:59.840
<v Speaker 2>to twenty five thousand dollars range, and naturally, at retail

0:25:00.040 --> 0:25:03.000
<v Speaker 2>value that would be a much higher number. But we

0:25:03.160 --> 0:25:06.239
<v Speaker 2>tend to try to outfit the schools for everything they

0:25:06.280 --> 0:25:10.560
<v Speaker 2>need to operate in that zone in terms of gear.

0:25:11.000 --> 0:25:14.080
<v Speaker 2>In terms of gear, naturally there'll be things like soundproofing,

0:25:14.200 --> 0:25:20.920
<v Speaker 2>there'll be millwork, furniture, et cetera, et cetera, And depending

0:25:21.119 --> 0:25:25.159
<v Speaker 2>that's mostly driven by square footage, your buildout will be

0:25:25.240 --> 0:25:30.760
<v Speaker 2>directly proportional to square footage, and typically, you know, it'll

0:25:30.800 --> 0:25:33.840
<v Speaker 2>be a little over one hundred a little over one

0:25:33.880 --> 0:25:37.040
<v Speaker 2>hundred dollars per square foot to build out a school

0:25:37.040 --> 0:25:40.159
<v Speaker 2>of rock in terms of construction in some markets, that

0:25:40.200 --> 0:25:42.119
<v Speaker 2>can be up to one twenty one thirty.

0:25:42.800 --> 0:25:44.720
<v Speaker 1>Let's say I walk in the front door with my

0:25:44.920 --> 0:25:49.760
<v Speaker 1>parent and I'm sold, but I have no equipment. Is

0:25:49.800 --> 0:25:52.600
<v Speaker 1>there literally equipment in the store that I can buy

0:25:52.680 --> 0:25:55.760
<v Speaker 1>right that day or is it ordered? How do I

0:25:55.800 --> 0:25:57.240
<v Speaker 1>get the equipment in my hands?

0:25:57.960 --> 0:26:01.719
<v Speaker 2>In most cases, our schools that are committed to our

0:26:01.760 --> 0:26:06.320
<v Speaker 2>gear program, they'll have two or three of the fast

0:26:06.359 --> 0:26:10.200
<v Speaker 2>moving units in each instrument, so they'll have a starter

0:26:10.359 --> 0:26:13.200
<v Speaker 2>guitar pack, they'll have a starter based pack.

0:26:14.600 --> 0:26:14.959
<v Speaker 1>UH.

0:26:15.000 --> 0:26:18.840
<v Speaker 2>They typically wouldn't inventory keyboards because it's just such high

0:26:18.920 --> 0:26:22.400
<v Speaker 2>cube it's hard in a small space to keep those around.

0:26:23.640 --> 0:26:28.760
<v Speaker 2>They certainly will have drums, drum sticks and UH and

0:26:30.880 --> 0:26:34.880
<v Speaker 2>practice pads and practice pads thank you. And then we'll

0:26:34.880 --> 0:26:40.040
<v Speaker 2>have mic and amp solutions, starting solutions with partners like

0:26:40.119 --> 0:26:47.159
<v Speaker 2>Shore who are who are great partners. That having been said,

0:26:49.359 --> 0:26:54.720
<v Speaker 2>many of our students start their journey before selecting their instrument,

0:26:54.840 --> 0:26:58.200
<v Speaker 2>and we're very very much in favor of that. So

0:26:58.280 --> 0:27:01.400
<v Speaker 2>our our way in by our little or we call

0:27:01.440 --> 0:27:04.879
<v Speaker 2>our Little Wing program our Rookies program. This is a

0:27:04.920 --> 0:27:09.040
<v Speaker 2>group learning environment where we're giving them the opportunity to

0:27:10.240 --> 0:27:13.920
<v Speaker 2>speed date with a range of instruments, so they may

0:27:14.000 --> 0:27:18.920
<v Speaker 2>come in with a bias to pick their forever instrument.

0:27:19.480 --> 0:27:21.560
<v Speaker 2>But we think that's actually one of the things that

0:27:21.600 --> 0:27:28.400
<v Speaker 2>has impeded success in music education is leaping too quickly

0:27:28.920 --> 0:27:31.440
<v Speaker 2>to an instrument that ends up not being the right

0:27:31.480 --> 0:27:36.080
<v Speaker 2>one emotionally or physically for the student. So it's a

0:27:36.200 --> 0:27:40.480
<v Speaker 2>very rare circumstance where immediately someone comes in and they

0:27:40.520 --> 0:27:43.359
<v Speaker 2>don't have an instrument and they need it immediately. But

0:27:43.480 --> 0:27:46.040
<v Speaker 2>when we do, we can get it with great haste.

0:27:46.760 --> 0:27:51.520
<v Speaker 1>Let's say that you know, I'm a dedicated student. Are

0:27:51.560 --> 0:27:54.959
<v Speaker 1>you selling strings, straps picks that kind of stuff?

0:27:55.080 --> 0:28:00.239
<v Speaker 2>We are? We are, And that's pretty universally provided all

0:28:00.280 --> 0:28:03.719
<v Speaker 2>of our schools and again comes through the same supply

0:28:03.840 --> 0:28:07.080
<v Speaker 2>chain for us. And you know another one that's great

0:28:07.119 --> 0:28:11.119
<v Speaker 2>for us we're really proud of is hearing protection. Huge area.

0:28:11.400 --> 0:28:13.600
<v Speaker 2>We try to make sure every one of our kids

0:28:16.000 --> 0:28:19.280
<v Speaker 2>from the very get go understands the importance of it.

0:28:19.480 --> 0:28:23.200
<v Speaker 2>And in our rehearsal rooms we require hearing protection as

0:28:23.240 --> 0:28:26.520
<v Speaker 2>a mandatory item. So we'll also sell some really good

0:28:26.520 --> 0:28:29.480
<v Speaker 2>brands like Erasers in our schools.

0:28:30.480 --> 0:28:34.720
<v Speaker 1>Okay, I'm down the line, I signed my agreement, I

0:28:34.880 --> 0:28:39.239
<v Speaker 1>have my equipment, I've built out my space. What do

0:28:39.320 --> 0:28:42.840
<v Speaker 1>I do for personnel? How many people do I need?

0:28:42.960 --> 0:28:45.480
<v Speaker 1>What kind of structure, what kind of payment? Where do

0:28:45.560 --> 0:28:46.280
<v Speaker 1>I find them?

0:28:46.920 --> 0:28:52.160
<v Speaker 2>Yeah, it's the most important question because the software of

0:28:52.200 --> 0:28:56.280
<v Speaker 2>our business makes or breaks it. We don't have a

0:28:56.320 --> 0:29:01.360
<v Speaker 2>complex technological footprint, we don't have a complex lex build out.

0:29:01.440 --> 0:29:05.480
<v Speaker 2>It's got its uniqueness with sound attenuation, but the software

0:29:05.480 --> 0:29:10.160
<v Speaker 2>the people is really really important. The beauty of our

0:29:10.240 --> 0:29:14.880
<v Speaker 2>model is that we favor gigging musicians as our staff members.

0:29:15.600 --> 0:29:22.000
<v Speaker 2>We don't favor necessarily folks who have ten years fifteen

0:29:22.080 --> 0:29:27.960
<v Speaker 2>years in traditional music instruction because we are upending the

0:29:28.080 --> 0:29:33.200
<v Speaker 2>model of music instruction. We want happier kids who stay

0:29:33.240 --> 0:29:37.000
<v Speaker 2>with their instruments longer, that have the subsidiary benefits of

0:29:37.080 --> 0:29:41.080
<v Speaker 2>learning not just music but how to perform. And so

0:29:42.280 --> 0:29:45.400
<v Speaker 2>as you probably know, you know, you don't have to

0:29:45.440 --> 0:29:48.200
<v Speaker 2>go you don't have to go beyond your local Starbucks

0:29:48.240 --> 0:29:53.960
<v Speaker 2>to find a you know, proficient gigging musicians. And so

0:29:54.040 --> 0:29:58.760
<v Speaker 2>there's a high degree of supply in all major markets

0:29:58.840 --> 0:30:03.400
<v Speaker 2>in the world of people who are passionate musicians. And

0:30:03.480 --> 0:30:06.240
<v Speaker 2>depending on the age of the student, the level of

0:30:06.280 --> 0:30:13.240
<v Speaker 2>proficiency can range. So to your quantitative questions, school might

0:30:13.240 --> 0:30:15.800
<v Speaker 2>have twenty people on the payroll, most of those are

0:30:15.880 --> 0:30:20.440
<v Speaker 2>part time. There may be only one full time salary

0:30:20.520 --> 0:30:23.600
<v Speaker 2>team member as a general manager. And in an owner

0:30:23.600 --> 0:30:28.760
<v Speaker 2>operator school, that might be the owner, and there'll be

0:30:28.800 --> 0:30:32.680
<v Speaker 2>a music director that will be somebody who's more advanced

0:30:32.720 --> 0:30:36.280
<v Speaker 2>in terms of teaching and their organization skills and their

0:30:36.840 --> 0:30:43.400
<v Speaker 2>leadership skills. They really administer the pool of instructors. And

0:30:43.480 --> 0:30:47.360
<v Speaker 2>then we'll typically have one or two administrative staff who

0:30:47.400 --> 0:30:51.400
<v Speaker 2>are greeting people as they come in, helping navigate leads,

0:30:51.920 --> 0:30:57.160
<v Speaker 2>giving tours, administering billing, et cetera, et cetera. So it's

0:30:57.160 --> 0:31:00.320
<v Speaker 2>a really good compliment to the gigacon to me for

0:31:00.360 --> 0:31:06.440
<v Speaker 2>real gigging musicians. And so the first hire is typically

0:31:06.720 --> 0:31:10.600
<v Speaker 2>if you're an owner operator, is hiring that really really

0:31:10.640 --> 0:31:16.680
<v Speaker 2>well networked, well connected, very responsible music director. You bring

0:31:16.760 --> 0:31:20.240
<v Speaker 2>them on board a couple of months before opening, and

0:31:20.280 --> 0:31:24.640
<v Speaker 2>then they're usually so plugged into the local community they

0:31:24.760 --> 0:31:29.080
<v Speaker 2>can be the trojan horse to get us the amazing

0:31:29.440 --> 0:31:32.880
<v Speaker 2>talent to come in. And we've got a very methodical

0:31:32.960 --> 0:31:37.480
<v Speaker 2>curriculum and technology tools to make it really easy for

0:31:37.520 --> 0:31:43.040
<v Speaker 2>people who've never taught before to be incredibly successful music instructors.

0:31:43.600 --> 0:31:45.800
<v Speaker 1>You know, as an instructor, not as the person who's

0:31:45.840 --> 0:31:48.600
<v Speaker 1>an overseer manager. How much money am I going to make?

0:31:50.200 --> 0:31:53.520
<v Speaker 2>Well, we're we tend to be in the space which

0:31:53.560 --> 0:31:58.920
<v Speaker 2>is north of what they would get in the service economy,

0:31:59.480 --> 0:32:02.680
<v Speaker 2>and so both of what they would get as individual teachers,

0:32:04.120 --> 0:32:08.800
<v Speaker 2>so you might see you know, I can't give a

0:32:08.840 --> 0:32:16.360
<v Speaker 2>precise number because our franchisees economics aren't necessarily obvious to us,

0:32:16.920 --> 0:32:20.200
<v Speaker 2>but will typically be in the high teens early twenties

0:32:20.720 --> 0:32:24.000
<v Speaker 2>on an hourly rate. That'll differ in different markets naturally,

0:32:24.080 --> 0:32:26.680
<v Speaker 2>because you go to a Greenwich, Connecticut, it will be

0:32:26.760 --> 0:32:30.120
<v Speaker 2>very different than a Lubbock, Texas, where we have schools

0:32:30.240 --> 0:32:33.800
<v Speaker 2>in both of those markets. But we tend to be

0:32:33.960 --> 0:32:42.400
<v Speaker 2>very competitive with what musicians part time jobs can provide

0:32:42.400 --> 0:32:49.360
<v Speaker 2>to them. And then some schools also provide incentives and

0:32:49.440 --> 0:32:55.600
<v Speaker 2>bonus bonuses to the instructors that can increase their comp

0:32:56.880 --> 0:32:59.240
<v Speaker 2>if they're doing a show, if they're one of our

0:32:59.280 --> 0:33:02.280
<v Speaker 2>show directors, they may get a bonus for that, they

0:33:02.280 --> 0:33:04.720
<v Speaker 2>may get a bonus for retention, et cetera, et cetera.

0:33:04.800 --> 0:33:07.400
<v Speaker 2>We like to see that, but that varies quite a

0:33:07.480 --> 0:33:11.800
<v Speaker 2>bit through the system. But we don't target. We don't

0:33:11.840 --> 0:33:16.160
<v Speaker 2>compete against the price or the cost or the income

0:33:16.680 --> 0:33:21.080
<v Speaker 2>that a private instructor would have. For very practical reasons,

0:33:21.160 --> 0:33:26.040
<v Speaker 2>we're taking all of the administrative complexity, all of the liability,

0:33:26.800 --> 0:33:33.479
<v Speaker 2>all of the operational distractions, the scheduling, even the place,

0:33:33.680 --> 0:33:40.160
<v Speaker 2>the gear and the lead getting part off the shoulders

0:33:40.200 --> 0:33:43.680
<v Speaker 2>of the individual instructors. So we do see quite a

0:33:43.720 --> 0:33:48.360
<v Speaker 2>few traditional instructors who pursue coming aboard School of Rock,

0:33:48.800 --> 0:33:53.520
<v Speaker 2>but we're not dependent on that cohort as a source

0:33:53.520 --> 0:33:54.400
<v Speaker 2>of labor for us.

0:33:55.600 --> 0:33:59.000
<v Speaker 1>Okay, what's the life span of an employee.

0:34:01.680 --> 0:34:10.920
<v Speaker 2>Well, we have probably about half the churn of conventional retail,

0:34:11.480 --> 0:34:14.799
<v Speaker 2>so we we have since we have tend to have

0:34:14.920 --> 0:34:20.480
<v Speaker 2>younger team members. We team we have team members who

0:34:20.520 --> 0:34:24.560
<v Speaker 2>are touring, going out on tour. As a matter of course,

0:34:24.760 --> 0:34:29.400
<v Speaker 2>we'll understand that and we'll accommodate that. We will see

0:34:29.440 --> 0:34:34.520
<v Speaker 2>probably an average lifetime, an average life cycle for you know,

0:34:34.680 --> 0:34:37.920
<v Speaker 2>seven to nine months of a given team member. That

0:34:38.000 --> 0:34:42.880
<v Speaker 2>differs dramatically whether it's a general manager or a frontline

0:34:42.920 --> 0:34:46.080
<v Speaker 2>instructor or one of our administrative team members. But that

0:34:46.120 --> 0:34:52.879
<v Speaker 2>would be a good bogie. And since our students are

0:34:53.000 --> 0:34:57.200
<v Speaker 2>so keyed into our two hour rehearsal each week, where

0:34:58.080 --> 0:35:02.400
<v Speaker 2>the attachment it's to the brand and to the band

0:35:03.040 --> 0:35:07.200
<v Speaker 2>and to the goal of the show, it's not catastrophic

0:35:07.280 --> 0:35:09.680
<v Speaker 2>to us when one of our team members has the

0:35:09.760 --> 0:35:13.759
<v Speaker 2>opportunity to go tour that we don't have to be

0:35:13.880 --> 0:35:18.759
<v Speaker 2>agonizing about them. Departing always requires good succession management. You

0:35:18.760 --> 0:35:20.480
<v Speaker 2>want to make sure you're not leaving your kids high

0:35:20.480 --> 0:35:24.319
<v Speaker 2>and dry. But it's not uncommon for one week a

0:35:24.360 --> 0:35:27.160
<v Speaker 2>different instructor to come in and our kids tend to

0:35:27.200 --> 0:35:29.879
<v Speaker 2>really dig that because they'll say, hey, this is real

0:35:29.960 --> 0:35:35.680
<v Speaker 2>jazz oriented bass player. I'm learning a completely different side

0:35:35.960 --> 0:35:41.000
<v Speaker 2>of the instrument. So but thankfully, even though we do

0:35:41.080 --> 0:35:44.759
<v Speaker 2>largely compete with hospitality, we have much better retention of

0:35:44.800 --> 0:35:49.040
<v Speaker 2>our team members because it's a community for them too.

0:35:49.680 --> 0:35:51.120
<v Speaker 2>This is a place where they're going to be with

0:35:51.160 --> 0:35:55.560
<v Speaker 2>other musicians and other really purpose driven team members.

0:35:55.640 --> 0:35:59.960
<v Speaker 1>Okay, I'm building out. To what degree is sound reinforce

0:36:00.480 --> 0:36:04.759
<v Speaker 1>meaning deadening, et cetera. Or neighbors complaining? Is this an issue?

0:36:05.440 --> 0:36:09.040
<v Speaker 2>It's one of It is the most important topic on

0:36:09.200 --> 0:36:12.200
<v Speaker 2>the build out. It's less important if you have a

0:36:12.239 --> 0:36:15.799
<v Speaker 2>standalone unit, but if you're in the middle of a

0:36:15.840 --> 0:36:21.440
<v Speaker 2>shopping center. We deploy a lot of expertise. We have

0:36:21.560 --> 0:36:27.319
<v Speaker 2>relationships with vendors. We even have consultants on on on

0:36:27.520 --> 0:36:34.040
<v Speaker 2>call who have now helped dozens and dozens scores even

0:36:34.080 --> 0:36:39.799
<v Speaker 2>of schools navigate through specific issues and those can be

0:36:40.120 --> 0:36:44.759
<v Speaker 2>everything from how sound travels through an air conditioning unit

0:36:45.400 --> 0:36:51.000
<v Speaker 2>to raised floors. But we have in our design guidelines

0:36:51.280 --> 0:36:55.200
<v Speaker 2>super specific recommendations in terms of double drywall and green

0:36:55.280 --> 0:37:01.160
<v Speaker 2>glue and and uh. And then we have certain requirements,

0:37:01.239 --> 0:37:03.080
<v Speaker 2>and then we have certain nice to haves that we

0:37:03.120 --> 0:37:07.640
<v Speaker 2>give our franchisees the opportunities to navigate through. We've been

0:37:07.719 --> 0:37:11.440
<v Speaker 2>really lucky in that now. It wasn't always like this,

0:37:11.560 --> 0:37:14.760
<v Speaker 2>but now we're in a situation where we know how

0:37:14.800 --> 0:37:18.000
<v Speaker 2>to mitigate the sound, and we know how to administer

0:37:18.120 --> 0:37:22.080
<v Speaker 2>the relationship with the landlords and neighbors so that it's

0:37:22.120 --> 0:37:28.120
<v Speaker 2>not contentious. Some of it is even setting explicit decibel requirements,

0:37:28.440 --> 0:37:31.040
<v Speaker 2>which is we will commit to not being above this

0:37:31.880 --> 0:37:36.200
<v Speaker 2>level of sound that'll be well below with municipal limits

0:37:36.239 --> 0:37:39.400
<v Speaker 2>are But yeah, it's a big It's the only really

0:37:39.520 --> 0:37:43.960
<v Speaker 2>complex part of our construction is sound attenuation. The rest

0:37:44.080 --> 0:37:50.440
<v Speaker 2>is drywall, framing, carpeting, painting, electrical plumbing, very standard stuff.

0:37:50.960 --> 0:37:53.240
<v Speaker 1>Okay, I've jumped through all the hoops, signed the agreement,

0:37:53.239 --> 0:37:56.440
<v Speaker 1>built out, have a staff, have the sign on the door.

0:37:56.960 --> 0:37:58.360
<v Speaker 1>How do I start the business?

0:37:59.680 --> 0:38:04.520
<v Speaker 2>Well, well, you ask a question that almost need to

0:38:04.640 --> 0:38:07.759
<v Speaker 2>challenge the premise, which is that our view is the

0:38:07.760 --> 0:38:11.319
<v Speaker 2>business starts the day you sign the agreement. And that's

0:38:11.360 --> 0:38:13.799
<v Speaker 2>been one of the things that's been a transformation for

0:38:13.880 --> 0:38:19.359
<v Speaker 2>us is that the marketing and the community relationship that

0:38:19.440 --> 0:38:24.759
<v Speaker 2>you can establish anticipating opening is really rich. So what

0:38:24.880 --> 0:38:29.920
<v Speaker 2>we always ask our franchisees to do is immediately stop

0:38:30.200 --> 0:38:35.240
<v Speaker 2>start mapping your community. Map, the schools map, the mom's clubs, map,

0:38:35.360 --> 0:38:44.560
<v Speaker 2>the local activities like art box and farmers' markets. Get

0:38:44.600 --> 0:38:46.960
<v Speaker 2>to know businesses that are going to be adjacent to you,

0:38:47.040 --> 0:38:51.400
<v Speaker 2>because sometimes they'll be your first students. Your landlord often

0:38:51.440 --> 0:38:53.920
<v Speaker 2>will have a child they want to send him to

0:38:54.000 --> 0:38:56.879
<v Speaker 2>School of Rock. That's a great place to start. And

0:38:56.920 --> 0:39:00.520
<v Speaker 2>so what we always try to do is actually have

0:39:01.160 --> 0:39:04.919
<v Speaker 2>twenty or thirty students pre enrolled, so unlike a lot

0:39:04.920 --> 0:39:08.480
<v Speaker 2>of franchises, we actually try to start off with revenue

0:39:08.880 --> 0:39:18.319
<v Speaker 2>from day one, and so now beyond that we are

0:39:18.520 --> 0:39:21.200
<v Speaker 2>doing the way to think about it is that we

0:39:21.320 --> 0:39:24.920
<v Speaker 2>run at the corporate level the air war for our franchisese.

0:39:25.400 --> 0:39:32.600
<v Speaker 2>We'll do digital, paid and earned media, We'll do seasonal campaigns,

0:39:32.640 --> 0:39:35.040
<v Speaker 2>and we'll do always on campaigns, will do very very

0:39:35.120 --> 0:39:41.440
<v Speaker 2>sophisticated prospecting and targeting on our individual school's behalf, but

0:39:41.520 --> 0:39:45.320
<v Speaker 2>we're counting on the franchisees and the local company school

0:39:45.360 --> 0:39:49.479
<v Speaker 2>teams to do the ground warfare, which is we want

0:39:49.520 --> 0:39:52.960
<v Speaker 2>them to be everything from that a frame outside of

0:39:52.960 --> 0:39:56.000
<v Speaker 2>the school to the lights coming out from the school,

0:39:56.400 --> 0:39:58.719
<v Speaker 2>to setting up that table with what we call the

0:39:58.760 --> 0:40:04.680
<v Speaker 2>instrument petting zoo at the children's festival, or you know,

0:40:04.760 --> 0:40:08.680
<v Speaker 2>going to the art walk and having your kids play

0:40:09.560 --> 0:40:14.640
<v Speaker 2>at the event. That's really where the source of leads are.

0:40:15.280 --> 0:40:21.560
<v Speaker 2>And we've have very very precise mechanics of doing our

0:40:21.719 --> 0:40:25.359
<v Speaker 2>lead gathering, so we know at any time how well

0:40:25.400 --> 0:40:29.640
<v Speaker 2>situated a school is for longer term success based on

0:40:30.280 --> 0:40:33.759
<v Speaker 2>their lead flow and their conversion dynamics. We do that

0:40:34.239 --> 0:40:35.520
<v Speaker 2>very scientifically.

0:40:36.239 --> 0:40:39.240
<v Speaker 1>I know everybody enters the program in a different fashion,

0:40:39.680 --> 0:40:42.799
<v Speaker 1>but let's start with some examples. I walk in the

0:40:42.880 --> 0:40:46.959
<v Speaker 1>front door. That's it, no pre existing relationship.

0:40:47.480 --> 0:40:51.959
<v Speaker 2>What happens, well, naturally, somebody who walks in the door

0:40:52.080 --> 0:40:55.440
<v Speaker 2>probably has self selected that they're interested in music education.

0:40:55.719 --> 0:40:58.520
<v Speaker 2>So it's a circumstance where we don't have to convince

0:40:58.600 --> 0:41:03.319
<v Speaker 2>them about what class of trade we're in. The very

0:41:03.400 --> 0:41:06.600
<v Speaker 2>first thing we begin to explain before we do the

0:41:06.640 --> 0:41:11.040
<v Speaker 2>tour is we're performance based music education. So if you're

0:41:11.080 --> 0:41:15.840
<v Speaker 2>looking for lessons only, we might recommend you go someplace else.

0:41:17.840 --> 0:41:21.680
<v Speaker 2>And we think that the efficacy of our model is

0:41:21.719 --> 0:41:25.040
<v Speaker 2>so much better that we don't want to clog it

0:41:25.160 --> 0:41:28.560
<v Speaker 2>up with folks who are interested in just the most

0:41:28.840 --> 0:41:33.799
<v Speaker 2>conventional weekly lesson where they're you know, the it's practice

0:41:34.200 --> 0:41:37.440
<v Speaker 2>with the hope someday of something like a recital. So

0:41:37.520 --> 0:41:40.240
<v Speaker 2>at the very first part of that conversation, we're saying,

0:41:40.800 --> 0:41:43.200
<v Speaker 2>here's who we are. What we are is that we're

0:41:43.200 --> 0:41:46.600
<v Speaker 2>going to have a transformational experience for your kid, typically,

0:41:48.440 --> 0:41:53.160
<v Speaker 2>and that transformational experience is anchored in them joining a

0:41:53.200 --> 0:41:57.560
<v Speaker 2>band and joining the Zeppelin Show or the Green Day Show,

0:41:58.239 --> 0:42:02.120
<v Speaker 2>or the Women in Rock Shaw or the Blue Origin

0:42:02.200 --> 0:42:05.920
<v Speaker 2>of the Blues show that's enrolling right now. We're casting

0:42:06.000 --> 0:42:08.319
<v Speaker 2>right now for that show. The show is going to

0:42:08.320 --> 0:42:11.440
<v Speaker 2>be in three months. We'd love to have your kid,

0:42:11.920 --> 0:42:16.600
<v Speaker 2>if they're already doing music, already having some functional capability,

0:42:17.200 --> 0:42:20.560
<v Speaker 2>and we'll give you weekly lessons as part of that.

0:42:20.560 --> 0:42:24.200
<v Speaker 2>That's really how it begins. And then we take them

0:42:24.200 --> 0:42:27.280
<v Speaker 2>around the school and we show them how the physical

0:42:27.320 --> 0:42:33.600
<v Speaker 2>facility delivers that to them in an incredibly immersive environment.

0:42:34.000 --> 0:42:37.360
<v Speaker 2>Typically they'll be seeing a rehearsal going on or an

0:42:37.400 --> 0:42:40.120
<v Speaker 2>individual lesson going on. They'll get to see the happy

0:42:40.200 --> 0:42:45.480
<v Speaker 2>kids bouncing around the school, and they'll get to do

0:42:45.520 --> 0:42:48.280
<v Speaker 2>a trial lesson where they get the experience of what's

0:42:48.440 --> 0:42:52.680
<v Speaker 2>our teaching method, and then we'll show them our curriculum.

0:42:53.040 --> 0:42:56.839
<v Speaker 2>Depending on the musical ability of its parent, they may

0:42:57.160 --> 0:43:00.320
<v Speaker 2>have a model in their head of how they earned

0:43:00.840 --> 0:43:04.520
<v Speaker 2>the Alba books or how entered books. We have our

0:43:04.560 --> 0:43:07.839
<v Speaker 2>own curriculum which we think is really differentiated and that

0:43:07.920 --> 0:43:10.920
<v Speaker 2>really blows people away when we show them the physical

0:43:10.960 --> 0:43:15.400
<v Speaker 2>and the digital parts of our curriculum. And honestly, Bob,

0:43:15.520 --> 0:43:18.960
<v Speaker 2>when we can get a prospective student in the school,

0:43:19.400 --> 0:43:23.880
<v Speaker 2>we have an amazing hit rate of convincing people that

0:43:23.960 --> 0:43:27.799
<v Speaker 2>this is something unlike, certainly unlike they had when they

0:43:27.800 --> 0:43:28.360
<v Speaker 2>were kids.

0:43:29.760 --> 0:43:29.920
<v Speaker 1>Now.

0:43:29.960 --> 0:43:33.240
<v Speaker 2>A different scenario is when we have a really novice

0:43:33.320 --> 0:43:36.840
<v Speaker 2>player and there we introduce them, depending on their age,

0:43:37.320 --> 0:43:40.480
<v Speaker 2>to either our little Wing program which is sort of

0:43:40.520 --> 0:43:44.399
<v Speaker 2>four to six or our Rookies program, which is more

0:43:44.480 --> 0:43:48.480
<v Speaker 2>like the six to eight year old level. But again

0:43:48.520 --> 0:43:53.760
<v Speaker 2>we're working them towards enrolling in the performance program and

0:43:54.239 --> 0:43:56.680
<v Speaker 2>being ready to get out on stage as soon as possible.

0:44:04.040 --> 0:44:05.840
<v Speaker 1>Okay, so what is your teaching method?

0:44:07.680 --> 0:44:14.200
<v Speaker 2>So it starts in reverse. So when you and I,

0:44:14.320 --> 0:44:17.480
<v Speaker 2>you know, we're exposed to music as kids. I was

0:44:17.520 --> 0:44:24.040
<v Speaker 2>a keyboard player and my teacher was missus van Acker

0:44:24.400 --> 0:44:30.600
<v Speaker 2>rest her soul, a wonderful woman who was very dedicated,

0:44:30.680 --> 0:44:34.440
<v Speaker 2>and I trained classically. As many of the listeners, I

0:44:34.480 --> 0:44:41.240
<v Speaker 2>think that would be their experience, and it was skill first,

0:44:42.760 --> 0:44:45.839
<v Speaker 2>So building up and basically saying you're going to learn

0:44:45.920 --> 0:44:50.240
<v Speaker 2>grammar before I sent you into conversation, and we're certainly

0:44:50.280 --> 0:44:52.000
<v Speaker 2>not going to put you in a room of other

0:44:52.040 --> 0:44:56.799
<v Speaker 2>people speaking until we're absolutely certain that you are articulate

0:44:57.520 --> 0:45:00.400
<v Speaker 2>and you know the letter names and you know the

0:45:00.440 --> 0:45:04.680
<v Speaker 2>parts of speech, et cetera, et cetera. That is one

0:45:04.719 --> 0:45:08.080
<v Speaker 2>way to learn. It happens to be in contradiction to

0:45:08.200 --> 0:45:11.160
<v Speaker 2>virtually everything else we learn, though. It's not how we

0:45:11.239 --> 0:45:15.200
<v Speaker 2>learn sports, it's not how we learn socialization, it's not

0:45:15.320 --> 0:45:21.840
<v Speaker 2>how we learn to speak. So we have the reverse.

0:45:22.440 --> 0:45:26.919
<v Speaker 2>So our curriculum starts song first, and what we do

0:45:27.160 --> 0:45:31.040
<v Speaker 2>is that we build with the show that a kid

0:45:31.040 --> 0:45:34.120
<v Speaker 2>will then roll. Imagine fifteen kids. Sixteen kids in a

0:45:34.160 --> 0:45:37.160
<v Speaker 2>show season, and they're doing their weekly rehearsal and they're

0:45:37.160 --> 0:45:40.240
<v Speaker 2>cast on songs, and we cast them on the songs

0:45:40.800 --> 0:45:44.799
<v Speaker 2>using a database of our songs where we know the

0:45:44.920 --> 0:45:48.160
<v Speaker 2>level by instrument of that song. So we have a

0:45:48.280 --> 0:45:53.440
<v Speaker 2>very proprietary tool where we can take a level one

0:45:53.600 --> 0:45:56.120
<v Speaker 2>bass player and put them on a song with a

0:45:56.239 --> 0:46:02.640
<v Speaker 2>level five guitar player and they can coexist. And then

0:46:02.760 --> 0:46:05.240
<v Speaker 2>what we do is that we have in the same

0:46:05.719 --> 0:46:10.759
<v Speaker 2>massive database of these songs in our shows, we have

0:46:10.840 --> 0:46:15.319
<v Speaker 2>the skills that map to those songs. So a great

0:46:15.600 --> 0:46:20.759
<v Speaker 2>you know, great examples thunderstruck, you know that tune. The

0:46:20.840 --> 0:46:22.800
<v Speaker 2>last thing you want to do is talk about music

0:46:22.840 --> 0:46:26.799
<v Speaker 2>theory when you're teaching a kid thunderstruck. You just want

0:46:26.800 --> 0:46:29.400
<v Speaker 2>them to jam out. But what it gives us the

0:46:29.440 --> 0:46:32.640
<v Speaker 2>opportunity to do in the individual lesson is to say, hey,

0:46:32.680 --> 0:46:35.239
<v Speaker 2>you know that guitar solo. Did you know that's in

0:46:35.600 --> 0:46:39.960
<v Speaker 2>mix olidian mode? And they'll say, well, what's that? And

0:46:40.000 --> 0:46:42.960
<v Speaker 2>then we'll teach them mix Olidian mode, and for their

0:46:43.200 --> 0:46:47.360
<v Speaker 2>entire life, when they hear that configuration of notes, they'll

0:46:47.360 --> 0:46:51.240
<v Speaker 2>know mix Olidian mode much more so than somebody who's

0:46:51.280 --> 0:46:54.920
<v Speaker 2>taught the mode before they're taught to play the mode.

0:46:55.120 --> 0:46:58.640
<v Speaker 2>And so that's a really geeky music theory way to

0:46:58.680 --> 0:47:02.000
<v Speaker 2>answer the question. But we start with the show, to

0:47:02.040 --> 0:47:06.960
<v Speaker 2>the song, to the skill, and then our app reinhorses

0:47:07.000 --> 0:47:11.719
<v Speaker 2>those skills and maps it for the student's use to

0:47:12.560 --> 0:47:16.840
<v Speaker 2>preparing them for the show. So it's it's we sneak

0:47:17.000 --> 0:47:23.239
<v Speaker 2>the kids the music theory, the notation, the technique, but

0:47:23.360 --> 0:47:25.799
<v Speaker 2>it's all in service of their curiosity because they want

0:47:25.840 --> 0:47:28.960
<v Speaker 2>to just jam better. They feel a sense of group accountability,

0:47:30.480 --> 0:47:35.960
<v Speaker 2>and we think it's so incredibly novel in music, partially

0:47:35.960 --> 0:47:38.759
<v Speaker 2>because it's so universal in everything else. That's how you

0:47:38.760 --> 0:47:39.680
<v Speaker 2>and I learned to talk.

0:47:41.560 --> 0:47:47.400
<v Speaker 1>Okay, I'm convinced I signed up. I would think that

0:47:47.520 --> 0:47:52.640
<v Speaker 1>my first meeting is with my teacher. So let's just

0:47:52.680 --> 0:47:56.000
<v Speaker 1>assume I have some skill. I'm not a complete Okay, yeah, okay,

0:47:56.600 --> 0:48:00.040
<v Speaker 1>I meet with a teacher. What goes down in that lesson.

0:48:00.960 --> 0:48:03.600
<v Speaker 2>Well, it may be that your first meeting is with

0:48:03.640 --> 0:48:06.520
<v Speaker 2>your band, so you may actually have your rehearsal first,

0:48:07.800 --> 0:48:11.520
<v Speaker 2>but in either case, typically in rapid succession, you're going

0:48:11.560 --> 0:48:14.719
<v Speaker 2>to meet with an instructor who's really well equipped to

0:48:14.719 --> 0:48:17.880
<v Speaker 2>teach your level of your instrument, and you'll be signing

0:48:17.960 --> 0:48:20.880
<v Speaker 2>up for a show. So part of the choice for

0:48:21.040 --> 0:48:25.880
<v Speaker 2>customers what shows you doing this season, And that'll be

0:48:25.920 --> 0:48:29.240
<v Speaker 2>a little bit of a matchmaking because we'll have certain

0:48:29.719 --> 0:48:33.240
<v Speaker 2>needs still in given shows where it's easier to cast

0:48:33.640 --> 0:48:36.880
<v Speaker 2>that instrument, and then others may be more fall But

0:48:36.960 --> 0:48:40.680
<v Speaker 2>let's say they choose to be part of the pop

0:48:40.719 --> 0:48:43.640
<v Speaker 2>punk show, so they want to do you know some

0:48:43.760 --> 0:48:49.239
<v Speaker 2>forty one and Green Day, and we're casting for that show.

0:48:49.320 --> 0:48:52.040
<v Speaker 2>We've got a great role. So within a couple of

0:48:52.120 --> 0:48:54.680
<v Speaker 2>days they'll spend they'll have a thirty or forty five

0:48:54.719 --> 0:49:01.680
<v Speaker 2>minute lesson with their teacher, talk about their goals, do

0:49:01.760 --> 0:49:04.040
<v Speaker 2>a little bit of demonstration, which is just let's see

0:49:04.080 --> 0:49:09.040
<v Speaker 2>how you hold your instrument or how you navigate at

0:49:09.080 --> 0:49:13.200
<v Speaker 2>your vocal instrument. Let's see your technique. So the first

0:49:14.000 --> 0:49:17.160
<v Speaker 2>lesson typically is an assessment just where do you stand?

0:49:17.880 --> 0:49:23.800
<v Speaker 2>But that second lesson, Bob, they're supporting that student's proficiency

0:49:23.840 --> 0:49:27.040
<v Speaker 2>and technique to be ready to rock on stage. It

0:49:27.120 --> 0:49:31.319
<v Speaker 2>is all about preparing the songs for the show. Now,

0:49:31.360 --> 0:49:35.440
<v Speaker 2>we'll have circumstances if a kid's actually auditioning for Berkeley,

0:49:35.840 --> 0:49:37.919
<v Speaker 2>or if a kid wants to get into jazz band

0:49:37.920 --> 0:49:41.960
<v Speaker 2>at their school, will help the kid with any of

0:49:42.000 --> 0:49:46.480
<v Speaker 2>those tasks. But the lesson really is about reinforcing the

0:49:46.520 --> 0:49:50.840
<v Speaker 2>repertoire that they're working on for the show, and that

0:49:51.080 --> 0:49:54.600
<v Speaker 2>I really think that starts at lesson number two. Lesson

0:49:54.680 --> 0:49:56.560
<v Speaker 2>number one is just getting to know you session.

0:49:56.880 --> 0:50:00.279
<v Speaker 1>Will I end up knowing how to read music.

0:50:01.120 --> 0:50:05.000
<v Speaker 2>If you want to, we will, as I always qualify

0:50:05.080 --> 0:50:10.040
<v Speaker 2>that because there are some students who choose not to

0:50:10.120 --> 0:50:12.720
<v Speaker 2>learn that way. There are some students who can't learn

0:50:12.760 --> 0:50:17.480
<v Speaker 2>that way. But we are equipped and we are very

0:50:17.480 --> 0:50:21.359
<v Speaker 2>dedicated for all of our students not only knowing how

0:50:21.360 --> 0:50:23.960
<v Speaker 2>to read music, but we also want them to read

0:50:23.960 --> 0:50:28.120
<v Speaker 2>tablature where it applies. We want them, if they're vocalists,

0:50:28.120 --> 0:50:31.919
<v Speaker 2>to do be able to do solveggio. We want them

0:50:31.960 --> 0:50:37.240
<v Speaker 2>to know at least the basics of music theory. And

0:50:38.040 --> 0:50:42.120
<v Speaker 2>so I you know, I'm very passionate about this as

0:50:42.160 --> 0:50:45.880
<v Speaker 2>a trained musician. Most of our leadership team or trained musicians.

0:50:46.719 --> 0:50:55.240
<v Speaker 2>We don't want to be a casual educator of music.

0:50:55.600 --> 0:50:57.719
<v Speaker 2>We want to be accessible, but we don't want to

0:50:57.760 --> 0:51:03.360
<v Speaker 2>be casual to lower the friction increase retention, but we

0:51:03.360 --> 0:51:05.040
<v Speaker 2>don't want to do it at the expense of not

0:51:05.600 --> 0:51:10.759
<v Speaker 2>giving people nutrients musically. So our goal is for every

0:51:10.800 --> 0:51:12.960
<v Speaker 2>one of our students to be able to read notation

0:51:13.560 --> 0:51:16.040
<v Speaker 2>and do a lot more than that, and our curriculum

0:51:16.080 --> 0:51:20.880
<v Speaker 2>has that explicitly as part of the mechanics. We have

0:51:21.239 --> 0:51:24.200
<v Speaker 2>twenty five method books, we have hundreds and hundreds of

0:51:24.239 --> 0:51:31.400
<v Speaker 2>exercises in our app and they all build to musical literacy,

0:51:32.000 --> 0:51:34.920
<v Speaker 2>musical proficiency, technique, music theory.

0:51:35.440 --> 0:51:39.440
<v Speaker 1>Let's just say I walk in, I have a starter

0:51:39.719 --> 0:51:44.040
<v Speaker 1>Fender guitar. I can play all the basic chords A

0:51:44.200 --> 0:51:48.799
<v Speaker 1>through G, maybe A minor, E minor. What's going to

0:51:48.800 --> 0:51:51.960
<v Speaker 1>happen in the lesson? I realize we're building towards the show,

0:51:52.680 --> 0:51:54.960
<v Speaker 1>But is that is the teacher just going to say, well,

0:51:54.960 --> 0:51:56.480
<v Speaker 1>this is the lead, you have to play and teach

0:51:56.520 --> 0:51:58.400
<v Speaker 1>me how I mean, what's going to happen?

0:51:58.840 --> 0:52:02.600
<v Speaker 2>It's always a mix because and again let's let's uh,

0:52:02.760 --> 0:52:06.120
<v Speaker 2>let's use a scenario, which is that's actually an incredibly

0:52:06.200 --> 0:52:09.879
<v Speaker 2>appropriate scenario for me. You just described my guitar proficiency.

0:52:10.360 --> 0:52:14.320
<v Speaker 2>Sadly I don't have the same proficiency and guitars as keyboard.

0:52:15.080 --> 0:52:21.400
<v Speaker 2>So when when someone like me will go in hopefully

0:52:21.440 --> 0:52:25.840
<v Speaker 2>we'll join the adult band. And of course you'll be

0:52:25.880 --> 0:52:31.560
<v Speaker 2>working towards those dimensions, but in every circumstance you're stopping

0:52:31.640 --> 0:52:35.719
<v Speaker 2>on the theoretical component to linger on developing that, which

0:52:35.760 --> 0:52:39.720
<v Speaker 2>is that, Uh, you're going to be playing a song

0:52:39.760 --> 0:52:43.160
<v Speaker 2>with the pentatonic scale. That's the source of all blues scales,

0:52:43.239 --> 0:52:47.920
<v Speaker 2>all basically almost every blues, every guitar solo on the

0:52:47.960 --> 0:52:51.719
<v Speaker 2>planet in a popular song. So what the teacher will

0:52:51.719 --> 0:52:53.880
<v Speaker 2>do is linger on that and also give you an

0:52:53.920 --> 0:52:58.800
<v Speaker 2>exercise for the the different shapes of the pentatonic scale

0:52:58.840 --> 0:53:01.640
<v Speaker 2>on the fret board, and that may be the exercise

0:53:01.719 --> 0:53:05.279
<v Speaker 2>you're assigned for the next week as you're working on

0:53:05.520 --> 0:53:11.520
<v Speaker 2>honky Tonk women, So they'll be complementary, but it won't

0:53:11.560 --> 0:53:17.759
<v Speaker 2>necessarily be entirely enveloped or enveloped I should say by

0:53:17.840 --> 0:53:22.040
<v Speaker 2>the song. There's also about teaching the skill that the

0:53:22.080 --> 0:53:26.120
<v Speaker 2>song introduces, but not limiting the song's application to it.

0:53:26.760 --> 0:53:29.120
<v Speaker 2>So you may say, Okay, the first things that you're

0:53:29.120 --> 0:53:30.920
<v Speaker 2>going to work on for the next few weeks is

0:53:31.120 --> 0:53:34.879
<v Speaker 2>mastering being able to do the pentatonic scale without looking

0:53:34.920 --> 0:53:37.880
<v Speaker 2>at the fret board. Which is about as far as

0:53:37.920 --> 0:53:38.720
<v Speaker 2>I've gotten by.

0:53:38.800 --> 0:53:42.560
<v Speaker 1>Okay, yeah, every all of us who took lessons at

0:53:42.560 --> 0:53:47.520
<v Speaker 1>our younger age. There's the lesson and then there's practicing,

0:53:47.880 --> 0:53:51.879
<v Speaker 1>and many people don't practice. How do you deal with that?

0:53:53.080 --> 0:53:55.600
<v Speaker 2>Well, first and foremost, the one thing that's great about

0:53:55.640 --> 0:53:58.920
<v Speaker 2>the performance based program is they're going to have two

0:53:58.960 --> 0:54:01.960
<v Speaker 2>hours of practice every day week, which on average is

0:54:02.000 --> 0:54:05.640
<v Speaker 2>more than the average child practices. So if they're in

0:54:05.680 --> 0:54:10.160
<v Speaker 2>the rehearsal and they're playing their songs in the rehearsal

0:54:10.520 --> 0:54:13.040
<v Speaker 2>in preparation for the show, they're going to have practical

0:54:13.160 --> 0:54:17.480
<v Speaker 2>and and mentored practicing sessions because you're going to have

0:54:17.520 --> 0:54:21.959
<v Speaker 2>the show director saying, hey, listen, you know you really

0:54:22.000 --> 0:54:24.880
<v Speaker 2>need to hit the fret board here or on the keyboard.

0:54:25.480 --> 0:54:29.440
<v Speaker 2>You know you you're you're just naturally doubling the bass.

0:54:29.440 --> 0:54:33.000
<v Speaker 2>We don't need you to do that, or try this

0:54:33.360 --> 0:54:37.239
<v Speaker 2>finger construction, or watch the form on on your you're

0:54:37.280 --> 0:54:41.520
<v Speaker 2>playing a little more of a barado there, stand up straighter,

0:54:41.640 --> 0:54:45.319
<v Speaker 2>et cetera. But in addition to that, the only way

0:54:45.360 --> 0:54:48.480
<v Speaker 2>to accomplish a breakthrough in that job is to make

0:54:48.520 --> 0:54:51.719
<v Speaker 2>it more fun. It is as simple as that is

0:54:51.760 --> 0:54:57.040
<v Speaker 2>that We have variations of levels of commitment within our students.

0:54:57.520 --> 0:55:01.799
<v Speaker 2>That exists everywhere, but we love where the friction to

0:55:01.960 --> 0:55:06.959
<v Speaker 2>practicing so much by making it fun. One is you're

0:55:06.960 --> 0:55:10.279
<v Speaker 2>doing accessible music. You're doing music that you're going to

0:55:10.360 --> 0:55:12.719
<v Speaker 2>get the reinforcement of. It's not that I don't love

0:55:12.760 --> 0:55:16.120
<v Speaker 2>the Pathetique sonata. I do, and I can play it,

0:55:16.880 --> 0:55:19.680
<v Speaker 2>and it was fun to work to play it. But

0:55:20.000 --> 0:55:22.320
<v Speaker 2>it's not like I'm going to go to my friends

0:55:22.360 --> 0:55:24.960
<v Speaker 2>and say, oh, you wouldn't believe I know how to

0:55:24.960 --> 0:55:29.840
<v Speaker 2>play the Pathetique sonata. So I think a lot of

0:55:29.880 --> 0:55:34.520
<v Speaker 2>it is just the reinforcement of accessible, contemporary popular music,

0:55:35.239 --> 0:55:38.200
<v Speaker 2>but a lot of it's actually the functioning of our app.

0:55:38.680 --> 0:55:41.480
<v Speaker 2>So our app is game like. So when a kid

0:55:41.560 --> 0:55:45.160
<v Speaker 2>is working on either an exercise let's say that pentatonic scale,

0:55:45.680 --> 0:55:53.920
<v Speaker 2>or working on the base part to wagon wheel, both circumstances,

0:55:53.960 --> 0:55:57.000
<v Speaker 2>in our app, we have this interactive capability where the

0:55:57.040 --> 0:56:01.160
<v Speaker 2>app will tell you how you did on pitch rhythm,

0:56:01.440 --> 0:56:05.839
<v Speaker 2>It'll give you a grade or a score I should say.

0:56:06.440 --> 0:56:11.160
<v Speaker 2>And what that does is create this kind of fun

0:56:11.680 --> 0:56:16.280
<v Speaker 2>gamification of practicing. But it's low stakes, it's low risk,

0:56:16.800 --> 0:56:19.960
<v Speaker 2>it's not failing. In fact, you don't have to submit

0:56:20.040 --> 0:56:24.760
<v Speaker 2>your exercise until you're happy with it, and so kids

0:56:24.800 --> 0:56:28.840
<v Speaker 2>will try to perform. And so what we've tried to

0:56:28.880 --> 0:56:31.440
<v Speaker 2>do is really gather the best of what we see

0:56:31.960 --> 0:56:35.719
<v Speaker 2>in gaming, massive multiplayer gaming, and say how do we

0:56:35.840 --> 0:56:39.920
<v Speaker 2>create this energy to make practicing fun by design.

0:56:40.920 --> 0:56:41.480
<v Speaker 1>Then I think the.

0:56:41.840 --> 0:56:44.799
<v Speaker 2>Third piece is listen, you're working towards a show with

0:56:44.960 --> 0:56:47.160
<v Speaker 2>other kids. You want to be ready. So I think

0:56:47.160 --> 0:56:51.040
<v Speaker 2>there is a little bit of additional motivation that is

0:56:51.320 --> 0:56:56.200
<v Speaker 2>much more powerful than tell your teachers or your parents

0:56:56.680 --> 0:56:58.080
<v Speaker 2>wagging their fingers.

0:56:57.680 --> 0:57:02.640
<v Speaker 1>At you, Okay, I have my lesson, I go home.

0:57:03.600 --> 0:57:06.760
<v Speaker 1>You're saying, it's not like the old days where I'm alone,

0:57:06.760 --> 0:57:10.760
<v Speaker 1>that all of my practice is engaged with an app

0:57:10.880 --> 0:57:11.680
<v Speaker 1>or something else.

0:57:12.160 --> 0:57:15.719
<v Speaker 2>Yeah, yeah, so our app is your We think of

0:57:15.760 --> 0:57:18.080
<v Speaker 2>the app as the sinew between the lesson and the

0:57:18.160 --> 0:57:21.280
<v Speaker 2>lesson and the lesson the reversal. It's a place where

0:57:21.360 --> 0:57:24.600
<v Speaker 2>you can get all the curriculum, and in fact, we

0:57:24.720 --> 0:57:28.120
<v Speaker 2>give every one of our students all twenty five of

0:57:28.160 --> 0:57:31.280
<v Speaker 2>our method books in the app. So if they're curious

0:57:31.320 --> 0:57:33.360
<v Speaker 2>and they want to try something on base or try

0:57:33.400 --> 0:57:38.520
<v Speaker 2>a more advanced skill, knock yourself out. But in addition

0:57:38.560 --> 0:57:42.200
<v Speaker 2>to that, they have got not just the exercises that

0:57:42.240 --> 0:57:45.600
<v Speaker 2>we have in the method books or the subset of

0:57:45.640 --> 0:57:49.320
<v Speaker 2>those that's been assigned to them, but we have thousands

0:57:49.400 --> 0:57:52.280
<v Speaker 2>and thousands of exercises that have been uploaded by our

0:57:52.320 --> 0:57:56.439
<v Speaker 2>instructors that they can tap into. So their instructor could

0:57:56.440 --> 0:58:00.720
<v Speaker 2>tap in, could upload an assignment for them to play,

0:58:00.840 --> 0:58:04.160
<v Speaker 2>and then they'll also have the tablature, the sheet music,

0:58:04.200 --> 0:58:09.920
<v Speaker 2>the notation, playback metronome, all the functionality to make a

0:58:09.960 --> 0:58:14.600
<v Speaker 2>practice session more substantial. It's as if you have a

0:58:14.680 --> 0:58:20.000
<v Speaker 2>digital teacher there with you giving you real time feedback

0:58:20.600 --> 0:58:23.080
<v Speaker 2>on your proficiency.

0:58:23.960 --> 0:58:26.800
<v Speaker 1>Okay, let's go back to I walk in the front door.

0:58:27.200 --> 0:58:33.240
<v Speaker 1>I have some basic skills. Okay, what is the season?

0:58:33.760 --> 0:58:36.480
<v Speaker 1>How many shows do you do in a season? And

0:58:36.600 --> 0:58:38.960
<v Speaker 1>I either have to sign up for that if it

0:58:38.960 --> 0:58:40.480
<v Speaker 1>doesn't appeal to me, I have to wait to the

0:58:40.480 --> 0:58:41.840
<v Speaker 1>next season. How does it work?

0:58:42.920 --> 0:58:48.120
<v Speaker 2>Yeah, so, you know, we always remind our schools that

0:58:48.160 --> 0:58:50.000
<v Speaker 2>the best time to sign up for School of Rock

0:58:50.080 --> 0:58:53.800
<v Speaker 2>is now. That whether you're a month into the season

0:58:53.920 --> 0:58:56.479
<v Speaker 2>or two months into the season of a three month

0:58:56.560 --> 0:59:02.840
<v Speaker 2>season or three plus month season, there's always the opportunity

0:59:02.880 --> 0:59:05.240
<v Speaker 2>to bring a new band member in because we phase

0:59:05.320 --> 0:59:09.160
<v Speaker 2>the casting. We release only portions of the curric or

0:59:09.240 --> 0:59:13.560
<v Speaker 2>the of the repertoire as the season goes on, so

0:59:13.600 --> 0:59:17.880
<v Speaker 2>that we can not overwhelm the kids or the adults,

0:59:18.000 --> 0:59:20.800
<v Speaker 2>but also so that we can bring in new people

0:59:20.840 --> 0:59:24.560
<v Speaker 2>to the band when those new people are ready and excited.

0:59:25.160 --> 0:59:30.320
<v Speaker 2>So you're going to come in and you'll match make

0:59:31.000 --> 0:59:34.200
<v Speaker 2>with a given show. And then the very first thing

0:59:34.240 --> 0:59:38.160
<v Speaker 2>that will happen is you're cast on songs. You'll be cast.

0:59:38.960 --> 0:59:41.480
<v Speaker 2>We want you to play bass or guitar and these

0:59:41.520 --> 0:59:44.800
<v Speaker 2>three songs, and I know you've never played bass before,

0:59:44.840 --> 0:59:48.360
<v Speaker 2>but you know for you know those four strings, the

0:59:48.480 --> 0:59:51.600
<v Speaker 2>first four strings the same thing, and we're going to

0:59:51.640 --> 0:59:55.400
<v Speaker 2>teach you bass technique so that you're increasing the likelihood

0:59:55.400 --> 0:59:57.960
<v Speaker 2>that you're going to have more playing time later in life.

0:59:59.040 --> 1:00:01.360
<v Speaker 2>And then we want you on back ground percussion, background

1:00:01.440 --> 1:00:06.040
<v Speaker 2>vocals on these pieces. And that becomes the heart of

1:00:06.160 --> 1:00:08.160
<v Speaker 2>your study topic, if you will.

1:00:09.280 --> 1:00:11.480
<v Speaker 1>What is the cost in the commitment.

1:00:13.160 --> 1:00:15.840
<v Speaker 2>Where it's monthly tuitions, so we don't sign up for

1:00:15.880 --> 1:00:23.200
<v Speaker 2>the whole semester, but we want to have continuity to

1:00:23.280 --> 1:00:27.160
<v Speaker 2>make sure that there is you know, folks don't drop

1:00:27.200 --> 1:00:31.080
<v Speaker 2>in and drop out, so it's a monthly commitment and

1:00:31.400 --> 1:00:34.840
<v Speaker 2>the cost depends on the territory, the area in which

1:00:34.880 --> 1:00:39.160
<v Speaker 2>we're operating with the market. But for our performance program,

1:00:39.200 --> 1:00:42.600
<v Speaker 2>typically we're in the high three hundreds, low four hundred

1:00:42.640 --> 1:00:49.520
<v Speaker 2>dollars per month. Naturally in Manhattan or Palo Alto, it's

1:00:49.560 --> 1:00:51.920
<v Speaker 2>going to be more expensive because our rent is so

1:00:52.000 --> 1:00:56.040
<v Speaker 2>much more expensive, our labor costs are so much more expensive.

1:00:57.040 --> 1:01:00.800
<v Speaker 2>And for that, you'll have a two plus hours each

1:01:00.840 --> 1:01:05.640
<v Speaker 2>week and depending on the school, thirty to forty five

1:01:05.720 --> 1:01:09.920
<v Speaker 2>minute lesson each week, and then all the access to

1:01:10.040 --> 1:01:16.720
<v Speaker 2>other community activities like we do webinars and touring opportunities,

1:01:18.160 --> 1:01:22.360
<v Speaker 2>which you've probably seen some of our propaganda in terms

1:01:22.400 --> 1:01:27.480
<v Speaker 2>of Summerfest and Lolla Baloo's Rock and Real Lisbon, et cetera.

1:01:28.120 --> 1:01:32.440
<v Speaker 2>But that's the general economics, pretty simple pricing model.

1:01:33.680 --> 1:01:36.880
<v Speaker 1>Okay, And you have my credit card on file and

1:01:36.920 --> 1:01:42.920
<v Speaker 1>you're going to build me unless I cancel. Correct, Okay,

1:01:43.120 --> 1:01:46.720
<v Speaker 1>So how many shows are there a semester? And how

1:01:46.720 --> 1:01:48.080
<v Speaker 1>do you pick what the shows are?

1:01:49.600 --> 1:01:55.280
<v Speaker 2>So we have sixty core shows that we have that

1:01:55.400 --> 1:02:02.080
<v Speaker 2>are combinations, well, permutations of the twelve hundred songs in

1:02:02.120 --> 1:02:07.200
<v Speaker 2>our core curriculum. So we've spent several years kind of

1:02:07.240 --> 1:02:11.080
<v Speaker 2>honing what we think are pedagogically appropriate shows, the ones

1:02:11.120 --> 1:02:16.360
<v Speaker 2>that deliver the most technique and theory quietly to our students,

1:02:16.760 --> 1:02:20.080
<v Speaker 2>but have the most diversity too in regards to genre.

1:02:20.600 --> 1:02:25.360
<v Speaker 2>So we want metal, we want Prague, we want British Invasion,

1:02:25.720 --> 1:02:29.320
<v Speaker 2>we want the twenty tens, you know, which some of

1:02:29.360 --> 1:02:33.840
<v Speaker 2>the kids call classic rock, which is jarring, but we

1:02:33.920 --> 1:02:40.720
<v Speaker 2>also want early blues. So what we do is, then,

1:02:41.200 --> 1:02:45.080
<v Speaker 2>depending on the age of the school, the experience of

1:02:45.120 --> 1:02:48.440
<v Speaker 2>the school, depending on the nature of the student body

1:02:48.600 --> 1:02:52.120
<v Speaker 2>and who they know are enrolling, the music staff will

1:02:52.120 --> 1:02:55.280
<v Speaker 2>get together a few months before the next season and say,

1:02:55.840 --> 1:02:58.880
<v Speaker 2>here's what the roster looks like of our core kids.

1:02:59.160 --> 1:03:02.280
<v Speaker 2>Here's what we've done season. Here's some things we really

1:03:02.320 --> 1:03:05.480
<v Speaker 2>need to pump up. Here are some things we've heard

1:03:05.520 --> 1:03:10.080
<v Speaker 2>demands for. You know, we've got this whole core of

1:03:10.280 --> 1:03:13.600
<v Speaker 2>kids who've gotten into my chemical romance. Well, let's scratch

1:03:13.680 --> 1:03:18.080
<v Speaker 2>that itch. We can do that. So I think that

1:03:18.200 --> 1:03:21.080
<v Speaker 2>it's a it's a little bit of an art combined

1:03:21.280 --> 1:03:24.080
<v Speaker 2>by tools that have science to them, where we can

1:03:24.160 --> 1:03:27.320
<v Speaker 2>actually go through our what we call our method engine

1:03:27.760 --> 1:03:31.280
<v Speaker 2>and say, okay, we have these levels of these players,

1:03:31.880 --> 1:03:37.000
<v Speaker 2>what shows can best equip or best serve the needs

1:03:37.040 --> 1:03:41.440
<v Speaker 2>of those players, and then they announce the shows kids

1:03:41.440 --> 1:03:44.120
<v Speaker 2>can put their first second choice in. We do not

1:03:45.120 --> 1:03:49.120
<v Speaker 2>guarantee you're going to get your first choice. And one

1:03:49.120 --> 1:03:52.640
<v Speaker 2>of the best pedagogical outcomes we have had as a

1:03:52.680 --> 1:03:55.840
<v Speaker 2>general rule over twenty five years is how many kids,

1:03:55.880 --> 1:03:59.840
<v Speaker 2>after they've gotten their third choice, are that becomes their

1:03:59.840 --> 1:04:03.160
<v Speaker 2>favorite musician of all time. That's just the nature of youth.

1:04:03.920 --> 1:04:06.400
<v Speaker 2>So that's how the mechanics of it work. And as

1:04:06.440 --> 1:04:09.040
<v Speaker 2>in terms of how many that can be, anywhere from

1:04:09.360 --> 1:04:15.720
<v Speaker 2>three to twelve shows. You know, a school like Perth

1:04:16.440 --> 1:04:20.200
<v Speaker 2>which has got nearly five hundred students they'll be doing

1:04:20.280 --> 1:04:23.520
<v Speaker 2>They may take a whole weekend at a venue and

1:04:23.640 --> 1:04:28.040
<v Speaker 2>do twelve end of season shows, whereas a newer school

1:04:28.080 --> 1:04:31.200
<v Speaker 2>with just one hundred and forty students they may be

1:04:31.320 --> 1:04:32.160
<v Speaker 2>doing three shows.

1:04:32.720 --> 1:04:37.720
<v Speaker 1>Okay, so it's all signed up. How many songs are

1:04:37.760 --> 1:04:39.680
<v Speaker 1>going to be in the show in the genre that

1:04:39.760 --> 1:04:41.840
<v Speaker 1>I pick or the era that I pick it? How

1:04:41.880 --> 1:04:43.240
<v Speaker 1>much am I going to play on them?

1:04:44.480 --> 1:04:50.560
<v Speaker 2>Yeah? So the typically the shows will be a wide

1:04:50.640 --> 1:04:57.520
<v Speaker 2>variation kind of eighteen to twenty one tunes, and you

1:04:57.520 --> 1:05:01.880
<v Speaker 2>will typically play your core instrument on a handful of

1:05:01.880 --> 1:05:05.960
<v Speaker 2>those songs, not most, but then you'll be tasked to

1:05:06.040 --> 1:05:11.880
<v Speaker 2>play additional instrumentation on the rest of the songs. So

1:05:12.600 --> 1:05:16.360
<v Speaker 2>much like in a recital when I was learning piano,

1:05:16.800 --> 1:05:22.520
<v Speaker 2>you're the delivered product might be one sonata, one a tude,

1:05:23.280 --> 1:05:27.000
<v Speaker 2>and you know, one Bach invention. We want to make

1:05:27.040 --> 1:05:29.800
<v Speaker 2>sure that there's enough substance that that kid is getting

1:05:29.800 --> 1:05:35.320
<v Speaker 2>a handful of challenging songs and getting exposure that they're

1:05:35.360 --> 1:05:40.760
<v Speaker 2>part of the band in more secondary ways. So depending

1:05:40.800 --> 1:05:44.000
<v Speaker 2>on the number of students, that number will change, and

1:05:44.080 --> 1:05:46.760
<v Speaker 2>depending on the nature of the songs, the number changes.

1:05:46.800 --> 1:05:51.160
<v Speaker 2>Bohemian Rhapsody has a much higher student count for orchestration

1:05:51.880 --> 1:05:55.600
<v Speaker 2>than say Green Day, Like you know, Oh Love on

1:05:55.680 --> 1:06:00.120
<v Speaker 2>Green Day.

1:06:03.360 --> 1:06:05.760
<v Speaker 1>Okay, so I practiced for three months. Tell me about

1:06:05.760 --> 1:06:06.600
<v Speaker 1>the actual show.

1:06:07.600 --> 1:06:12.080
<v Speaker 2>The shows are epic, So we'll we'll take you know will.

1:06:14.680 --> 1:06:16.520
<v Speaker 2>If you're out in la you might see a School

1:06:16.560 --> 1:06:20.360
<v Speaker 2>of Rock end of season show at the Troubadour, or

1:06:20.400 --> 1:06:22.600
<v Speaker 2>you might see it at the Knitting Factory in Brooklyn.

1:06:23.880 --> 1:06:29.480
<v Speaker 2>Reggie's in Chicago, and it is a full rock and

1:06:29.560 --> 1:06:36.480
<v Speaker 2>roll show, Tier one back line, lights, sound, and the

1:06:36.560 --> 1:06:40.400
<v Speaker 2>venues love us because we'll typically go into the venue

1:06:40.880 --> 1:06:45.520
<v Speaker 2>at a time when they don't have other activities, and

1:06:45.560 --> 1:06:49.720
<v Speaker 2>the food and beverage is terrific for them. So what

1:06:49.760 --> 1:06:52.480
<v Speaker 2>you'll find is each student will bring their loved ones,

1:06:52.520 --> 1:06:56.800
<v Speaker 2>their friends. The ones that bring the most audience members

1:06:56.800 --> 1:07:00.920
<v Speaker 2>are our littlest kids. So when you have a seven

1:07:01.000 --> 1:07:06.480
<v Speaker 2>year old doing seven Nation Army, they'll have and it's

1:07:06.600 --> 1:07:09.520
<v Speaker 2>it's epic, Bob, Honestly, it's the cutest thing you've ever seen,

1:07:11.320 --> 1:07:15.040
<v Speaker 2>and they'll have fifteen fans in the audience, and of

1:07:15.080 --> 1:07:18.200
<v Speaker 2>course that kid sounds like Hendrix as far as every

1:07:18.200 --> 1:07:21.720
<v Speaker 2>one of those fans is concerned. But that's the reinforcement

1:07:21.760 --> 1:07:23.920
<v Speaker 2>we want to create. We want to create at seven,

1:07:24.320 --> 1:07:27.240
<v Speaker 2>you hit your first gig, you played the Troubadour at seven.

1:07:27.960 --> 1:07:28.760
<v Speaker 2>That's what we want.

1:07:28.920 --> 1:07:34.400
<v Speaker 1>Okay, So is it like, let's just assume your store

1:07:34.600 --> 1:07:37.760
<v Speaker 1>has five different tracks they're all going to play together

1:07:37.840 --> 1:07:38.400
<v Speaker 1>on one night.

1:07:39.440 --> 1:07:44.480
<v Speaker 2>It depends. Sometimes it's absolutely impossible, but typically the season

1:07:44.520 --> 1:07:48.320
<v Speaker 2>shows will either happen same weekend or two consecutive weekends.

1:07:48.880 --> 1:07:53.480
<v Speaker 1>So let's just say I'm there for a night and

1:07:53.560 --> 1:07:57.520
<v Speaker 1>I'm showing up for somebody in the band. How long

1:07:57.680 --> 1:07:59.640
<v Speaker 1>is the show and how many bands are going to

1:07:59.720 --> 1:08:02.440
<v Speaker 1>be there that night? Is the audience gonna cycle in

1:08:02.440 --> 1:08:05.080
<v Speaker 1>it out it's like an eight hour marathon, or it's

1:08:05.160 --> 1:08:08.880
<v Speaker 1>like four hours, two bands that's it, or three bands, whatever.

1:08:09.640 --> 1:08:13.160
<v Speaker 2>Yeah, I think typically what you'll find in most cases,

1:08:13.280 --> 1:08:20.000
<v Speaker 2>they make it a reasonable evening where the the you know,

1:08:20.080 --> 1:08:23.040
<v Speaker 2>it'll be a tolerable amount for everyone to stay around

1:08:23.040 --> 1:08:26.559
<v Speaker 2>for most of the show, and it's encouraged. It's really

1:08:26.680 --> 1:08:30.439
<v Speaker 2>encouraged from a teamwork standpoint to do that. And what

1:08:30.479 --> 1:08:32.880
<v Speaker 2>we do we have is a really really good habit

1:08:32.960 --> 1:08:36.880
<v Speaker 2>as least students stay around for the rest of the shows,

1:08:37.120 --> 1:08:41.479
<v Speaker 2>so there's always this core audience in the stage cheering

1:08:41.520 --> 1:08:45.960
<v Speaker 2>on every every band. So that might be a four

1:08:46.120 --> 1:08:51.800
<v Speaker 2>six hour kind of thing. There are some weekends and

1:08:51.960 --> 1:08:54.519
<v Speaker 2>some of our busier schools that almost feel more like

1:08:54.520 --> 1:08:58.880
<v Speaker 2>a music festival where it's morning till night with maybe

1:08:58.920 --> 1:09:02.760
<v Speaker 2>an afternoon break and people are slotted in and you're

1:09:02.840 --> 1:09:08.800
<v Speaker 2>kind of you're cast to a certain hour or set

1:09:08.800 --> 1:09:12.120
<v Speaker 2>of hours, and that's really just a function of the number,

1:09:12.240 --> 1:09:14.800
<v Speaker 2>the size of the school, the number of students, the

1:09:14.840 --> 1:09:19.400
<v Speaker 2>size of the band as well. We'll sometimes have adults

1:09:19.439 --> 1:09:23.200
<v Speaker 2>play in the same show as kids. I personally think

1:09:23.200 --> 1:09:26.040
<v Speaker 2>it's sometimes cooler to let the adults kind of do

1:09:26.080 --> 1:09:31.280
<v Speaker 2>their own thing. And then we'll also try to get

1:09:31.280 --> 1:09:36.439
<v Speaker 2>our littlest kids to play one or two or three songs.

1:09:37.160 --> 1:09:42.080
<v Speaker 2>And it's absolutely beautiful to watch because no one's more

1:09:42.120 --> 1:09:45.280
<v Speaker 2>excited about that. So you got all these little ones

1:09:45.360 --> 1:09:48.120
<v Speaker 2>on stage, it's the first time they've ever been on stage,

1:09:48.600 --> 1:09:52.720
<v Speaker 2>these super supportive big brothers and big sisters, the big

1:09:52.840 --> 1:09:56.120
<v Speaker 2>kids in the band, and who are really showing them

1:09:56.200 --> 1:09:59.439
<v Speaker 2>love and affection and attention. And then they go out

1:09:59.439 --> 1:10:01.680
<v Speaker 2>there and they're you know, they're doing you Shook Me

1:10:01.720 --> 1:10:05.240
<v Speaker 2>all night long. It's really fantastic.

1:10:05.439 --> 1:10:08.000
<v Speaker 1>Yeah, I can visualize it, and I'm laughing and smiling

1:10:08.080 --> 1:10:13.440
<v Speaker 1>at the same time. Obvious question here it is called

1:10:13.520 --> 1:10:18.519
<v Speaker 1>the school of rock. If you really want to get deep,

1:10:19.439 --> 1:10:23.200
<v Speaker 1>Rock's penetration and consumption actually went up a little bit

1:10:23.479 --> 1:10:28.240
<v Speaker 1>in this last period of time, but still consumption is

1:10:28.320 --> 1:10:33.360
<v Speaker 1>dominated by hip hop. Is it very clear that this

1:10:34.040 --> 1:10:38.479
<v Speaker 1>is rock, It's not pop, it's not Mariah Carey, it's

1:10:38.560 --> 1:10:41.360
<v Speaker 1>not Jay Z And if you want that, you go

1:10:41.479 --> 1:10:44.160
<v Speaker 1>somewhere else. Tell me what's your response.

1:10:43.760 --> 1:10:47.639
<v Speaker 2>To that one. As of now, we really only have

1:10:48.080 --> 1:10:52.439
<v Speaker 2>one strict genre philosophy, which is that we want an

1:10:52.560 --> 1:10:56.960
<v Speaker 2>ensemble based music program. So we over the years have

1:10:57.080 --> 1:11:04.280
<v Speaker 2>gotten far more imaginative about what we consider rock. School

1:11:04.320 --> 1:11:07.400
<v Speaker 2>of rock is a noemonic. It's a little bit like

1:11:07.479 --> 1:11:10.720
<v Speaker 2>Amazon used to be a you know, a bookseller, and

1:11:10.760 --> 1:11:13.240
<v Speaker 2>that was their original identity and then it became a

1:11:13.280 --> 1:11:18.200
<v Speaker 2>mnemonic for the endless isle of everything. We feel that

1:11:18.240 --> 1:11:22.000
<v Speaker 2>way about ensemble music. Now there's natural limitations to that.

1:11:22.080 --> 1:11:25.360
<v Speaker 2>If we were to do that orchestrally, or do jazz ensembles,

1:11:25.439 --> 1:11:28.280
<v Speaker 2>or to do chamber orchestras we need have to, we

1:11:28.680 --> 1:11:32.280
<v Speaker 2>have to make some more radical changes. But from my perspective,

1:11:32.960 --> 1:11:39.520
<v Speaker 2>any genre in the contemporary music canon that is ensemble

1:11:39.600 --> 1:11:44.040
<v Speaker 2>based is fair game. And you will see our schools

1:11:44.360 --> 1:11:47.559
<v Speaker 2>take advantage of that. And where that becomes very relevant

1:11:47.680 --> 1:11:51.800
<v Speaker 2>is in our schools outside the US. You know, there's

1:11:51.840 --> 1:11:55.519
<v Speaker 2>an amazing as you know, there's an amazing Andian rock

1:11:55.640 --> 1:12:02.120
<v Speaker 2>scene like Andyan prog rock, and and we want to

1:12:02.160 --> 1:12:05.040
<v Speaker 2>make sure that that comes to life. So you're going

1:12:05.120 --> 1:12:14.759
<v Speaker 2>to have all together different orchestrations in Chile and Peru, Paraguay, Colombia, Brazil.

1:12:16.400 --> 1:12:22.160
<v Speaker 2>You know, you'll have sertanejos songs in samba in Brazil

1:12:22.680 --> 1:12:26.600
<v Speaker 2>and we're very comfortable with that both domestically and internationally.

1:12:27.560 --> 1:12:30.599
<v Speaker 2>What that actually means in practical terms, though, is our

1:12:31.120 --> 1:12:35.800
<v Speaker 2>genre really starts with the early blues and ends kind

1:12:35.800 --> 1:12:39.040
<v Speaker 2>of in the twenty tens. But to keep it fresh,

1:12:39.080 --> 1:12:43.960
<v Speaker 2>we will have even more contemporary music. But we've done

1:12:44.080 --> 1:12:47.479
<v Speaker 2>rock rap shows. There's plenty of rap shows with with

1:12:48.439 --> 1:12:53.439
<v Speaker 2>you know, full back line, you know, and as you know,

1:12:53.560 --> 1:12:56.800
<v Speaker 2>you know, you go to Laala, you watch Childish Gambino,

1:12:57.479 --> 1:13:01.520
<v Speaker 2>he's got a full back line. That's not true for everyone,

1:13:01.720 --> 1:13:06.000
<v Speaker 2>you know, Kendrick Lamar doesn't in his current iteration. But

1:13:06.920 --> 1:13:10.639
<v Speaker 2>if he comes out with tunes that have a full

1:13:10.760 --> 1:13:15.719
<v Speaker 2>ensemble orchestration, we'll weave that into our curriculum, ready, ready, quick,

1:13:16.200 --> 1:13:18.120
<v Speaker 2>because we believe that's appropriate.

1:13:18.640 --> 1:13:21.639
<v Speaker 1>But it's a practical matter. Let's just talk to us

1:13:22.240 --> 1:13:27.200
<v Speaker 1>where we're familiar with the repertoire. Yeah, what percentage is

1:13:27.320 --> 1:13:28.160
<v Speaker 1>essentially rock?

1:13:29.800 --> 1:13:33.920
<v Speaker 2>I would say seventy percent of our curriculum today, You

1:13:34.000 --> 1:13:37.839
<v Speaker 2>and I would agree it falls within the rock genre,

1:13:38.920 --> 1:13:43.680
<v Speaker 2>and then the remainder would be, you know, adjacent genres

1:13:44.320 --> 1:13:47.759
<v Speaker 2>that could accidentally be called rock by somebody who isn't

1:13:48.040 --> 1:13:54.040
<v Speaker 2>familiar with the nomenclature. So it may be more pop, indie, progue, metal, punk,

1:13:54.600 --> 1:13:59.640
<v Speaker 2>et cetera. But it's it's still centered. But that is

1:13:59.680 --> 1:14:00.800
<v Speaker 2>of all over time.

1:14:01.439 --> 1:14:05.679
<v Speaker 1>Okay, so let's go back to the categorizations. You have rookies,

1:14:05.720 --> 1:14:08.759
<v Speaker 1>you have little wing, you have adults. How many different

1:14:08.840 --> 1:14:09.840
<v Speaker 1>categories do you have?

1:14:11.400 --> 1:14:15.760
<v Speaker 2>Well, that plus our performance program is the heart of

1:14:15.800 --> 1:14:18.800
<v Speaker 2>what we do. But there's this interesting migration that we're

1:14:18.840 --> 1:14:21.439
<v Speaker 2>going through that I think is going to be very

1:14:21.720 --> 1:14:27.400
<v Speaker 2>very transformational for the company, which is that we've had

1:14:27.439 --> 1:14:30.720
<v Speaker 2>this massive growth and success by being the place to

1:14:30.920 --> 1:14:36.400
<v Speaker 2>learn to be proficient musicians through cover music, but with

1:14:36.479 --> 1:14:42.280
<v Speaker 2>the effective, endless opportunities to self distribute and also the

1:14:42.320 --> 1:14:47.360
<v Speaker 2>psychological and the educational benefits of creating for something from scratch.

1:14:47.760 --> 1:14:52.519
<v Speaker 2>We're adding additional things beyond those core programs. So we

1:14:52.600 --> 1:14:56.799
<v Speaker 2>have now a songwriting program. We do that all season long,

1:14:56.920 --> 1:15:00.200
<v Speaker 2>or we'll do that during camps. We just introduce used

1:15:00.200 --> 1:15:03.479
<v Speaker 2>to recording and production program that we'll be rolling out

1:15:03.520 --> 1:15:08.680
<v Speaker 2>system wide. And so I actually see the scope of

1:15:08.720 --> 1:15:13.040
<v Speaker 2>our offerings changing pretty dramatically. One I'm excited about is

1:15:13.080 --> 1:15:15.519
<v Speaker 2>live sound. I'd like to do a season long live

1:15:15.600 --> 1:15:18.880
<v Speaker 2>sound program. I'd like to do a season long business

1:15:18.880 --> 1:15:22.439
<v Speaker 2>affairs program where you know, we get Bob as a

1:15:22.479 --> 1:15:31.559
<v Speaker 2>guest professor, as a culminating a culminating guest, and we

1:15:31.560 --> 1:15:38.639
<v Speaker 2>we do the basics to music distribution, et cetera. Self promotion.

1:15:39.360 --> 1:15:41.760
<v Speaker 2>So I think we're at a point where we've got

1:15:41.800 --> 1:15:45.760
<v Speaker 2>a very, very stout and defined set of menu offerings,

1:15:46.400 --> 1:15:49.639
<v Speaker 2>but we are changing that because we think that there's

1:15:49.680 --> 1:15:54.120
<v Speaker 2>a lot more value to be added. I would also

1:15:54.160 --> 1:15:58.639
<v Speaker 2>say that we accidentally have become a pretty important player

1:15:59.600 --> 1:16:05.000
<v Speaker 2>in remote lessons. When COVID hit. You know, you can

1:16:05.080 --> 1:16:09.559
<v Speaker 2>imagine a CEO's experience when they're saying themselves, we're in

1:16:09.560 --> 1:16:14.200
<v Speaker 2>the business of throwing together like a dozen or two

1:16:14.200 --> 1:16:18.960
<v Speaker 2>dozen kids into a small room, having them breathe and

1:16:19.120 --> 1:16:26.679
<v Speaker 2>excel vigorously, and then COVID comes. We had to move

1:16:26.880 --> 1:16:33.240
<v Speaker 2>to a global remote teaching capability within a week, and

1:16:33.280 --> 1:16:35.840
<v Speaker 2>we had that up and running in the second week

1:16:35.880 --> 1:16:40.040
<v Speaker 2>of March, which to a large extent, saved the company.

1:16:41.000 --> 1:16:44.120
<v Speaker 2>But what's lingered from their is we're doing still doing

1:16:44.160 --> 1:16:48.120
<v Speaker 2>thousands of remote lessons a month because instead of COVID,

1:16:48.120 --> 1:16:52.880
<v Speaker 2>it's tummy aches, or it's vacations, or it's my car

1:16:52.960 --> 1:16:57.000
<v Speaker 2>broke down, or there's an it's just more convenient, or

1:16:57.200 --> 1:16:59.840
<v Speaker 2>I live in Vietnam and you don't have a school

1:16:59.840 --> 1:17:04.160
<v Speaker 2>in Vietnam yet. So I also see coming a really,

1:17:04.240 --> 1:17:10.959
<v Speaker 2>really really big commitment to addressing the entire addressable market

1:17:11.439 --> 1:17:14.280
<v Speaker 2>of music education. And I know there's a lot of

1:17:14.320 --> 1:17:16.960
<v Speaker 2>players out there, but the beauty is we've got a

1:17:17.040 --> 1:17:23.240
<v Speaker 2>very famous brand and we've got a really really unusual curriculum.

1:17:24.120 --> 1:17:26.200
<v Speaker 2>One thing I didn't mention in that regard is that

1:17:26.240 --> 1:17:30.760
<v Speaker 2>our teaching methods patented. We actually secured a patent a

1:17:30.800 --> 1:17:33.200
<v Speaker 2>couple of years ago, so we actually feel we have

1:17:33.240 --> 1:17:36.160
<v Speaker 2>a moat around our teaching method that'll let us bring

1:17:36.200 --> 1:17:39.880
<v Speaker 2>that to an omni channel world in a bigger way.

1:17:41.000 --> 1:17:46.360
<v Speaker 2>But that's the current menu of services, excluding all the

1:17:46.439 --> 1:17:49.599
<v Speaker 2>really hair brained stuff that we have in mind.

1:17:50.080 --> 1:17:53.839
<v Speaker 1>Okay, there's twelve months in a year. I would assume

1:17:53.920 --> 1:17:59.040
<v Speaker 1>that if the performance cycle is three months, there A

1:17:59.040 --> 1:18:03.760
<v Speaker 1>are there force Michaels a year? B Do people drop in?

1:18:04.080 --> 1:18:07.360
<v Speaker 1>Drop out? Are they dedicated. You know, what does the

1:18:07.400 --> 1:18:08.680
<v Speaker 1>student ultimately do?

1:18:09.760 --> 1:18:17.120
<v Speaker 2>Yeah, So we typically have four cycles. But in addition

1:18:17.240 --> 1:18:20.479
<v Speaker 2>to that, we have this pushed me, pull me during

1:18:20.479 --> 1:18:25.639
<v Speaker 2>the summertime. During the summertime, we'll lose students, some students

1:18:25.640 --> 1:18:29.000
<v Speaker 2>because they'll be doing other summer activities in the Northeast.

1:18:29.080 --> 1:18:30.880
<v Speaker 2>You know, a lot of the kids go to sleep

1:18:30.880 --> 1:18:33.920
<v Speaker 2>away camp, or we have kids going to the shore

1:18:34.160 --> 1:18:41.439
<v Speaker 2>or going on family vacations, college prep, etc. So that's

1:18:41.479 --> 1:18:44.120
<v Speaker 2>a headwind. A tailwind we have though, is that we've

1:18:44.600 --> 1:18:48.960
<v Speaker 2>have a massive business in camps, day camps, So we'll

1:18:49.000 --> 1:18:54.120
<v Speaker 2>do I'm going to just estimate here, but I would

1:18:54.120 --> 1:18:59.000
<v Speaker 2>guess we'll do over twenty five thousand, maybe thirty thousand

1:18:59.120 --> 1:19:04.360
<v Speaker 2>units of camp over the summer, which is an amazing

1:19:04.520 --> 1:19:08.880
<v Speaker 2>way for us to actually garner new leads for the

1:19:08.920 --> 1:19:12.519
<v Speaker 2>fall season. So the only time that's peculiar for us

1:19:14.479 --> 1:19:17.519
<v Speaker 2>is where at whatever country in which we're operating, when

1:19:17.560 --> 1:19:22.200
<v Speaker 2>folks are on school vacations. Now there's countercyxicality because we

1:19:22.240 --> 1:19:26.280
<v Speaker 2>operate our biggest markets in Brazil outside the US, So

1:19:26.439 --> 1:19:28.280
<v Speaker 2>there it's the opposite.

1:19:27.840 --> 1:19:31.599
<v Speaker 1>Schedule, right. Okay, when you say you run day camps,

1:19:32.040 --> 1:19:34.400
<v Speaker 1>that's a nine to five camp.

1:19:34.680 --> 1:19:40.679
<v Speaker 2>Typically nine to three, so they'll do and this tends

1:19:40.720 --> 1:19:44.559
<v Speaker 2>to be younger students, and it's based on a lot

1:19:44.560 --> 1:19:47.280
<v Speaker 2>of the principles that we have in our performance program,

1:19:47.760 --> 1:19:49.839
<v Speaker 2>and the only thing that's different is have a slightly

1:19:50.160 --> 1:19:53.800
<v Speaker 2>less ambitious show on that Friday. They don't have three

1:19:53.840 --> 1:19:56.760
<v Speaker 2>months to prepare, so it may be three songs or

1:19:56.800 --> 1:20:00.880
<v Speaker 2>five songs. But we'll do Beatles themed camp, Green Day

1:20:00.960 --> 1:20:04.080
<v Speaker 2>and pop punk and the nineties, and will also do

1:20:04.160 --> 1:20:08.120
<v Speaker 2>songwriting and recording camps. But yes, those are day camps,

1:20:08.680 --> 1:20:14.959
<v Speaker 2>typically with some kind of culminating experience on Friday, usually

1:20:15.040 --> 1:20:16.160
<v Speaker 2>at the school itself.

1:20:17.200 --> 1:20:20.599
<v Speaker 1>Okay, let's write off the summer for the reasons you mentioned.

1:20:21.360 --> 1:20:24.960
<v Speaker 1>Let's just assume I'm in during what we'll call the

1:20:25.000 --> 1:20:30.040
<v Speaker 1>conventional school year. To what degreeedy kids continue during the

1:20:30.160 --> 1:20:33.280
<v Speaker 1>year year after year? To what degree do they drop

1:20:33.320 --> 1:20:35.760
<v Speaker 1>out completely come back? What's it like?

1:20:36.880 --> 1:20:40.639
<v Speaker 2>Yeah, so we've actually looked at that in a pretty

1:20:40.680 --> 1:20:44.360
<v Speaker 2>detailed way, and there's a staggering statistic that we found

1:20:44.479 --> 1:20:51.439
<v Speaker 2>is that after forty eight months, seventeen percent of the

1:20:51.479 --> 1:20:54.679
<v Speaker 2>students who started forty eight months prior are still with us,

1:20:55.320 --> 1:21:00.280
<v Speaker 2>which is an incredibly high retention for child music education actually,

1:21:00.320 --> 1:21:04.479
<v Speaker 2>given the fact that includes students who graduate out, that

1:21:04.520 --> 1:21:08.040
<v Speaker 2>includes students who have moved on to other areas of passion.

1:21:09.600 --> 1:21:15.360
<v Speaker 2>So you know, the thing that creates that greater stickiness

1:21:16.520 --> 1:21:19.919
<v Speaker 2>is the performance. Because we also looked at the cohort

1:21:19.960 --> 1:21:24.840
<v Speaker 2>of students who just take individual lessons from us, and

1:21:24.880 --> 1:21:28.839
<v Speaker 2>what we found is a very small single digit number

1:21:29.560 --> 1:21:32.920
<v Speaker 2>is still with us after forty eight months. And in

1:21:32.960 --> 1:21:35.840
<v Speaker 2>a strange way, it's a natural experiment on our source

1:21:35.880 --> 1:21:41.160
<v Speaker 2>of differentiation versus traditional music. That's a clue about actually

1:21:41.160 --> 1:21:46.200
<v Speaker 2>what's happening in most traditional music is forty eight months later,

1:21:47.000 --> 1:21:50.160
<v Speaker 2>they've moved on to something else. But in our curriculum,

1:21:50.520 --> 1:21:54.040
<v Speaker 2>they stay a meaningful number of stays for a really

1:21:54.080 --> 1:21:57.800
<v Speaker 2>really long period of time. And that's part of our

1:21:57.840 --> 1:22:00.640
<v Speaker 2>growth is we're getting all these new students as we're

1:22:00.680 --> 1:22:03.920
<v Speaker 2>getting better and better and better at retaining students by

1:22:03.960 --> 1:22:07.040
<v Speaker 2>having more and more of them in this really differentiated

1:22:07.040 --> 1:22:08.120
<v Speaker 2>performance program.

1:22:08.880 --> 1:22:13.920
<v Speaker 1>Okay, so forget the adults for a second. Who are

1:22:14.040 --> 1:22:16.080
<v Speaker 1>the students? You know, when I grew up in the

1:22:16.160 --> 1:22:20.920
<v Speaker 1>old era, you did a smortgage board of activities. Today

1:22:21.040 --> 1:22:26.120
<v Speaker 1>people tend to specialize. But in addition, conventionally, the people

1:22:26.200 --> 1:22:29.240
<v Speaker 1>participating in music and arts, we're not necessarily the same

1:22:29.280 --> 1:22:33.960
<v Speaker 1>people participating in sports. So who are these kids?

1:22:35.040 --> 1:22:37.760
<v Speaker 2>Yeah, I think that you know that most of these

1:22:37.880 --> 1:22:42.439
<v Speaker 2>kids are folks who are either in the sampling stage

1:22:42.920 --> 1:22:46.680
<v Speaker 2>of discovering whether music is their thing, or in the

1:22:46.720 --> 1:22:51.200
<v Speaker 2>conclusion stage of determining it is by trying other things.

1:22:51.720 --> 1:22:55.320
<v Speaker 2>So we'll always get browsers, will always get people who

1:22:55.400 --> 1:22:59.200
<v Speaker 2>are doing both. And I would say the vast majority

1:22:59.240 --> 1:23:03.400
<v Speaker 2>of our students are doing something in addition to music

1:23:04.000 --> 1:23:07.080
<v Speaker 2>that is different than music. It might be debate, it

1:23:07.160 --> 1:23:14.120
<v Speaker 2>might be musical theater, it might be it may be art.

1:23:14.280 --> 1:23:19.439
<v Speaker 2>There's a very small overlap between sports and music. But

1:23:19.640 --> 1:23:22.840
<v Speaker 2>what's interesting about that, what intrigues me about it is

1:23:22.880 --> 1:23:28.600
<v Speaker 2>the principles are identical, and so we happen to be

1:23:28.720 --> 1:23:33.520
<v Speaker 2>real fans of the fact that there is this assortment

1:23:33.600 --> 1:23:37.280
<v Speaker 2>of different child enrichment activities that we can be part of.

1:23:37.720 --> 1:23:41.559
<v Speaker 2>We don't lament when a kid migrates out to sports

1:23:43.439 --> 1:23:47.240
<v Speaker 2>because we think if they're finding their place, that's the

1:23:47.280 --> 1:23:50.840
<v Speaker 2>source of their civics lesson, that's the source of their

1:23:50.880 --> 1:23:55.920
<v Speaker 2>ability to negotiate compromise the source of their psychological wellness.

1:23:56.560 --> 1:24:00.800
<v Speaker 2>That's okay with us. But yeah, I think that we

1:24:01.000 --> 1:24:03.599
<v Speaker 2>tend to the vast majority of our students are people

1:24:03.720 --> 1:24:06.000
<v Speaker 2>on the journey to discover if music is their thing

1:24:06.400 --> 1:24:09.000
<v Speaker 2>or they've discovered it. You know, a kid like me

1:24:09.200 --> 1:24:13.439
<v Speaker 2>who you know, notionally played varsity tennis, but that was

1:24:13.479 --> 1:24:18.600
<v Speaker 2>only because they needed one more kid on tennis. But

1:24:18.840 --> 1:24:20.880
<v Speaker 2>I was a music kid. I was the band kid.

1:24:21.320 --> 1:24:22.639
<v Speaker 2>We get most of those kids.

1:24:29.680 --> 1:24:34.960
<v Speaker 1>Okay, So what do Greedy have a sense of, Miss Spooka.

1:24:35.040 --> 1:24:36.840
<v Speaker 1>I mean, do the kids show up on Tuesday for

1:24:36.840 --> 1:24:40.120
<v Speaker 1>a lesson, in Friday for rehearsal. Where does this actually

1:24:40.200 --> 1:24:43.200
<v Speaker 1>create bonds, especially in this communicative world where kids can

1:24:43.200 --> 1:24:46.439
<v Speaker 1>communicate in a DULs community of the device the people

1:24:46.479 --> 1:24:47.280
<v Speaker 1>around the world.

1:24:48.560 --> 1:24:50.519
<v Speaker 2>All right, well, if you know, if we're gonna if

1:24:50.560 --> 1:24:54.120
<v Speaker 2>we're gonna start speaking full on Yiddish, then then that

1:24:54.120 --> 1:24:56.519
<v Speaker 2>we're instead. I grew up in a house where my

1:24:56.600 --> 1:24:59.639
<v Speaker 2>parents spoke Yiddish. Didn't think I was understanding it. So

1:25:00.120 --> 1:25:02.960
<v Speaker 2>you know how much Muschbeche is there in our in

1:25:03.040 --> 1:25:08.679
<v Speaker 2>our community. It's a really important part. We We actually

1:25:08.680 --> 1:25:11.760
<v Speaker 2>never refer to the company as a company or the

1:25:11.800 --> 1:25:14.680
<v Speaker 2>brand as a brand. We refer to it as a

1:25:14.720 --> 1:25:19.240
<v Speaker 2>community or a family. And it's really important when you're

1:25:19.280 --> 1:25:24.040
<v Speaker 2>starting from a point of view that that unit of analysis,

1:25:24.080 --> 1:25:27.040
<v Speaker 2>which is the ensemble, the band, is the pre eminent

1:25:29.280 --> 1:25:33.960
<v Speaker 2>goal is a great performance working together. It is central.

1:25:34.479 --> 1:25:41.200
<v Speaker 2>And the stories we hear Bob are they they'd they'd

1:25:41.200 --> 1:25:44.960
<v Speaker 2>both uplift you and break your heart. You know, before

1:25:46.680 --> 1:25:52.120
<v Speaker 2>everyone asked how we survived COVID, and the answer is

1:25:52.160 --> 1:25:56.680
<v Speaker 2>that for School of Rock, that wasn't our first pandemic.

1:25:57.520 --> 1:25:59.800
<v Speaker 2>We had a we were dealing with a pandemic well,

1:25:59.760 --> 1:26:07.280
<v Speaker 2>but before COVID came, which is childhood anxiety, depression, suicidal,

1:26:07.320 --> 1:26:17.000
<v Speaker 2>ideation and sadly suicide and far greater mortality in the

1:26:17.040 --> 1:26:21.280
<v Speaker 2>age range we serve than COVID. And if we didn't

1:26:21.320 --> 1:26:23.719
<v Speaker 2>know it before COVID, we know it even more now.

1:26:24.360 --> 1:26:28.040
<v Speaker 2>Is that the non musical elements of what we do

1:26:28.479 --> 1:26:33.120
<v Speaker 2>are the principal sources of differentiation. That is the highest

1:26:33.240 --> 1:26:36.400
<v Speaker 2>value thing we do. I used to work as a

1:26:36.479 --> 1:26:40.160
<v Speaker 2>chief marketing officer for CBS Pharmacy for seven and a

1:26:40.200 --> 1:26:45.120
<v Speaker 2>half years, and having done that, I think of our

1:26:45.200 --> 1:26:50.520
<v Speaker 2>business as a therapeutic business. All about adherence and compliance,

1:26:51.200 --> 1:26:54.920
<v Speaker 2>which is that the medication of music and the medication

1:26:55.120 --> 1:26:58.600
<v Speaker 2>of the experience of you know, just feeling in control

1:26:58.640 --> 1:27:02.280
<v Speaker 2>and I'm getting up on stage and I'm important and

1:27:02.439 --> 1:27:09.719
<v Speaker 2>without the band the song doesn't sound right. And knowing

1:27:09.800 --> 1:27:14.880
<v Speaker 2>what an impact we're having on those students is really gratifying.

1:27:14.960 --> 1:27:18.200
<v Speaker 2>But the tangible manifestations of it. When you walk into

1:27:18.200 --> 1:27:22.439
<v Speaker 2>a school of rock, you will see smiles and eye

1:27:22.439 --> 1:27:26.360
<v Speaker 2>contact and disengagement with phones in a way you won't

1:27:26.400 --> 1:27:30.800
<v Speaker 2>see almost in any other activity. So if more people

1:27:30.920 --> 1:27:34.640
<v Speaker 2>understood what mushburrah meant, I would make it part of

1:27:34.680 --> 1:27:40.400
<v Speaker 2>our tagline because it really defines as in most cases Yiddish,

1:27:40.520 --> 1:27:43.080
<v Speaker 2>it means something, but it means it even more in Yiddish.

1:27:44.160 --> 1:27:46.720
<v Speaker 2>School of rock is a mushburrah, It.

1:27:46.720 --> 1:27:51.360
<v Speaker 1>Is a family. Let's talk about the adults. Who are

1:27:51.439 --> 1:27:55.679
<v Speaker 1>the adults who come? And on the same theme, there's

1:27:55.760 --> 1:27:59.479
<v Speaker 1>all this talk about loneliness, especially amongst men, and some

1:27:59.560 --> 1:28:03.120
<v Speaker 1>men don't don't have any friends. So who are the

1:28:03.479 --> 1:28:08.160
<v Speaker 1>adult participants? Will it be something like I show up

1:28:08.280 --> 1:28:11.719
<v Speaker 1>or will I end up creating relationships to translate outside

1:28:11.760 --> 1:28:12.439
<v Speaker 1>of the program.

1:28:13.400 --> 1:28:18.320
<v Speaker 2>We often see the latter, but sometimes it's the former.

1:28:18.479 --> 1:28:18.680
<v Speaker 1>You know.

1:28:18.800 --> 1:28:23.479
<v Speaker 2>The reality is that because of my travel schedule, I'm

1:28:23.479 --> 1:28:26.920
<v Speaker 2>a really bad School of Rock adult band member. So

1:28:27.000 --> 1:28:31.680
<v Speaker 2>I'm not a responsible person, responsible member of the band.

1:28:32.280 --> 1:28:37.200
<v Speaker 2>I'm hoping my schedule can stabilize to some extent so

1:28:37.280 --> 1:28:39.600
<v Speaker 2>that I can be a more active member. So I

1:28:39.720 --> 1:28:42.320
<v Speaker 2>might not be one that's using it for a social outlet.

1:28:42.880 --> 1:28:47.000
<v Speaker 2>But we have a lot of our schools where this

1:28:47.240 --> 1:28:53.760
<v Speaker 2>becomes their you know, I think about the Freemasons, you know,

1:28:53.880 --> 1:28:59.880
<v Speaker 2>a few centuries ago. There is this need for adult

1:29:00.160 --> 1:29:06.320
<v Speaker 2>to have communal work, to have socialization, and there's such

1:29:06.439 --> 1:29:11.479
<v Speaker 2>so much jarring research about the disassociation at the adult level.

1:29:11.960 --> 1:29:15.320
<v Speaker 2>So yes, I think we do serve that purpose, but

1:29:15.439 --> 1:29:18.839
<v Speaker 2>not exclusively for some folks. There's people who have their friends,

1:29:18.920 --> 1:29:22.400
<v Speaker 2>they have their hobbies, but this is the place for

1:29:22.439 --> 1:29:26.479
<v Speaker 2>them to get their musical outlet. But those people can

1:29:26.479 --> 1:29:27.519
<v Speaker 2>coexist in a band.

1:29:28.840 --> 1:29:34.680
<v Speaker 1>Okay. So talk to John Anderson, famous for Yes, he

1:29:34.760 --> 1:29:37.559
<v Speaker 1>goes on the road with a School of Rock band.

1:29:38.560 --> 1:29:42.240
<v Speaker 1>So we talked all about the education. A is there

1:29:42.240 --> 1:29:46.160
<v Speaker 1>anybody who's been through the School of Rock program who

1:29:46.240 --> 1:29:50.080
<v Speaker 1>has established a successful career as a professional musician that

1:29:50.400 --> 1:29:53.160
<v Speaker 1>people might know the name of and what are the

1:29:53.200 --> 1:29:56.280
<v Speaker 1>opportunities once you reach that level of proficiency.

1:29:57.360 --> 1:30:00.040
<v Speaker 2>Yeah, we're excited that we're now sort of at the

1:30:00.080 --> 1:30:02.840
<v Speaker 2>age and stage where those our kids are starting to

1:30:02.880 --> 1:30:07.200
<v Speaker 2>break and ad middly, I'm a proud I'll answer your

1:30:07.240 --> 1:30:12.400
<v Speaker 2>question sounding like a proud papa. We've got band submerging

1:30:12.439 --> 1:30:20.439
<v Speaker 2>bands like Lifeguard and Hippocampus, Horse Girl, The Regrets, Geese.

1:30:21.120 --> 1:30:24.479
<v Speaker 2>These are all bands that are largely or entirely School

1:30:24.479 --> 1:30:28.960
<v Speaker 2>of Rock kids. And then you know, we're finding I

1:30:29.000 --> 1:30:34.200
<v Speaker 2>think of the guitarists in Dominic Fike's band that we

1:30:34.240 --> 1:30:36.080
<v Speaker 2>have a guitarist from a school of Rock who's in

1:30:36.120 --> 1:30:39.320
<v Speaker 2>the Saturday Night Live band. So we're starting to see

1:30:39.360 --> 1:30:46.200
<v Speaker 2>this very steady stream of folks who are now aging

1:30:46.200 --> 1:30:50.720
<v Speaker 2>out of the program and stepping in to the profession.

1:30:51.320 --> 1:30:53.960
<v Speaker 2>One of the things that's going to be a big

1:30:54.040 --> 1:30:57.640
<v Speaker 2>area for growth for us going forward is, you know,

1:30:57.720 --> 1:31:01.519
<v Speaker 2>we see about one hundred plus one thousand, maybe even

1:31:01.520 --> 1:31:05.280
<v Speaker 2>one hundred and fifty thousand students in the next twelve

1:31:05.280 --> 1:31:09.120
<v Speaker 2>months as part of our program, and over time that's

1:31:09.160 --> 1:31:14.880
<v Speaker 2>going to build to millions of alumni. And the law

1:31:14.920 --> 1:31:17.800
<v Speaker 2>of large numbers suggest that more and more and more

1:31:17.840 --> 1:31:21.439
<v Speaker 2>of those kids soon to be adults are going to

1:31:21.479 --> 1:31:26.479
<v Speaker 2>be at the centerpiece of the next generation of performing artists.

1:31:27.040 --> 1:31:30.320
<v Speaker 2>We're looking to organize that in a much much more

1:31:30.640 --> 1:31:35.479
<v Speaker 2>methodical way. You know, our offices are in Boston and

1:31:35.560 --> 1:31:39.760
<v Speaker 2>Chicago and LA but I live in Nashville, and I

1:31:39.880 --> 1:31:44.960
<v Speaker 2>moved to Nashville in part because as an environment for OSMOSIS,

1:31:45.280 --> 1:31:48.000
<v Speaker 2>it's a great place for me to start connecting us

1:31:48.439 --> 1:31:51.880
<v Speaker 2>in a bigger way to the broader value chain, because

1:31:51.920 --> 1:31:58.040
<v Speaker 2>we should be the biggest producer of new talent in

1:31:58.120 --> 1:32:01.639
<v Speaker 2>the musical field in the world, just because the sheer

1:32:01.680 --> 1:32:04.599
<v Speaker 2>scale that we have and will get as we're growing

1:32:04.760 --> 1:32:07.759
<v Speaker 2>at such a fast pace. So the answer is, yes,

1:32:08.320 --> 1:32:10.920
<v Speaker 2>there are many more I don't even know about because

1:32:10.960 --> 1:32:15.360
<v Speaker 2>we've done a perfectly terrible job on alumni relations. But

1:32:15.479 --> 1:32:18.559
<v Speaker 2>coming over to the next twelve eighteen, twenty four months,

1:32:18.680 --> 1:32:20.840
<v Speaker 2>it's going to be a very central part of what

1:32:20.920 --> 1:32:24.840
<v Speaker 2>we do is being much more deliberate and much more

1:32:24.920 --> 1:32:32.440
<v Speaker 2>disciplined around that supply chain and monetizing it and most importantly,

1:32:32.520 --> 1:32:36.439
<v Speaker 2>helping amazing people get out into the space.

1:32:37.000 --> 1:32:40.960
<v Speaker 1>Let's be specific. You mentioned School of Rock kids at Lollapalooza.

1:32:42.000 --> 1:32:44.679
<v Speaker 1>How many kids do you have at this elite level

1:32:45.600 --> 1:32:48.799
<v Speaker 1>and it's like the people going out with Johnny Anderson,

1:32:48.840 --> 1:32:52.720
<v Speaker 1>which he testifies about. How many opportunities are there like

1:32:52.800 --> 1:32:54.360
<v Speaker 1>that and what do the actually look like.

1:32:56.120 --> 1:32:59.320
<v Speaker 2>Yeah, so we have a range of different opportunities that

1:32:59.400 --> 1:33:03.040
<v Speaker 2>have a different level of threshold. So I'll give you

1:33:03.080 --> 1:33:07.880
<v Speaker 2>three scenarios and the last is specifically what you're asking about.

1:33:08.360 --> 1:33:13.520
<v Speaker 2>We have an opportunity each year we're you know Summerfest

1:33:13.560 --> 1:33:18.320
<v Speaker 2>of course in Milwaukee. Well, Summerfest is during the daytime

1:33:20.120 --> 1:33:23.760
<v Speaker 2>but basically becomes School of Rock. So we take over

1:33:24.680 --> 1:33:28.400
<v Speaker 2>all the main stages at Summerfest and we'll have eighty

1:33:28.479 --> 1:33:33.759
<v Speaker 2>two bands there from all around the world, Peru and Chile,

1:33:34.000 --> 1:33:39.840
<v Speaker 2>and those will typically be the house bands from the

1:33:39.880 --> 1:33:42.679
<v Speaker 2>individual schools. So think of those as the best players.

1:33:42.880 --> 1:33:45.640
<v Speaker 2>Think of it like travel basketball. It's the best players

1:33:45.840 --> 1:33:50.680
<v Speaker 2>typically of that school. Then we'll have a more selective

1:33:50.720 --> 1:33:54.879
<v Speaker 2>program like we had schools having to audition their bands

1:33:54.920 --> 1:33:57.880
<v Speaker 2>to get selected to play at Rock and Rio and Lisbon,

1:33:59.280 --> 1:34:03.080
<v Speaker 2>and that was say, much more involved, logistics, much more complexity,

1:34:03.640 --> 1:34:08.559
<v Speaker 2>higher profile, bigger, bigger attendance at some of the venue

1:34:09.080 --> 1:34:13.280
<v Speaker 2>et cetera. And then the most selective we have is

1:34:13.320 --> 1:34:18.040
<v Speaker 2>our All Stars program. And what we do is audition

1:34:18.960 --> 1:34:22.160
<v Speaker 2>hundreds and hundreds of kids who are recommended by the schools.

1:34:22.520 --> 1:34:24.759
<v Speaker 2>We zero it down to about one hundred and sixty

1:34:24.760 --> 1:34:28.080
<v Speaker 2>one hundred and seventy of those kids put them into teams.

1:34:28.560 --> 1:34:31.679
<v Speaker 2>We just completed our All Star tours. So the kids

1:34:31.680 --> 1:34:36.720
<v Speaker 2>that play at Lalla or at Red Rocks, or you know,

1:34:37.040 --> 1:34:39.519
<v Speaker 2>or do our recordings for us, those will be those

1:34:39.560 --> 1:34:42.640
<v Speaker 2>all Star levels. And you and I would close our

1:34:42.680 --> 1:34:46.080
<v Speaker 2>eyes at those performances and you would say, this is

1:34:46.800 --> 1:34:49.519
<v Speaker 2>as good a rock and roll performance as you've ever heard,

1:34:50.120 --> 1:34:54.720
<v Speaker 2>sometimes better. And what those kids will also do is

1:34:54.800 --> 1:34:58.720
<v Speaker 2>do build our collateral. So we've secured sixty or so

1:34:59.320 --> 1:35:03.000
<v Speaker 2>sync writes to some of the best songs that are

1:35:03.040 --> 1:35:05.960
<v Speaker 2>out there. And so we'll have our all Stars go

1:35:06.040 --> 1:35:14.320
<v Speaker 2>into Sunset Studios or go into another Tier one studio

1:35:14.560 --> 1:35:20.920
<v Speaker 2>and record high production value. So you look at our

1:35:21.040 --> 1:35:25.839
<v Speaker 2>rendition of California Dreaming. It's got over ten million organic

1:35:25.960 --> 1:35:30.320
<v Speaker 2>views because it's just so damn good. And Lauren Fryhouf,

1:35:30.320 --> 1:35:32.160
<v Speaker 2>who was the lead singer on it, ended up being

1:35:32.240 --> 1:35:37.519
<v Speaker 2>number two on the Voice so I would say we

1:35:37.680 --> 1:35:46.160
<v Speaker 2>have hundreds of kids who, if luck and access were right,

1:35:47.120 --> 1:35:50.200
<v Speaker 2>would be as competitive in the professional market as anything

1:35:50.200 --> 1:35:53.240
<v Speaker 2>that's out there, and that's going to grow to thousands. Now,

1:35:53.240 --> 1:35:57.920
<v Speaker 2>of course, the markets mean it's difficult, it's limited, so

1:35:58.320 --> 1:36:00.200
<v Speaker 2>there's not going to be the opportunity for all of

1:36:00.200 --> 1:36:04.120
<v Speaker 2>those kids to become professionals, and not all of them

1:36:04.160 --> 1:36:05.720
<v Speaker 2>want to. We have a lot of kids who are

1:36:06.280 --> 1:36:09.400
<v Speaker 2>professional level musicians, but they also want to be professional

1:36:09.439 --> 1:36:15.720
<v Speaker 2>level doctor. So but it's in the hundreds growing to

1:36:15.800 --> 1:36:19.560
<v Speaker 2>the thousands of kids that I think would be signable.

1:36:20.880 --> 1:36:23.439
<v Speaker 1>Why you why do you run the house a school

1:36:23.439 --> 1:36:23.800
<v Speaker 1>of rock?

1:36:25.960 --> 1:36:34.280
<v Speaker 2>Well, you know, I'm a musician from early childhood, maybe

1:36:34.320 --> 1:36:40.839
<v Speaker 2>more importantly, you know, for me, music was my therapeutic outlet.

1:36:41.520 --> 1:36:44.840
<v Speaker 2>So you know, I wasn't that athletic kid. I wasn't

1:36:44.840 --> 1:36:52.639
<v Speaker 2>the tall kid, wasn't the richest kid, and notwithstanding my charm,

1:36:52.680 --> 1:36:56.439
<v Speaker 2>I wasn't the most charming kid. And what I found

1:36:56.560 --> 1:37:01.360
<v Speaker 2>with music is that the embrace and the support structure

1:37:01.600 --> 1:37:10.000
<v Speaker 2>and the the the the opportunity to make friends without

1:37:10.000 --> 1:37:14.360
<v Speaker 2>even speaking a word was so powerful that it always

1:37:14.760 --> 1:37:16.400
<v Speaker 2>was in the back of my head, how can I

1:37:16.600 --> 1:37:18.639
<v Speaker 2>play a bigger role. But then I had a very

1:37:18.680 --> 1:37:24.520
<v Speaker 2>conventional career, you know, consulting, getting an MBA, going into retail,

1:37:25.400 --> 1:37:32.880
<v Speaker 2>going going into other franchising environment and then, you know,

1:37:33.320 --> 1:37:36.320
<v Speaker 2>maybe the most important factor was for me was in

1:37:36.360 --> 1:37:40.000
<v Speaker 2>the role. Immediately before this role, I worked for another

1:37:40.439 --> 1:37:45.800
<v Speaker 2>very large franchise company called Edible Arrangements. So if you

1:37:45.840 --> 1:37:50.040
<v Speaker 2>ever have questions on how to cut pineapple just right

1:37:50.400 --> 1:37:53.240
<v Speaker 2>and make bouquets out of fruit, I am your guy.

1:37:54.080 --> 1:37:58.519
<v Speaker 2>But while I was in that role, my brother got

1:37:58.680 --> 1:38:06.800
<v Speaker 2>very ill with pancreatic cancer. And as I think everyone

1:38:06.920 --> 1:38:10.639
<v Speaker 2>listening can identify, you have those moments where you say,

1:38:12.760 --> 1:38:15.720
<v Speaker 2>what am I on this planet to do? What am

1:38:15.720 --> 1:38:18.040
<v Speaker 2>I here to do? What matters to me? What will

1:38:18.080 --> 1:38:21.280
<v Speaker 2>give me joy? And it's almost as if the universe

1:38:21.360 --> 1:38:23.800
<v Speaker 2>was answering the question back. I got a call from

1:38:23.880 --> 1:38:26.160
<v Speaker 2>School of Rock. They said, okay, well you've got a

1:38:26.200 --> 1:38:33.960
<v Speaker 2>background in marketing and branding and organizational transformation and CRM

1:38:34.080 --> 1:38:36.320
<v Speaker 2>and all in these franchise skills. You seem like a

1:38:36.320 --> 1:38:39.160
<v Speaker 2>good guy to talk to. They had no idea that

1:38:39.280 --> 1:38:42.680
<v Speaker 2>music was my most important thing. We even had a

1:38:42.680 --> 1:38:45.840
<v Speaker 2>family band with my kids, and my poor wife was

1:38:45.880 --> 1:38:53.000
<v Speaker 2>conscripted as the bass player, and I so regret not

1:38:53.200 --> 1:38:57.759
<v Speaker 2>finding my purpose earlier. Although none of the stops along

1:38:57.800 --> 1:39:02.120
<v Speaker 2>the way, I wouldn't be in the role without the

1:39:02.160 --> 1:39:05.000
<v Speaker 2>stops along the way. But that's why I'm running School

1:39:05.000 --> 1:39:10.320
<v Speaker 2>of Rock. I feel like fate has dealt me the

1:39:10.720 --> 1:39:13.840
<v Speaker 2>kindest hand by giving me this at a time in

1:39:13.880 --> 1:39:17.840
<v Speaker 2>my life when I can appreciate it. It's incredibly fulfilling.

1:39:19.479 --> 1:39:23.800
<v Speaker 1>Okay, so what are the challenges you presently face in

1:39:23.880 --> 1:39:27.360
<v Speaker 1>the business and what are the goals. We've covered some

1:39:27.439 --> 1:39:29.720
<v Speaker 1>of the goals, but what are the challenges.

1:39:30.920 --> 1:39:34.000
<v Speaker 2>I think the biggest challenge of an organization that's so

1:39:34.160 --> 1:39:40.640
<v Speaker 2>purpose driven, that's so anchored in creativity and community, is

1:39:41.120 --> 1:39:45.600
<v Speaker 2>preservation of the culture. You know, we're growing so fast

1:39:46.400 --> 1:39:49.439
<v Speaker 2>in so many places in there. You know, We've got

1:39:51.000 --> 1:39:56.559
<v Speaker 2>you know, Australia and Taiwan, Philippines, South Africa, And on

1:39:56.600 --> 1:39:59.120
<v Speaker 2>the one hand, when I visit these locations, it feels

1:39:59.200 --> 1:40:02.639
<v Speaker 2>like I'm an old friend. But on the other hand,

1:40:02.680 --> 1:40:07.439
<v Speaker 2>I'm mindful that as you increase your scale, increase your scope,

1:40:08.120 --> 1:40:14.840
<v Speaker 2>how do you preserve that delicate balance of not just

1:40:14.920 --> 1:40:18.040
<v Speaker 2>doing this for the money, but also not doing it

1:40:18.040 --> 1:40:20.439
<v Speaker 2>for the money, making sure that there's a sufficient profit

1:40:20.520 --> 1:40:25.640
<v Speaker 2>motive to drive growth and reinvestment. And you know, I

1:40:25.680 --> 1:40:30.720
<v Speaker 2>think that every CEO if that's not their number one thing,

1:40:30.760 --> 1:40:35.840
<v Speaker 2>if they're a growth company, then they're kidding themselves. So

1:40:36.080 --> 1:40:38.400
<v Speaker 2>we do a lot of work on succession planning. We

1:40:38.479 --> 1:40:42.880
<v Speaker 2>do an enormous amount of work on culture building values,

1:40:43.520 --> 1:40:47.040
<v Speaker 2>you know, really conveying the why of what we do.

1:40:47.760 --> 1:40:52.719
<v Speaker 2>But that's what keeps me sleepless is at what point

1:40:52.840 --> 1:40:58.080
<v Speaker 2>does it start feeling as if we're losing something in

1:40:58.160 --> 1:41:01.760
<v Speaker 2>the translation. We have hit that point yet, I'm not

1:41:01.800 --> 1:41:04.720
<v Speaker 2>worried about it in the next six months or eighteen months.

1:41:05.200 --> 1:41:08.040
<v Speaker 2>But as we grow from being three hundred and forty

1:41:08.080 --> 1:41:12.120
<v Speaker 2>schools to being fifteen hundred or two thousand, we have

1:41:12.160 --> 1:41:16.080
<v Speaker 2>to work hardest at that because if we lose it

1:41:16.120 --> 1:41:19.120
<v Speaker 2>at the corporate level, we'll lose it in the rehearsal room.

1:41:19.800 --> 1:41:25.440
<v Speaker 1>Okay, and relatively quickly. Because most people are confused, explain

1:41:26.400 --> 1:41:30.759
<v Speaker 1>what the School of Rock is relative to the movie,

1:41:31.320 --> 1:41:36.879
<v Speaker 1>the musical, and other operations that have used a similar moniker.

1:41:37.720 --> 1:41:41.439
<v Speaker 2>Yeah, so School of Rock predated the movie and by

1:41:41.640 --> 1:41:46.240
<v Speaker 2>definition predated the musical, and it was a relatively small

1:41:46.400 --> 1:41:51.040
<v Speaker 2>organization at that time when the movie came out, and

1:41:51.520 --> 1:41:55.360
<v Speaker 2>soon after that great movie came out, School of Rock

1:41:55.439 --> 1:42:01.000
<v Speaker 2>was acquired by private equity. Management was professionalized, it was infrastructure.

1:42:01.080 --> 1:42:05.200
<v Speaker 2>There were more lawyers about and financed people about. And

1:42:05.240 --> 1:42:07.559
<v Speaker 2>the question came up, which is, this is a little

1:42:07.600 --> 1:42:11.000
<v Speaker 2>bit of a strange situation, which is we pre existed

1:42:11.640 --> 1:42:17.439
<v Speaker 2>this amazing movie. And it was right about the time

1:42:17.560 --> 1:42:22.320
<v Speaker 2>when the movie was being over, the brand was being

1:42:22.400 --> 1:42:25.960
<v Speaker 2>licensed to Andrew Lloyd Webber for the musical which came

1:42:26.240 --> 1:42:30.120
<v Speaker 2>several years later, and it was at that time we

1:42:30.360 --> 1:42:35.320
<v Speaker 2>reached a really really constructive coexistence agreement with the good

1:42:35.320 --> 1:42:42.519
<v Speaker 2>people of Paramount that effectively organizes the where we can

1:42:42.640 --> 1:42:45.559
<v Speaker 2>operate and where the movie can operate. And for us

1:42:45.600 --> 1:42:48.240
<v Speaker 2>it's terrific because we're going to be in the business

1:42:48.240 --> 1:42:52.559
<v Speaker 2>of children's music education. We can do reality TV shows,

1:42:52.640 --> 1:42:57.519
<v Speaker 2>we can do tours of School of Rock musicians under

1:42:57.520 --> 1:43:00.799
<v Speaker 2>the School of Rock name. We have our own logo types,

1:43:00.880 --> 1:43:04.880
<v Speaker 2>our own identities, we have massive land banking all around

1:43:04.920 --> 1:43:11.280
<v Speaker 2>the world in terms of domains and trade dress, and

1:43:11.800 --> 1:43:15.240
<v Speaker 2>really the only thing we can't do is make comedy

1:43:15.280 --> 1:43:20.720
<v Speaker 2>movies or do fictional Broadway shows, and thankfully we're very

1:43:20.760 --> 1:43:24.920
<v Speaker 2>friendly with both parties. We're big fans of really useful

1:43:24.920 --> 1:43:28.240
<v Speaker 2>group because they're doing such a great job of sustaining

1:43:28.640 --> 1:43:32.360
<v Speaker 2>the brand the stage show, which we think is really special.

1:43:32.479 --> 1:43:37.080
<v Speaker 2>So the way to think about it is just we're cousins,

1:43:38.160 --> 1:43:42.080
<v Speaker 2>but we don't really operate in any direct way, and

1:43:42.120 --> 1:43:48.559
<v Speaker 2>we really didn't grow out of one another as as

1:43:49.320 --> 1:43:52.720
<v Speaker 2>specifically as one might thought might think most people think

1:43:52.760 --> 1:43:54.559
<v Speaker 2>we came after the movie, but we did not.

1:43:55.720 --> 1:43:58.719
<v Speaker 1>And any plans to go public.

1:44:00.520 --> 1:44:04.160
<v Speaker 2>Boy, you know, that's one of those are you running

1:44:04.160 --> 1:44:07.519
<v Speaker 2>for president questions, which is I can say for sure

1:44:07.960 --> 1:44:12.439
<v Speaker 2>that there are no plans afoot to go public at

1:44:12.439 --> 1:44:17.519
<v Speaker 2>this time. I think that frankly, we're a small business,

1:44:17.640 --> 1:44:25.280
<v Speaker 2>a relatively small business. We've got really favorable economics, so

1:44:25.320 --> 1:44:29.680
<v Speaker 2>we can self fund to a large extent, and so

1:44:29.800 --> 1:44:32.880
<v Speaker 2>while I don't see going public in the future, I

1:44:33.040 --> 1:44:36.519
<v Speaker 2>definitely see that there are lots of transformational ways that

1:44:36.560 --> 1:44:40.280
<v Speaker 2>we could work with partners and kind of build on

1:44:40.439 --> 1:44:42.479
<v Speaker 2>what we do and do it in a bigger way.

1:44:43.040 --> 1:44:46.320
<v Speaker 2>Because if you really think what business we're in, it

1:44:46.360 --> 1:44:49.960
<v Speaker 2>would be myopic to say we're in the music education business.

1:44:51.280 --> 1:44:54.520
<v Speaker 2>We've talked about, well beyond that, we're in this the

1:44:54.560 --> 1:44:58.439
<v Speaker 2>talent production business, but we haven't fully capitalized upon it.

1:44:58.720 --> 1:45:03.040
<v Speaker 2>But more broadly, we're in the child enrichment business. So

1:45:03.280 --> 1:45:07.840
<v Speaker 2>is there a way for us to integrate in a

1:45:07.920 --> 1:45:13.720
<v Speaker 2>bigger environment with other related areas, more tangential areas, and

1:45:13.800 --> 1:45:17.200
<v Speaker 2>take all the things we know about child enrichment and

1:45:17.280 --> 1:45:21.000
<v Speaker 2>blow that out. I'm excited about that, but I don't

1:45:21.000 --> 1:45:23.160
<v Speaker 2>see us going public in the near term. I don't

1:45:23.200 --> 1:45:30.280
<v Speaker 2>We really don't need to do that for investment, and

1:45:30.400 --> 1:45:34.120
<v Speaker 2>I'm not sure that right now would help our That

1:45:34.320 --> 1:45:37.439
<v Speaker 2>number one MORI I have, which is cultural, is that

1:45:37.520 --> 1:45:40.120
<v Speaker 2>I really think our Armish book is going to be

1:45:40.120 --> 1:45:44.559
<v Speaker 2>better off all around the dinner, the dinner table, enjoying

1:45:44.600 --> 1:45:49.120
<v Speaker 2>one another's company. And notwithstanding the fact I know a

1:45:49.120 --> 1:45:52.559
<v Speaker 2>lot of people who are on Wall Street, I'm not

1:45:52.600 --> 1:45:55.680
<v Speaker 2>sure they need to be at the table for this

1:45:55.720 --> 1:45:57.800
<v Speaker 2>particular dinner at this particular time.

1:45:58.360 --> 1:46:00.600
<v Speaker 1>Well, Rob, I want to thank you for taking the

1:46:00.680 --> 1:46:04.400
<v Speaker 1>time to speak to me and my audience. I have people,

1:46:04.439 --> 1:46:08.519
<v Speaker 1>whether it be parents or an adult close friend, they

1:46:08.560 --> 1:46:11.160
<v Speaker 1>can't stop talking about the School of Rock. You know,

1:46:11.240 --> 1:46:13.759
<v Speaker 1>most people say, oh, yeah, my kid's in competitive swimming

1:46:13.760 --> 1:46:16.320
<v Speaker 1>woods they go on, I got one, Frienci, Well, this

1:46:16.360 --> 1:46:20.160
<v Speaker 1>is what we're doing this term. You know, these are

1:46:20.160 --> 1:46:22.960
<v Speaker 1>the solos I'm playing, These are the songs, and I'll

1:46:22.960 --> 1:46:27.920
<v Speaker 1>discuss whatever. And it probably is that your students are

1:46:27.960 --> 1:46:29.759
<v Speaker 1>your best marketing device.

1:46:30.920 --> 1:46:33.439
<v Speaker 2>They are, and you know, it just comes down to

1:46:33.479 --> 1:46:37.800
<v Speaker 2>this principles. Somebody asked me the other day, is like,

1:46:37.840 --> 1:46:40.880
<v Speaker 2>how in one sentence can you define what's special about this?

1:46:41.040 --> 1:46:45.200
<v Speaker 2>And I always say, you know, what's more fun than

1:46:45.439 --> 1:46:51.800
<v Speaker 2>seeing Mick Jagger is being And when we can hear

1:46:51.880 --> 1:46:54.840
<v Speaker 2>those raves from the kids and those parents, that's a

1:46:54.880 --> 1:46:57.320
<v Speaker 2>great joy. And I'm so glad to hear that, and

1:46:57.320 --> 1:46:59.880
<v Speaker 2>I'm so pleased that you gave me the opportunity to

1:47:00.040 --> 1:47:01.000
<v Speaker 2>talk about it with you today.

1:47:02.120 --> 1:47:06.120
<v Speaker 1>Thank you, Rob. Till next time. This is Bob left

1:47:06.160 --> 1:47:28.400
<v Speaker 1>sticks sh