1 00:00:01,760 --> 00:00:04,480 Speaker 1: You're listening to Math and Magic, a production of I 2 00:00:04,640 --> 00:00:12,840 Speaker 1: Heart Radio music. People didn't evolve. We lost fifteen years 3 00:00:12,840 --> 00:00:16,400 Speaker 1: as a business because people were fearful of streaming and 4 00:00:16,520 --> 00:00:19,800 Speaker 1: what Napster and that was all about. I think we've 5 00:00:19,800 --> 00:00:21,959 Speaker 1: caught up. We have a long way to go. I 6 00:00:21,960 --> 00:00:25,160 Speaker 1: think we're just scratching the surface with the value of 7 00:00:25,280 --> 00:00:29,480 Speaker 1: music and now the power of a brand using musicians 8 00:00:29,480 --> 00:00:39,000 Speaker 1: and songs. It's very high. I'm Bob Pittman, and welcome 9 00:00:39,040 --> 00:00:42,600 Speaker 1: to Math and Magic. Stories from the frontiers of Marketing. Today. 10 00:00:42,640 --> 00:00:45,239 Speaker 1: We're going to explore marketing in the music business with 11 00:00:45,320 --> 00:00:49,560 Speaker 1: someone who's seen it all. DJ Indie Exact, major music 12 00:00:49,600 --> 00:00:52,120 Speaker 1: company Exact, and back to his own label to do 13 00:00:52,159 --> 00:00:55,160 Speaker 1: it the way he wants to do it. Last note Entertainment. 14 00:01:00,840 --> 00:01:04,320 Speaker 1: He's a marathon er, wifelong Brooklyn guy born and raised 15 00:01:04,319 --> 00:01:07,720 Speaker 1: in Brooklyn before Brooklyn was cool, loved music and radio. 16 00:01:08,120 --> 00:01:11,240 Speaker 1: Broadway influenced him, and so did the New York nightclubs 17 00:01:11,280 --> 00:01:14,319 Speaker 1: of the nineties seventies. He started as a premed student 18 00:01:14,319 --> 00:01:16,679 Speaker 1: at Brooklyn College, worked as a soda jerk and a 19 00:01:16,760 --> 00:01:20,520 Speaker 1: short order cook too, and that wild diversity of experience 20 00:01:20,520 --> 00:01:22,800 Speaker 1: in long history and music is why we have him 21 00:01:22,840 --> 00:01:25,800 Speaker 1: with us today and we want some insights. He was 22 00:01:26,120 --> 00:01:29,800 Speaker 1: Disco Danny, the DJ at the legendary Regime's in New York, 23 00:01:30,040 --> 00:01:33,000 Speaker 1: and now he is Daniel Glass. Daniel Welcome, nice to 24 00:01:33,000 --> 00:01:35,760 Speaker 1: be here. Wow. If someone did the homework, yeah, well 25 00:01:35,800 --> 00:01:37,720 Speaker 1: we had to. We didn't want to disappoint you. We're 26 00:01:37,720 --> 00:01:39,520 Speaker 1: gonna get into the meat of it, but first we 27 00:01:39,600 --> 00:01:42,520 Speaker 1: want to do you in sixty seconds. Don't think too 28 00:01:42,520 --> 00:01:44,319 Speaker 1: long to say the first thing that comes to your mind. 29 00:01:44,640 --> 00:01:49,960 Speaker 1: Do you prefer Brooklyn or Manhattan? Manhattan currently current locale? 30 00:01:49,960 --> 00:01:52,040 Speaker 1: By that West Side Story or the King and I 31 00:01:52,400 --> 00:01:57,880 Speaker 1: West Side Story? First music? Vanilla or chocolate chocolate, Pat Benatar, 32 00:01:57,960 --> 00:02:05,480 Speaker 1: Billy Idol, m Billie Idol, Sunrise or Sunsets Sunrise, Wine 33 00:02:05,640 --> 00:02:10,640 Speaker 1: or beer wine, Instagram or Twitter, Twitter, It's about to 34 00:02:10,680 --> 00:02:15,760 Speaker 1: get harder. Secret talent of mine. Yeah, whoa recently yoga? 35 00:02:16,080 --> 00:02:20,600 Speaker 1: Oh that's pretty good. Favorite song Moon River, Henry Mancini. 36 00:02:20,919 --> 00:02:25,520 Speaker 1: Book you recommend? Oh wow, I just read so many books. 37 00:02:26,080 --> 00:02:32,360 Speaker 1: Rome a story in seven sackings. Fastest marathon time three eighteen, 38 00:02:32,840 --> 00:02:37,639 Speaker 1: quickest smile on record, I've done a bunch of sixes. Impressive. 39 00:02:38,000 --> 00:02:41,840 Speaker 1: Favorite concert moment, first one ever was the who in 40 00:02:41,919 --> 00:02:46,400 Speaker 1: Allenville at the Neviley Hotel, seeing Pete Townsend stick his 41 00:02:46,440 --> 00:02:48,520 Speaker 1: nose out and my father took me when I was 42 00:02:48,680 --> 00:02:51,239 Speaker 1: really really young to see that. That's my favorite moment. 43 00:02:51,560 --> 00:02:56,680 Speaker 1: Smartest person you know, Jeff Bezos favorite DJ, Frankie Crocker, 44 00:02:56,960 --> 00:03:01,760 Speaker 1: childhood hero, Mickey Mantle and Harmon Killer Brew. If you 45 00:03:01,800 --> 00:03:05,120 Speaker 1: could have one superpower, what would it be to play 46 00:03:05,160 --> 00:03:09,280 Speaker 1: professional basketball? Is there one food you'd never eat? I 47 00:03:09,320 --> 00:03:14,040 Speaker 1: would never eat octopus or a squid or anything like that. 48 00:03:14,200 --> 00:03:17,239 Speaker 1: Never no tentacles. We got it. Okay, there's a pattern 49 00:03:17,280 --> 00:03:21,720 Speaker 1: emerging here. What topic can you talk about forever? My 50 00:03:21,960 --> 00:03:25,240 Speaker 1: children and my family quote to live by? Do you 51 00:03:25,280 --> 00:03:29,320 Speaker 1: have one show up? We start today? You have your 52 00:03:29,320 --> 00:03:35,600 Speaker 1: own company, Glass Note, entertainment artists like Mumfranson, Phoenix, Churches, etcetera, etcetera. 53 00:03:35,840 --> 00:03:38,720 Speaker 1: Rolling Stonet even picked Glass Notice the best any label 54 00:03:38,920 --> 00:03:41,839 Speaker 1: back in two thousand and eleven. But let's start back 55 00:03:41,840 --> 00:03:43,920 Speaker 1: with you as a kid in Brooklyn. How did you 56 00:03:43,960 --> 00:03:47,800 Speaker 1: get on this path? So I was destined. I was 57 00:03:47,880 --> 00:03:50,880 Speaker 1: a very good basketball player, but short, I mean I 58 00:03:51,000 --> 00:03:53,600 Speaker 1: wasn't the height I am Now I broke my leg 59 00:03:53,720 --> 00:03:56,520 Speaker 1: for the third time playing basketball at Newold High School, 60 00:03:56,760 --> 00:03:58,800 Speaker 1: and my mother said, get a job because I cannot 61 00:03:58,840 --> 00:04:01,800 Speaker 1: continue to shuttle you back and forth just too much. 62 00:04:01,960 --> 00:04:03,680 Speaker 1: And as the weather got bad, he said, you've got 63 00:04:03,680 --> 00:04:07,840 Speaker 1: to find something to do. So I was working as 64 00:04:07,880 --> 00:04:11,200 Speaker 1: a bus boy in the Catskill Mountains and one day 65 00:04:11,440 --> 00:04:14,160 Speaker 1: Bruce Morrow walked in, who was a regular up there, 66 00:04:14,240 --> 00:04:18,360 Speaker 1: Cousin Brucey, famous New York, famous New York d w ABC, 67 00:04:18,960 --> 00:04:21,400 Speaker 1: and he brought up to the counter a guy named 68 00:04:21,400 --> 00:04:24,920 Speaker 1: Barry Martin. And Barry was with w bc R in Brooklyn, 69 00:04:25,200 --> 00:04:27,800 Speaker 1: and my job was to get the orders together, the 70 00:04:27,839 --> 00:04:30,960 Speaker 1: food and bring them out to people. It was the very, 71 00:04:31,080 --> 00:04:33,880 Speaker 1: very high end of fast food in the middle of 72 00:04:33,920 --> 00:04:37,000 Speaker 1: the Catskill Mountains. So this guy I told him, I'm 73 00:04:37,040 --> 00:04:39,080 Speaker 1: going to Brooklyn College, and he said, you should come 74 00:04:39,160 --> 00:04:41,000 Speaker 1: up and see us at the radio station. I kept 75 00:04:41,000 --> 00:04:43,599 Speaker 1: his card and cousin Brucey said to me, that's what 76 00:04:43,640 --> 00:04:45,720 Speaker 1: you should do. One day, it must have been a 77 00:04:45,800 --> 00:04:49,360 Speaker 1: year later, I need something to do, and I contact 78 00:04:49,400 --> 00:04:51,520 Speaker 1: this guy, Barry Martin. I said, listen, I'm on crutches 79 00:04:51,680 --> 00:04:54,599 Speaker 1: for the next eight weeks. Could I get a job. 80 00:04:54,640 --> 00:04:57,600 Speaker 1: I'll do anything, anything, and he said, yeah, come up. 81 00:04:57,960 --> 00:05:01,280 Speaker 1: So by mistake, I filled that an application and became 82 00:05:01,400 --> 00:05:03,640 Speaker 1: a DJ. I didn't even know what that meant because 83 00:05:03,720 --> 00:05:05,840 Speaker 1: I was listening to w O R w N A, 84 00:05:06,040 --> 00:05:08,800 Speaker 1: w W A BC in those days, w M C A, 85 00:05:09,560 --> 00:05:12,679 Speaker 1: and my elocution, my diction was awful. You're talking about 86 00:05:12,720 --> 00:05:15,400 Speaker 1: deep Brooklyn accent. So I had to actually learn how 87 00:05:15,400 --> 00:05:18,839 Speaker 1: to speak properly and enunciate. I get this job, and 88 00:05:18,880 --> 00:05:22,440 Speaker 1: I realized the radio station format is very hippie rock. 89 00:05:23,320 --> 00:05:25,800 Speaker 1: My sister was older than me and she's listening to 90 00:05:25,880 --> 00:05:28,159 Speaker 1: hippie rock. So I decide I'm going to go against 91 00:05:28,160 --> 00:05:31,040 Speaker 1: the grain. I'm gonna play disco music, R and B 92 00:05:31,160 --> 00:05:34,680 Speaker 1: and soul music. And my show becomes really, really popular. 93 00:05:34,760 --> 00:05:37,040 Speaker 1: I go to two days a week, and then Manhattan 94 00:05:37,080 --> 00:05:40,760 Speaker 1: Cable Television picks up my show and that was it. 95 00:05:41,320 --> 00:05:43,200 Speaker 1: People in the publishing world heard of my show, and 96 00:05:43,400 --> 00:05:45,520 Speaker 1: I got my break when someone reached out to me 97 00:05:45,640 --> 00:05:49,320 Speaker 1: on my show and made a request, and I made 98 00:05:49,360 --> 00:05:53,359 Speaker 1: the leap with my boss's permission to meet that person. 99 00:05:53,440 --> 00:05:56,120 Speaker 1: It was a songwriter. And then in my end of 100 00:05:56,160 --> 00:05:59,080 Speaker 1: my junior year in college, I gave up my major 101 00:05:59,640 --> 00:06:03,640 Speaker 1: and witched to totally immersing myself in the music industry. 102 00:06:03,920 --> 00:06:06,799 Speaker 1: So story has it that your first club you visited 103 00:06:06,880 --> 00:06:10,039 Speaker 1: was Club eight two in New York? Is that right? Yeah? 104 00:06:10,080 --> 00:06:12,640 Speaker 1: I was sixteen years old and my friends said, I 105 00:06:12,680 --> 00:06:14,800 Speaker 1: got the car this weekend. I'm going to take you 106 00:06:14,839 --> 00:06:17,120 Speaker 1: a place. It's gonna blow your mind. Be ready, but 107 00:06:17,160 --> 00:06:19,080 Speaker 1: you have to dress. And I had to go out 108 00:06:19,080 --> 00:06:21,800 Speaker 1: and get faded glory jeans and water buffaloes, which were 109 00:06:21,800 --> 00:06:25,680 Speaker 1: these high heels cork shoes. And it changed my life 110 00:06:25,720 --> 00:06:29,320 Speaker 1: because we walked down that stairway and you see pictures 111 00:06:29,360 --> 00:06:33,800 Speaker 1: of Mick Jagger, David Johansson, New York Dolls, everyone's in 112 00:06:33,880 --> 00:06:37,039 Speaker 1: drag and there's a guy behind the turntables playing seven 113 00:06:37,040 --> 00:06:40,960 Speaker 1: inch vinyl named Tony Mansfield. And I was so shocked 114 00:06:40,960 --> 00:06:43,800 Speaker 1: at this atmosphere, a kid from Brooklyn. All I did 115 00:06:43,839 --> 00:06:47,000 Speaker 1: was spend time watching him play the music as the DJ. 116 00:06:47,320 --> 00:06:49,440 Speaker 1: I wanted to do that, and that's what I wind 117 00:06:49,520 --> 00:06:51,960 Speaker 1: up doing. So there was a lot of talk. At 118 00:06:52,000 --> 00:06:54,280 Speaker 1: least there's a lot of talk today about Studio fifty four, 119 00:06:54,320 --> 00:06:56,640 Speaker 1: and there was in those days too, But back then, 120 00:06:56,680 --> 00:07:00,360 Speaker 1: the other club was the sophisticated club. Regimes have been 121 00:07:00,360 --> 00:07:04,479 Speaker 1: in Paris, came to New York. How did you become disco? 122 00:07:04,640 --> 00:07:07,760 Speaker 1: Danny there showing up? How old are you at this point? 123 00:07:08,120 --> 00:07:10,760 Speaker 1: I graduated at nineteen, so I'm probably eighteen at the time. 124 00:07:10,960 --> 00:07:14,240 Speaker 1: I'm working as a publisher Antisota Jerk and my boss, 125 00:07:14,280 --> 00:07:17,360 Speaker 1: who is the songwriter, she said, bring our new record 126 00:07:17,640 --> 00:07:20,280 Speaker 1: to this club. I know the lady who owns the club. 127 00:07:20,320 --> 00:07:22,600 Speaker 1: Her name is Regime, I know from Paris. Bring on 128 00:07:22,720 --> 00:07:25,600 Speaker 1: the record. So I go there and the club's opening 129 00:07:25,600 --> 00:07:27,920 Speaker 1: in two days and I'm on Park Avenue at fifty 130 00:07:28,240 --> 00:07:30,960 Speaker 1: Street on the Demonico and I'm in a cattle call 131 00:07:31,000 --> 00:07:33,880 Speaker 1: line and they think I want a job, and nobody 132 00:07:33,880 --> 00:07:36,920 Speaker 1: really speaks English except one person. They said to me, 133 00:07:37,000 --> 00:07:39,360 Speaker 1: you wait, you wait, you wait. All I wanted to 134 00:07:39,360 --> 00:07:41,640 Speaker 1: do is give this to the DJ or the manager. 135 00:07:41,920 --> 00:07:43,679 Speaker 1: And I did my job and go back to Brooklyn, 136 00:07:44,320 --> 00:07:46,600 Speaker 1: and instead they said, please come downstairs. You want to 137 00:07:46,600 --> 00:07:49,440 Speaker 1: show you the turntables. And I go downstairs and it's 138 00:07:49,960 --> 00:07:52,520 Speaker 1: the most beautiful room I've ever seen in my life. 139 00:07:52,760 --> 00:07:56,600 Speaker 1: It was Regime's and they had two thorns turntables, which 140 00:07:56,720 --> 00:07:59,800 Speaker 1: I was privileged to work on. And they said, great, 141 00:08:00,120 --> 00:08:02,720 Speaker 1: we can invite you for dinner tonight, but here are 142 00:08:02,760 --> 00:08:05,840 Speaker 1: some meal vouchers to go to Shrafts. And I said, 143 00:08:06,400 --> 00:08:07,960 Speaker 1: I don't need anything. I'm gonna go home. And it's 144 00:08:07,960 --> 00:08:09,560 Speaker 1: no, no no, no, but you should really eat with the 145 00:08:09,560 --> 00:08:12,200 Speaker 1: other people, but we can't invite you to eat in 146 00:08:12,280 --> 00:08:14,320 Speaker 1: the name of the chef was Michelle Garrard, who was 147 00:08:14,600 --> 00:08:16,560 Speaker 1: one of the greatest chefs in the world, still alive 148 00:08:16,600 --> 00:08:20,760 Speaker 1: and in France. So I became opening night DJ and 149 00:08:20,800 --> 00:08:23,520 Speaker 1: I co DJ with Jonathan garrel Valia. He taught me 150 00:08:23,640 --> 00:08:26,840 Speaker 1: all about European and South American music. I taught him 151 00:08:26,880 --> 00:08:30,040 Speaker 1: all about American music. And I was the DJ there 152 00:08:30,080 --> 00:08:32,480 Speaker 1: for about a year and a half, three to six 153 00:08:32,600 --> 00:08:35,240 Speaker 1: nights a week at Regime's and got to meet or 154 00:08:35,320 --> 00:08:39,600 Speaker 1: see or experience Grace Kelly, Elizabeth Taylor, Diane von Furstenburg 155 00:08:39,640 --> 00:08:42,080 Speaker 1: when she was married to Egon von Furstenburgh. It was 156 00:08:42,160 --> 00:08:45,400 Speaker 1: every night these type of people. Liz Smith from the 157 00:08:45,440 --> 00:08:48,760 Speaker 1: gossip columns, who just passed away, would call me every 158 00:08:48,800 --> 00:08:51,439 Speaker 1: couple of weeks and I became not a source of gossip, 159 00:08:51,640 --> 00:08:53,640 Speaker 1: but she wanted to quote me on something and she 160 00:08:53,679 --> 00:08:56,240 Speaker 1: started with dis squire Daniel Glass, and I said, that 161 00:08:56,280 --> 00:08:59,360 Speaker 1: doesn't work disco Danny, I said that's fine. So I 162 00:08:59,360 --> 00:09:01,080 Speaker 1: was quoted a bunch of times of who came in 163 00:09:01,120 --> 00:09:04,040 Speaker 1: and what records always playing. When I played Sarone for 164 00:09:04,040 --> 00:09:06,440 Speaker 1: the first time, would Georgia Moroda would give me a 165 00:09:06,480 --> 00:09:10,120 Speaker 1: record and people and Chic and before she was even signed, 166 00:09:10,679 --> 00:09:14,560 Speaker 1: Tom Cassi gave me the copy of K And that's 167 00:09:14,559 --> 00:09:16,360 Speaker 1: how I was a DJ in the Suit and Tie Club. 168 00:09:17,040 --> 00:09:20,320 Speaker 1: So Studio fifty four was about the same era. How 169 00:09:20,360 --> 00:09:23,120 Speaker 1: do you contrast those two, Well, they had a lot 170 00:09:23,160 --> 00:09:27,520 Speaker 1: in common. It was a sophistication. The mix of Study 171 00:09:27,559 --> 00:09:31,000 Speaker 1: fifty four was outrageous and fantastic. I remember the first 172 00:09:31,000 --> 00:09:33,480 Speaker 1: time hearing about Studio fifty four. I was at a 173 00:09:33,480 --> 00:09:36,079 Speaker 1: club called Hurrah in Lincoln Center and it was the 174 00:09:36,160 --> 00:09:38,520 Speaker 1: most beautiful club and that's where the beautiful people went. 175 00:09:38,800 --> 00:09:41,000 Speaker 1: And these these two guys running around with business cards, 176 00:09:41,280 --> 00:09:44,520 Speaker 1: handing out invitations, and they owned a club, Cold Enchanted 177 00:09:44,520 --> 00:09:47,800 Speaker 1: Gardens and it was Steve Rebel and Ian Schrager. I 178 00:09:47,840 --> 00:09:50,720 Speaker 1: was with a model and I'm dancing with her and 179 00:09:50,800 --> 00:09:52,600 Speaker 1: they didn't give me a card. They gave her a card, 180 00:09:52,800 --> 00:09:54,880 Speaker 1: please show up, And that was the getting the word 181 00:09:54,880 --> 00:09:57,560 Speaker 1: out opening this club. And nobody expected the opening of 182 00:09:57,600 --> 00:09:59,920 Speaker 1: this to be as important, but the mix them along 183 00:10:00,000 --> 00:10:03,520 Speaker 1: longet the confluence of cultures that they put together through 184 00:10:03,520 --> 00:10:07,400 Speaker 1: their door policy was phenomenal. Regime's had a barrier of price, 185 00:10:07,720 --> 00:10:10,440 Speaker 1: so not everybody can get in because bottle service in 186 00:10:10,480 --> 00:10:12,719 Speaker 1: those days it's probably the same price today. It was 187 00:10:12,800 --> 00:10:15,520 Speaker 1: hundreds of dollars for a bottle of Scotch or whatever 188 00:10:15,559 --> 00:10:18,800 Speaker 1: you like to drink. Fifty four was getting in. It 189 00:10:18,920 --> 00:10:21,280 Speaker 1: wasn't that expensive to get into Studio fifty four. But 190 00:10:21,360 --> 00:10:24,079 Speaker 1: each night was a different experience. It was a theme, 191 00:10:24,559 --> 00:10:26,760 Speaker 1: and Sunday was as good as Thursday, and Saturday was 192 00:10:26,800 --> 00:10:29,040 Speaker 1: as good as Tuesday. Fact, Saturday was probably the worst 193 00:10:29,120 --> 00:10:31,800 Speaker 1: night to go to Studio fifty four and we wound 194 00:10:31,840 --> 00:10:34,920 Speaker 1: up there as DJs workers nightlife people need a release. 195 00:10:35,280 --> 00:10:37,439 Speaker 1: So where do you go at three when you shut down? 196 00:10:37,720 --> 00:10:40,520 Speaker 1: And we had our favorites. Twelve West was a great club. 197 00:10:41,000 --> 00:10:44,880 Speaker 1: There was Limelight, there was Gallery, there was Galaxy one 198 00:10:45,000 --> 00:10:47,240 Speaker 1: and Studio fifty four was another great place we went 199 00:10:47,240 --> 00:10:49,880 Speaker 1: to and that was sort of where we all met after. 200 00:10:50,200 --> 00:10:52,160 Speaker 1: So why did you leave that? I it sounds like 201 00:10:52,200 --> 00:10:55,080 Speaker 1: you're in the middle of the hottest, most exciting place 202 00:10:55,120 --> 00:10:58,200 Speaker 1: to be at this time. So this guy walks up 203 00:10:58,200 --> 00:11:00,680 Speaker 1: to me, is about six ft five six ft six, 204 00:11:00,720 --> 00:11:05,920 Speaker 1: good looking guy, and he says Dan Frank Shields. I 205 00:11:05,960 --> 00:11:07,800 Speaker 1: said hi, and he said, I love what you do. 206 00:11:07,960 --> 00:11:10,440 Speaker 1: Can you make me a cassette? I said yes. And 207 00:11:10,480 --> 00:11:13,320 Speaker 1: Regine had given us a price at Regimes. You couldn't 208 00:11:13,320 --> 00:11:15,280 Speaker 1: just make a cassette for twenty five dollars, which is 209 00:11:15,320 --> 00:11:17,360 Speaker 1: a lot of money. She wanted you to charge seventy 210 00:11:18,000 --> 00:11:20,480 Speaker 1: undred dollars. So I made Frank some cassettes and he said, 211 00:11:20,480 --> 00:11:23,080 Speaker 1: you gotta come see me, young man. He's the number 212 00:11:23,080 --> 00:11:26,040 Speaker 1: two at Revlon Worldwide. And I get to go to 213 00:11:26,120 --> 00:11:28,000 Speaker 1: this GM building and I go up to Revlon. I 214 00:11:28,000 --> 00:11:32,000 Speaker 1: meet Charles Revson, who is another customer of Regin's, and 215 00:11:32,000 --> 00:11:34,480 Speaker 1: they said, listen, Dan, I'm the president of a club 216 00:11:34,559 --> 00:11:37,480 Speaker 1: at the Sherry Netherlands Hotel and we need a DJ. 217 00:11:37,600 --> 00:11:39,480 Speaker 1: We need the flavor of Regimes, and I'm going to 218 00:11:39,559 --> 00:11:41,280 Speaker 1: offer you a contract. I only gonna meet the owner 219 00:11:41,280 --> 00:11:43,280 Speaker 1: of the club. It's called Doubles, and this is a 220 00:11:43,320 --> 00:11:46,160 Speaker 1: member's only club. We need you to leave Regimes. And 221 00:11:46,400 --> 00:11:49,120 Speaker 1: I left and I went to Doubles and they gave 222 00:11:49,120 --> 00:11:53,280 Speaker 1: me a contract. Now I'm getting married, and like you know, 223 00:11:53,320 --> 00:11:56,040 Speaker 1: it's hard. You're working and your djaying all night and 224 00:11:56,080 --> 00:11:58,680 Speaker 1: it's it's a crazy life. And then had to subcontract 225 00:11:59,320 --> 00:12:02,320 Speaker 1: and my a our skills in those days. I subcontracted 226 00:12:02,480 --> 00:12:05,320 Speaker 1: to some of the greatest DJs in the world. I 227 00:12:05,360 --> 00:12:08,480 Speaker 1: gave Junior Vasquez his first job, who went on to 228 00:12:08,480 --> 00:12:11,360 Speaker 1: produce him right for Madonna. Ted Currier who became a 229 00:12:11,360 --> 00:12:14,000 Speaker 1: producer writer. He worked at ninety nine X and with 230 00:12:14,000 --> 00:12:17,000 Speaker 1: Frankie Crocker, so nobody in New York City knew this. 231 00:12:17,360 --> 00:12:20,360 Speaker 1: We were making all the mixtapes for w BLS and 232 00:12:20,440 --> 00:12:23,120 Speaker 1: nine n X out of doubles DJ booth. So there 233 00:12:23,200 --> 00:12:25,600 Speaker 1: was a story that when you were at Regime's you 234 00:12:25,720 --> 00:12:29,319 Speaker 1: took a tip, and Regime you took too little. I 235 00:12:29,360 --> 00:12:32,080 Speaker 1: took either ten dollars or twenty dollars to play a record, 236 00:12:32,760 --> 00:12:36,560 Speaker 1: and she was disgusted with me. She said, never never. 237 00:12:36,600 --> 00:12:38,600 Speaker 1: I think it was fifty was the minimum or a hundred, 238 00:12:39,120 --> 00:12:41,280 Speaker 1: And she said, don't ever do that. She said, We're 239 00:12:41,280 --> 00:12:44,000 Speaker 1: not that type of club. I'm for a kid like 240 00:12:44,040 --> 00:12:45,840 Speaker 1: myself to make ten or twenty dollars to play a song. 241 00:12:45,880 --> 00:12:48,120 Speaker 1: I was gonna play it anyway. I learned a lot 242 00:12:48,160 --> 00:12:50,560 Speaker 1: about rich people. I learned a lot about people from 243 00:12:50,559 --> 00:12:52,800 Speaker 1: around the world, and I think the palette I've developed. 244 00:12:53,160 --> 00:12:56,760 Speaker 1: People always say glass Note is a very international label. Well, 245 00:12:56,840 --> 00:13:00,800 Speaker 1: the taste buds were cultivated there because I was listening 246 00:13:00,800 --> 00:13:03,719 Speaker 1: to music from Brazil and from Germany and Italy. I've 247 00:13:03,760 --> 00:13:06,400 Speaker 1: never identified as an American record executive. I have more 248 00:13:06,400 --> 00:13:09,520 Speaker 1: in common with the UK and Europe that I do 249 00:13:09,600 --> 00:13:13,000 Speaker 1: as ex Yeah, and I think it's the d n 250 00:13:13,040 --> 00:13:16,040 Speaker 1: A of an American and the culture growing up with 251 00:13:16,080 --> 00:13:19,080 Speaker 1: an American is completely different. You grow up in America, 252 00:13:19,160 --> 00:13:23,320 Speaker 1: you have so many fields of influenced interest and distraction. 253 00:13:23,760 --> 00:13:27,440 Speaker 1: In the UK, you still are born and bred listening 254 00:13:27,480 --> 00:13:30,600 Speaker 1: to music. When I came up in the industry in 255 00:13:30,640 --> 00:13:33,280 Speaker 1: the late seventies and early eighties, I got to witness 256 00:13:33,320 --> 00:13:34,960 Speaker 1: a lot of black music, a lot of very important 257 00:13:34,960 --> 00:13:40,080 Speaker 1: soul and disco music Philadelphia, Washington, Virginia, North Carolina, driving 258 00:13:40,080 --> 00:13:42,040 Speaker 1: around those areas, and I got to go to your 259 00:13:42,320 --> 00:13:44,080 Speaker 1: neck of the woods. When I got a little more 260 00:13:44,080 --> 00:13:47,680 Speaker 1: advanced and went to Mississippi and Georgia, and when release 261 00:13:47,760 --> 00:13:50,320 Speaker 1: day happened for the new albums of the new singles. 262 00:13:51,120 --> 00:13:53,520 Speaker 1: People needed to have their Earth Wind and Fire and 263 00:13:53,520 --> 00:13:55,480 Speaker 1: their James Brown record. You know, it's just a way 264 00:13:55,520 --> 00:13:58,640 Speaker 1: of life. You needed your music, and that stopped in America. 265 00:13:59,200 --> 00:14:01,560 Speaker 1: It's broader now out because of streaming and because of 266 00:14:01,600 --> 00:14:04,839 Speaker 1: what you've done, Bob, making music more accessible for people. 267 00:14:04,840 --> 00:14:06,840 Speaker 1: But in those days you had to have your music. 268 00:14:07,040 --> 00:14:10,200 Speaker 1: And I find that in places like England, music is 269 00:14:10,280 --> 00:14:13,240 Speaker 1: much more necessary to the way of life. You know, 270 00:14:13,320 --> 00:14:16,920 Speaker 1: in the order when you put food, video games, film, fashion, gossip, 271 00:14:17,240 --> 00:14:21,440 Speaker 1: all that stuff. Was there something about worldliness that you 272 00:14:21,600 --> 00:14:24,320 Speaker 1: got there that you think you still use today. Was 273 00:14:24,360 --> 00:14:27,840 Speaker 1: there something about exclusivity which you think you used today? Yes? 274 00:14:28,480 --> 00:14:31,640 Speaker 1: So firstly, the genesis of the club. He figured out 275 00:14:32,000 --> 00:14:35,600 Speaker 1: what makes the rich tick, how to charge them, how 276 00:14:35,640 --> 00:14:39,040 Speaker 1: to seat them. What makes the rich tick? Well, I 277 00:14:39,080 --> 00:14:42,320 Speaker 1: think it's a club that travels with each other around 278 00:14:42,320 --> 00:14:46,240 Speaker 1: the world and also disposes of things very quickly, so 279 00:14:46,280 --> 00:14:48,400 Speaker 1: you have to keep up. Whether it's the Hampton's, whether 280 00:14:48,440 --> 00:14:51,520 Speaker 1: it's Malibu, whether it's just odd, it's just a way 281 00:14:51,560 --> 00:14:53,560 Speaker 1: of knowing how to cater to people, and it's the 282 00:14:53,600 --> 00:14:57,800 Speaker 1: ability to turn people away. Every business. The most powerful 283 00:14:57,840 --> 00:15:00,320 Speaker 1: word is not yes, it's no. And at think it's 284 00:15:00,320 --> 00:15:02,160 Speaker 1: great for an artist manager to say no. It's great 285 00:15:02,160 --> 00:15:04,800 Speaker 1: for a radio station to say too many spots. It's 286 00:15:04,880 --> 00:15:09,680 Speaker 1: great to say no. And I think that exclusionary policy 287 00:15:10,120 --> 00:15:12,040 Speaker 1: is what turns people on. It makes you want to 288 00:15:12,040 --> 00:15:15,320 Speaker 1: go more. Also, two things were going on at regime's 289 00:15:15,440 --> 00:15:18,200 Speaker 1: in that era. That's when it was truly fun and 290 00:15:18,240 --> 00:15:23,720 Speaker 1: truly frivolous and open. That stopped like a two. That's 291 00:15:23,760 --> 00:15:26,760 Speaker 1: a major portion of New York culture and society and 292 00:15:26,840 --> 00:15:30,120 Speaker 1: obviously around the world. Also, and I think affluence changed. 293 00:15:30,680 --> 00:15:32,760 Speaker 1: You could not get into a lounge of an airport 294 00:15:33,000 --> 00:15:35,440 Speaker 1: in those days. You dressed up to go to an airport. 295 00:15:35,560 --> 00:15:38,160 Speaker 1: Today everybody flies. Everybody can get into the points and 296 00:15:38,280 --> 00:15:42,280 Speaker 1: frequent flyers stuff, So affluence has changed. Access has changed. 297 00:15:42,680 --> 00:15:45,960 Speaker 1: I was witnessing the last of an era of exclusivity 298 00:15:46,000 --> 00:15:49,440 Speaker 1: of people that traveled together all year round, and jets 299 00:15:49,440 --> 00:15:51,960 Speaker 1: set meant something to them. They all knew each other. 300 00:15:52,440 --> 00:15:55,640 Speaker 1: And that changed because you had tech people all of 301 00:15:55,680 --> 00:15:58,360 Speaker 1: a sudden, and fashion people and music people making a 302 00:15:58,360 --> 00:16:01,400 Speaker 1: lot of money. And today's richest of rich are the 303 00:16:01,400 --> 00:16:03,880 Speaker 1: tech people who are dominating that. And then I unders 304 00:16:03,920 --> 00:16:06,200 Speaker 1: did in regimes they wouldn't be interested in fifty four. 305 00:16:07,400 --> 00:16:09,840 Speaker 1: Just hold on a second, because we've got so much 306 00:16:09,880 --> 00:16:12,400 Speaker 1: more to talk about. We'll be back after a quick break. 307 00:16:17,160 --> 00:16:21,920 Speaker 1: Welcome back the Math and Magic. So let's jump a 308 00:16:21,920 --> 00:16:26,120 Speaker 1: little bit the late nineteen seventies. You jumped to Sam Records, 309 00:16:26,600 --> 00:16:29,320 Speaker 1: Sam White's label. He would become your father in law, 310 00:16:29,600 --> 00:16:32,040 Speaker 1: and you started in promotions. I mean, here you are. 311 00:16:32,120 --> 00:16:34,160 Speaker 1: You knew all about music, have no but everything. You 312 00:16:34,200 --> 00:16:36,240 Speaker 1: may have known me or people may know me as promotion. 313 00:16:36,320 --> 00:16:38,680 Speaker 1: But we had to mix the record, edit the record. 314 00:16:38,760 --> 00:16:41,680 Speaker 1: I learned how to do business affairs. We did everything. 315 00:16:41,840 --> 00:16:43,360 Speaker 1: So that was good for you to be at a 316 00:16:43,400 --> 00:16:45,640 Speaker 1: small label to learn it all. The most important thing 317 00:16:45,760 --> 00:16:48,240 Speaker 1: do you think you used that today? With every day? 318 00:16:48,280 --> 00:16:50,360 Speaker 1: Every day? I use it because I'm on top of 319 00:16:50,360 --> 00:16:52,920 Speaker 1: the business affairs, the deals. I don't enjoy doing them, 320 00:16:52,920 --> 00:16:54,760 Speaker 1: but I know about it. You have to do budgets, 321 00:16:54,800 --> 00:16:56,960 Speaker 1: you have to get the publishing business down and understand 322 00:16:57,240 --> 00:17:00,200 Speaker 1: the copyright of the song, the value of it. I 323 00:17:00,280 --> 00:17:03,360 Speaker 1: was very talented in the studio and quite proficient, but 324 00:17:03,680 --> 00:17:06,720 Speaker 1: I didn't enjoy the solitude of the studio, how cold 325 00:17:06,760 --> 00:17:10,280 Speaker 1: it was, the food, the dysfunctional hours, because I was 326 00:17:10,320 --> 00:17:12,880 Speaker 1: really mixing a lot and editing a lot. I'd walk 327 00:17:12,920 --> 00:17:14,560 Speaker 1: at at three o'clock on a Sunday and it would 328 00:17:14,560 --> 00:17:16,560 Speaker 1: be bright sunshine, and I didn't know what time it was. 329 00:17:16,800 --> 00:17:18,440 Speaker 1: I didn't think that was gonna be good for my life, 330 00:17:18,720 --> 00:17:21,040 Speaker 1: so I stopped doing studio work. Well, you sort of 331 00:17:21,080 --> 00:17:24,960 Speaker 1: made your name as the promotion person, sort of managed 332 00:17:25,000 --> 00:17:28,120 Speaker 1: to make a record happen back in the heydaya NDS 333 00:17:28,160 --> 00:17:30,520 Speaker 1: And I'll take people back a little bit before consolidation. 334 00:17:30,640 --> 00:17:34,760 Speaker 1: Chris Wright Terry Ellis had an amazing indie Chrysalis Records. 335 00:17:35,160 --> 00:17:37,200 Speaker 1: How did you get there? So the man that was 336 00:17:37,280 --> 00:17:39,600 Speaker 1: running the company was a guy named Jack Craigo. He 337 00:17:39,680 --> 00:17:41,520 Speaker 1: was a president of the company. We had a lot 338 00:17:41,520 --> 00:17:44,320 Speaker 1: of success at Sam Records. The first two records that 339 00:17:44,359 --> 00:17:47,639 Speaker 1: we signed that went to Columbia where Gary's Gang and 340 00:17:47,760 --> 00:17:50,280 Speaker 1: John Davis and the Monster Orchestra. They both went gold. 341 00:17:51,040 --> 00:17:56,240 Speaker 1: So Columbia Records hired myself and Sam Records to promote 342 00:17:56,280 --> 00:18:00,800 Speaker 1: and market Santana Records, Barbara Streisan Records, all these disco 343 00:18:00,880 --> 00:18:02,439 Speaker 1: records they were putting out because we knew what to 344 00:18:02,440 --> 00:18:04,159 Speaker 1: do in the twelve inch market. Tell people what a 345 00:18:04,200 --> 00:18:06,800 Speaker 1: twelve inches, oh twelve inch vinyl is one song that 346 00:18:06,840 --> 00:18:10,480 Speaker 1: has an extended mix, extended by time and extended by 347 00:18:10,560 --> 00:18:13,199 Speaker 1: the vibe and the deep mixes of it. And the 348 00:18:13,240 --> 00:18:17,520 Speaker 1: biggest personalities in those days were the DJ remixers Tom Moulton, 349 00:18:17,840 --> 00:18:21,399 Speaker 1: Tom Savarese, John Luongo, Jelly Bean. I mean, these are 350 00:18:21,400 --> 00:18:24,440 Speaker 1: the characters Jim Burgess. They could make or break a record, 351 00:18:24,440 --> 00:18:26,240 Speaker 1: and if you were smart enough, you saved all yours 352 00:18:26,240 --> 00:18:28,160 Speaker 1: because there're worth a lot of money. I still use them. 353 00:18:28,160 --> 00:18:30,240 Speaker 1: Do you still have them? So you go on this 354 00:18:30,480 --> 00:18:33,159 Speaker 1: promotion track not A and R. Was it really just 355 00:18:33,200 --> 00:18:35,199 Speaker 1: the studio that you didn't want to spend all that 356 00:18:35,280 --> 00:18:38,280 Speaker 1: time late night? Or was it there is something special 357 00:18:38,320 --> 00:18:41,359 Speaker 1: about making these songs come to life? No, I was 358 00:18:41,400 --> 00:18:44,080 Speaker 1: too good at it. I had a passion burning, and 359 00:18:44,160 --> 00:18:47,119 Speaker 1: I had gotten out of the studio where the first 360 00:18:47,119 --> 00:18:51,680 Speaker 1: couple of records that I loved at Chrysalis, war Spandau Ballet, Ultravox, 361 00:18:52,280 --> 00:18:55,480 Speaker 1: and there was a record by fun Boy three. I 362 00:18:55,520 --> 00:18:58,520 Speaker 1: took the records out of the studio or from the 363 00:18:58,560 --> 00:19:01,240 Speaker 1: imports and brought them to my friends that I had 364 00:19:01,280 --> 00:19:04,080 Speaker 1: met over the years, particularly Frankie Crocker at w b 365 00:19:04,240 --> 00:19:08,159 Speaker 1: LS he played them all. He broke true by spandol ballet, 366 00:19:08,600 --> 00:19:12,840 Speaker 1: and to have a black DJ breaking UK music that 367 00:19:12,920 --> 00:19:15,320 Speaker 1: had soul in it, I thought it was just natural. 368 00:19:15,840 --> 00:19:18,280 Speaker 1: They thought I was a genius because I was getting 369 00:19:18,280 --> 00:19:21,040 Speaker 1: all these records played. And then I drove to Philadelphia 370 00:19:21,040 --> 00:19:22,960 Speaker 1: brought him a W D A S. Because that's who 371 00:19:22,960 --> 00:19:25,600 Speaker 1: played all the Sam records was all black radio stations. 372 00:19:25,880 --> 00:19:29,080 Speaker 1: And then I went to w h u R in Washington, 373 00:19:29,160 --> 00:19:31,119 Speaker 1: d C. And then of a sudden, kiss came in 374 00:19:31,320 --> 00:19:33,560 Speaker 1: w k Y S. But I went to basically black 375 00:19:33,640 --> 00:19:37,600 Speaker 1: radio stations and they loved the music and they played 376 00:19:37,640 --> 00:19:39,360 Speaker 1: all the music. And that's how we took spanned Out 377 00:19:39,359 --> 00:19:43,119 Speaker 1: Ballet up the charts. Until kfr C in San Francisco 378 00:19:43,200 --> 00:19:46,000 Speaker 1: played spanned Out val A would never have gotten out 379 00:19:46,000 --> 00:19:48,040 Speaker 1: of that, and then it went popping. I knew nothing 380 00:19:48,080 --> 00:19:50,879 Speaker 1: about promotion. I think the lesson here is the innocence 381 00:19:50,920 --> 00:19:52,800 Speaker 1: of it was. I went in because I believed in 382 00:19:52,800 --> 00:19:56,960 Speaker 1: the music, and I knew real relationships with people that 383 00:19:57,119 --> 00:19:59,679 Speaker 1: trusted me because I went to the clubs with them, 384 00:19:59,720 --> 00:20:02,720 Speaker 1: whether with Studio fifty four or the Paradise Garage. We 385 00:20:02,800 --> 00:20:05,800 Speaker 1: listened to music together A few nights a week. So 386 00:20:05,840 --> 00:20:07,720 Speaker 1: when I said to them, I think this would work, 387 00:20:08,600 --> 00:20:10,119 Speaker 1: and then everybody got hip to it, and all of 388 00:20:10,160 --> 00:20:11,920 Speaker 1: a sudden, they bring in the Clash and they're bringing 389 00:20:12,359 --> 00:20:14,840 Speaker 1: R and B, R and B and dance Radio are 390 00:20:14,920 --> 00:20:18,879 Speaker 1: breaking all these cool bands, which was wild, which I 391 00:20:18,880 --> 00:20:21,040 Speaker 1: guess it would call today alternative music, but it was. 392 00:20:21,440 --> 00:20:24,679 Speaker 1: It was passion. You went on to the majors, you 393 00:20:24,760 --> 00:20:28,080 Speaker 1: expanded your role to run labels, You worked with all 394 00:20:28,080 --> 00:20:31,080 Speaker 1: the big names. Got two or three takeaways from that 395 00:20:31,160 --> 00:20:34,280 Speaker 1: of somebody today. What lessons did you learn there that 396 00:20:34,359 --> 00:20:36,760 Speaker 1: you think are relevant people today they are thinking about 397 00:20:36,840 --> 00:20:41,400 Speaker 1: music and musing marketing. Don't do it. Stay away. We 398 00:20:41,400 --> 00:20:44,760 Speaker 1: were bought, merged or consolidated three or four times in 399 00:20:44,800 --> 00:20:46,679 Speaker 1: my career and it was very frustrating. You know, I 400 00:20:46,720 --> 00:20:48,920 Speaker 1: never wanted to leave Chrysalis. If I could stay with 401 00:20:49,000 --> 00:20:51,640 Speaker 1: Chris Wright and work my way up to becoming president 402 00:20:51,760 --> 00:20:54,400 Speaker 1: CEO and staying there for my entire career, I would 403 00:20:54,400 --> 00:20:56,000 Speaker 1: have moved to England and have done that. But they 404 00:20:56,040 --> 00:20:59,159 Speaker 1: sold it d m I. When we created sp K, 405 00:20:59,720 --> 00:21:02,840 Speaker 1: it was most magical independent label in the world. In 406 00:21:02,920 --> 00:21:07,000 Speaker 1: less than three years to have Vanilla Ice, the Ninja Turtles, 407 00:21:07,000 --> 00:21:11,840 Speaker 1: Wilson Phillips, Blur, Jesus Jones, the beginnings of Oasis, John Sacada, 408 00:21:11,920 --> 00:21:14,119 Speaker 1: all on one label in two and a half years. 409 00:21:14,480 --> 00:21:17,119 Speaker 1: It's unheard of. They sold it who they sell it to? 410 00:21:17,480 --> 00:21:20,920 Speaker 1: A m I so twice. I'm under thirty five years old. 411 00:21:21,080 --> 00:21:23,800 Speaker 1: This is happening. And then Doug Morris and I started 412 00:21:23,840 --> 00:21:27,000 Speaker 1: this label called Rising Tide and that got folded in 413 00:21:27,040 --> 00:21:30,879 Speaker 1: and became what is today the great Dominant Universal Records, 414 00:21:30,880 --> 00:21:34,040 Speaker 1: and so many of my colleagues and proteges are still 415 00:21:34,040 --> 00:21:36,280 Speaker 1: there and it's thriving. But I was a fish out 416 00:21:36,280 --> 00:21:38,640 Speaker 1: of water when I had to move into those situations. 417 00:21:38,840 --> 00:21:41,960 Speaker 1: What didn't you like about it? The human resource train. 418 00:21:42,400 --> 00:21:44,960 Speaker 1: If you gave me of my day or week doing 419 00:21:45,040 --> 00:21:48,359 Speaker 1: A and R and creative and promotion and marketing and 420 00:21:48,440 --> 00:21:51,560 Speaker 1: artist development, I would be very happy. My job went 421 00:21:51,600 --> 00:21:56,120 Speaker 1: from sixty to seventy human resource between budgeting and things 422 00:21:56,240 --> 00:21:58,399 Speaker 1: that had nothing to do with music. And there are 423 00:21:58,400 --> 00:22:00,840 Speaker 1: people that do that much better and enjoy that, and 424 00:22:00,960 --> 00:22:02,720 Speaker 1: I give them a lot of credit. I wasn't cut 425 00:22:02,720 --> 00:22:04,879 Speaker 1: out for that. I'd rather be with the artists and 426 00:22:04,960 --> 00:22:07,760 Speaker 1: musicians I've been in the last few days to Copenhagen 427 00:22:07,760 --> 00:22:09,960 Speaker 1: to see Mumford and Sons. I'll be a bottle rock 428 00:22:10,000 --> 00:22:12,600 Speaker 1: to see the Teskey Brothers this weekend. They can't do that. 429 00:22:13,000 --> 00:22:14,639 Speaker 1: They would not know the names of the people in 430 00:22:14,680 --> 00:22:17,200 Speaker 1: the bands, the lead singer or the guitars. They don't 431 00:22:17,200 --> 00:22:20,000 Speaker 1: know the producer. I need to know that stuff because 432 00:22:20,040 --> 00:22:23,680 Speaker 1: that's what I love doing. So let's jump to today 433 00:22:23,760 --> 00:22:27,200 Speaker 1: and the marketing. The total sponsorship business today is about 434 00:22:27,200 --> 00:22:30,080 Speaker 1: twenty four billion dollars, but only about five or six 435 00:22:30,160 --> 00:22:33,800 Speaker 1: of that is spent against music sponsorship. Sports gets most 436 00:22:33,840 --> 00:22:36,879 Speaker 1: of it. Two great passion points in America, sports and music. 437 00:22:37,240 --> 00:22:39,560 Speaker 1: You and I would argue music is the biggest passion point. 438 00:22:39,880 --> 00:22:43,000 Speaker 1: Why do you think marketers are missing the message that 439 00:22:43,240 --> 00:22:46,320 Speaker 1: not spending more on music as their path to connecting 440 00:22:46,320 --> 00:22:49,200 Speaker 1: with the consumer. So I think it's catching up when 441 00:22:49,200 --> 00:22:52,679 Speaker 1: you see valuations of both music companies publishing companies. But 442 00:22:52,760 --> 00:22:56,080 Speaker 1: now the value of an I Heart, the value of Spotify, 443 00:22:56,160 --> 00:22:59,520 Speaker 1: the value of the Apple Music, YouTube music. You see 444 00:23:00,119 --> 00:23:04,080 Speaker 1: what Telco's value the music input, how it gets you 445 00:23:04,119 --> 00:23:06,679 Speaker 1: on a subscription model or a free model. So I 446 00:23:06,680 --> 00:23:09,919 Speaker 1: think we were undervalued there. I think you had the 447 00:23:10,040 --> 00:23:14,720 Speaker 1: wrong people talking to the wrong people with relationships. Sports 448 00:23:15,160 --> 00:23:19,400 Speaker 1: agents and sports marketing was done earlier and more sophisticated 449 00:23:19,760 --> 00:23:23,840 Speaker 1: and had a lot of expertise representing people. Music people 450 00:23:24,400 --> 00:23:27,959 Speaker 1: didn't evolve. We lost fifteen years as a business because 451 00:23:27,960 --> 00:23:32,199 Speaker 1: people were fearful of streaming and what napster and that 452 00:23:32,280 --> 00:23:34,600 Speaker 1: was all about. So we lost fifteen years of business. 453 00:23:34,720 --> 00:23:36,639 Speaker 1: We've caught up very nicely. I want to do a 454 00:23:36,720 --> 00:23:39,439 Speaker 1: quick aside here. In the days that everyone wanted to 455 00:23:39,440 --> 00:23:42,320 Speaker 1: shut down Napster, you were about the only person in 456 00:23:42,359 --> 00:23:44,560 Speaker 1: the music industry saying, wait a minute, that's our future. 457 00:23:44,880 --> 00:23:46,760 Speaker 1: How did that feel to be the lone wolf? And 458 00:23:46,880 --> 00:23:48,639 Speaker 1: by the way, today it turns out, of course you 459 00:23:48,680 --> 00:23:51,080 Speaker 1: were correct. Yeah, I mean it was awful because my 460 00:23:51,240 --> 00:23:56,000 Speaker 1: theory to my bosses were which restaurant, which club, which scene? 461 00:23:56,040 --> 00:23:57,760 Speaker 1: Would you rather go to the one where there's a 462 00:23:57,760 --> 00:24:00,520 Speaker 1: few million people now they are stealing, they are sharing, 463 00:24:00,720 --> 00:24:03,480 Speaker 1: they are pirating, Yes I know that. Or would you 464 00:24:03,560 --> 00:24:05,520 Speaker 1: rather go to the record stores where then where a 465 00:24:05,560 --> 00:24:07,720 Speaker 1: couple of hundred thousand people I'd rather be with a 466 00:24:07,720 --> 00:24:10,439 Speaker 1: few million people were And that's what my three children 467 00:24:10,440 --> 00:24:12,960 Speaker 1: were talking about. Is this new thing I actually don't 468 00:24:12,960 --> 00:24:14,840 Speaker 1: know how to use it, they just kept talking about it. 469 00:24:15,119 --> 00:24:17,800 Speaker 1: I think we did ourselves a disservice as a business 470 00:24:17,800 --> 00:24:21,080 Speaker 1: by not going to the table with those early Shawn 471 00:24:21,160 --> 00:24:24,639 Speaker 1: Fanning people and Sean Parker people and negotiating and finding 472 00:24:24,640 --> 00:24:28,400 Speaker 1: a way to make it work or emulate it legally. Instead, 473 00:24:28,640 --> 00:24:30,840 Speaker 1: we were clinging onto this life raft called the CD 474 00:24:30,960 --> 00:24:33,600 Speaker 1: and the cassette, which was foolish because it's going to 475 00:24:33,640 --> 00:24:37,720 Speaker 1: go on without you anyway. The professionalism of music people 476 00:24:37,760 --> 00:24:40,680 Speaker 1: with something to be desired, and now you have this 477 00:24:40,760 --> 00:24:44,679 Speaker 1: relationship of great artists, great brands. I was on a 478 00:24:44,680 --> 00:24:48,000 Speaker 1: plane reading the Financial Times about Rihanna's new line with 479 00:24:48,119 --> 00:24:51,720 Speaker 1: LVMH the fenty line. I mean, that couldn't happen years ago. 480 00:24:52,119 --> 00:24:54,280 Speaker 1: I remember the first time our business got wind of 481 00:24:54,600 --> 00:24:57,040 Speaker 1: you know, Jessica Simpson did some stuff early on with 482 00:24:57,200 --> 00:25:00,359 Speaker 1: some of the mass marketers. Or you saw itam in 483 00:25:00,440 --> 00:25:04,080 Speaker 1: water with baseball players, actresses and fifty cent and you 484 00:25:04,160 --> 00:25:07,200 Speaker 1: said wow. And I'm sure Interscope was saying, like, we 485 00:25:07,280 --> 00:25:09,399 Speaker 1: didn't get a piece of that vitamin water thing. I 486 00:25:09,440 --> 00:25:11,680 Speaker 1: think you got a hundred million dollars for that when 487 00:25:11,680 --> 00:25:14,159 Speaker 1: they sold for two or three billion dollars to the 488 00:25:14,440 --> 00:25:17,080 Speaker 1: soda company. I think we've caught up. We have a 489 00:25:17,119 --> 00:25:19,680 Speaker 1: long way to go. I think we as a business 490 00:25:19,800 --> 00:25:25,240 Speaker 1: have always undervalued our perception and our representation of the 491 00:25:25,359 --> 00:25:28,040 Speaker 1: value of music. And I think what's happened with streaming 492 00:25:28,480 --> 00:25:31,240 Speaker 1: and what's happened when you do your shows Bob in 493 00:25:31,320 --> 00:25:34,280 Speaker 1: Las Vegas or in Florida, or you do the Jingle 494 00:25:34,320 --> 00:25:38,720 Speaker 1: bowls is everybody sees the scope and size and breadth 495 00:25:39,200 --> 00:25:42,880 Speaker 1: of music and how it influences in the world Madonna 496 00:25:43,000 --> 00:25:45,960 Speaker 1: most recently at Eurovision in Israel. When you see the 497 00:25:46,000 --> 00:25:50,080 Speaker 1: influence of Indian music, Brazilian music, African music, the most 498 00:25:50,119 --> 00:25:54,040 Speaker 1: dominant music on YouTube is Latin music, and I think 499 00:25:54,040 --> 00:25:56,280 Speaker 1: we know more about that right now. So you have 500 00:25:56,359 --> 00:26:00,280 Speaker 1: more professional representation, you've got more professional branding people. I 501 00:26:00,320 --> 00:26:03,959 Speaker 1: think we're just scratching the surface with the value of music, 502 00:26:04,080 --> 00:26:05,760 Speaker 1: of what it could mean, because all we knew was 503 00:26:05,760 --> 00:26:09,040 Speaker 1: a business was a soundtrack. And now the power of 504 00:26:09,040 --> 00:26:12,959 Speaker 1: a brand using musicians and songs, it's very high. Brands 505 00:26:12,960 --> 00:26:15,600 Speaker 1: often say they want to be part of culture, they 506 00:26:15,600 --> 00:26:18,560 Speaker 1: want to make culture. How do you think that fits 507 00:26:18,560 --> 00:26:21,680 Speaker 1: into this? How do they use music to put themselves 508 00:26:21,760 --> 00:26:24,720 Speaker 1: squarely in the center of culture? Well, the sponsorships of 509 00:26:24,760 --> 00:26:28,480 Speaker 1: showing up at festivals shows. You know. So years ago 510 00:26:28,640 --> 00:26:30,919 Speaker 1: when the Rolling Stones had that, I think it was 511 00:26:31,040 --> 00:26:35,119 Speaker 1: jo Van it was pronounced perfume or or cologne sponsoring that, 512 00:26:35,200 --> 00:26:36,960 Speaker 1: people said how could they do that? And then Bob 513 00:26:37,000 --> 00:26:39,240 Speaker 1: Dylan doing I think it was a victorious secret commercial 514 00:26:39,280 --> 00:26:42,760 Speaker 1: or something like that. It's it's the one for Chrysler. Yes, 515 00:26:43,080 --> 00:26:45,200 Speaker 1: it's the machic Phoenix. When they did the nineteen o 516 00:26:45,280 --> 00:26:48,240 Speaker 1: one did the Catallac commerce, it was romantic, it was beautiful. 517 00:26:48,480 --> 00:26:53,600 Speaker 1: The synergies there. So I think we've unleashed value and 518 00:26:53,640 --> 00:26:57,639 Speaker 1: we have unleashed creativity and a really smart brand knows 519 00:26:57,840 --> 00:26:59,800 Speaker 1: look at what Jimmy Ivan and Dre did with the 520 00:26:59,800 --> 00:27:03,399 Speaker 1: head phones athletes and musicians. You identify with them that 521 00:27:03,560 --> 00:27:08,520 Speaker 1: marriage of sports, of brands of music. Smart people got 522 00:27:08,560 --> 00:27:10,960 Speaker 1: together and realize the value of it. Well, you know 523 00:27:11,040 --> 00:27:13,400 Speaker 1: you've talked about Phoenix, You've done things with Phoenix, You've 524 00:27:13,400 --> 00:27:16,439 Speaker 1: done it with Mumford where you are not afraid to 525 00:27:16,440 --> 00:27:18,800 Speaker 1: put it in the marketing mix. How do you think 526 00:27:18,840 --> 00:27:23,480 Speaker 1: about using marketing and other marketers and other brands to 527 00:27:23,520 --> 00:27:26,479 Speaker 1: help your acts and to give them additional exposure. So 528 00:27:26,520 --> 00:27:29,800 Speaker 1: we're probably one of the purest companies when it comes 529 00:27:29,800 --> 00:27:32,359 Speaker 1: to the use of our artists or music. We filtered 530 00:27:32,400 --> 00:27:35,120 Speaker 1: out a lot of requests. We turned down probably nine 531 00:27:35,480 --> 00:27:38,359 Speaker 1: seven percent of requests where I would say a major 532 00:27:38,440 --> 00:27:43,800 Speaker 1: label would probably accept and ask the artists to do 533 00:27:43,840 --> 00:27:45,960 Speaker 1: it first. Most of our artists write their own music. 534 00:27:46,200 --> 00:27:49,440 Speaker 1: That separates us from I would say, you know, most 535 00:27:49,440 --> 00:27:52,080 Speaker 1: of the record business who are getting other songwriters to 536 00:27:52,119 --> 00:27:54,800 Speaker 1: come in. So our self contained artists have a lot 537 00:27:54,840 --> 00:27:57,280 Speaker 1: of authenticity and a lot of integrity. So when they 538 00:27:57,320 --> 00:27:59,760 Speaker 1: do decide to do a film, or to do a 539 00:28:00,000 --> 00:28:03,159 Speaker 1: answers or to do something with a brand, it's been 540 00:28:03,320 --> 00:28:06,439 Speaker 1: very very well thought about, and they actually work with 541 00:28:06,480 --> 00:28:10,679 Speaker 1: the brand to make it work for their lifestyle and 542 00:28:10,720 --> 00:28:12,960 Speaker 1: the road that they want to travel, which is why 543 00:28:12,960 --> 00:28:14,879 Speaker 1: we're a difficult company to deal with. But when you 544 00:28:14,920 --> 00:28:18,560 Speaker 1: do get us to do something, it comes out great authenticity. 545 00:28:18,640 --> 00:28:21,520 Speaker 1: It's authenticity and it's purity. I think it's better for 546 00:28:21,560 --> 00:28:24,159 Speaker 1: the brand. So let's jump to a topic near and 547 00:28:24,160 --> 00:28:27,920 Speaker 1: dear to my heart, yours too. Radio it's been at 548 00:28:27,920 --> 00:28:30,159 Speaker 1: the heart of what you do, what I do, if 549 00:28:30,160 --> 00:28:32,520 Speaker 1: it's certainly at the heart of music marketing and always 550 00:28:32,520 --> 00:28:35,560 Speaker 1: has been, still is today. Eight percent of consumers and 551 00:28:35,600 --> 00:28:39,280 Speaker 1: even of Spotify users say the main way they discover 552 00:28:39,360 --> 00:28:43,200 Speaker 1: new music is FM radio. In the days of the LPs, 553 00:28:43,240 --> 00:28:45,720 Speaker 1: consumers heard a song on the radio or the DJ 554 00:28:45,880 --> 00:28:48,240 Speaker 1: talk about it, and when I bought it. Today they 555 00:28:48,280 --> 00:28:51,840 Speaker 1: hear it, they stream it. Things really haven't changed that much. 556 00:28:52,280 --> 00:28:55,280 Speaker 1: What is radio and why is it so central to 557 00:28:55,320 --> 00:28:57,760 Speaker 1: all types of music marketing? How do you use it? 558 00:28:57,760 --> 00:29:01,280 Speaker 1: It's such a personal medium. I radio as being a friend, 559 00:29:01,840 --> 00:29:05,000 Speaker 1: as being your warm hug. That you get the answer 560 00:29:05,000 --> 00:29:09,600 Speaker 1: if you asked a hundred record executives, music executives, writers, producers, 561 00:29:09,800 --> 00:29:12,960 Speaker 1: artists out of a hundred will say to you, the 562 00:29:13,040 --> 00:29:16,520 Speaker 1: first time I heard my song on the radio. You 563 00:29:16,600 --> 00:29:19,760 Speaker 1: listen to Rolling Stone documentaries they talk about the radio. 564 00:29:19,960 --> 00:29:21,520 Speaker 1: You know, it's a now and it's a verb, it's 565 00:29:21,520 --> 00:29:26,200 Speaker 1: an adjective, but it's personality. It's your friend. It is 566 00:29:26,320 --> 00:29:28,680 Speaker 1: something that greets you in the morning my alarm clock, 567 00:29:28,800 --> 00:29:33,200 Speaker 1: not because I'm here with you, bob ze because it's happy. Well, 568 00:29:33,240 --> 00:29:35,080 Speaker 1: it's a level of talent on the air because it's 569 00:29:35,080 --> 00:29:38,240 Speaker 1: evolved since the z Morning Zoo started and I grew 570 00:29:38,320 --> 00:29:40,640 Speaker 1: up with this radio station with my kids. But it's 571 00:29:40,680 --> 00:29:44,120 Speaker 1: the level of talent and preparation, the work. I know 572 00:29:44,840 --> 00:29:48,320 Speaker 1: that I'm getting a very expensive product. This is not 573 00:29:48,400 --> 00:29:51,480 Speaker 1: a casual bunch of people. These are highly trained people 574 00:29:51,760 --> 00:29:54,680 Speaker 1: who were sleeping when you were partying last night, preparing 575 00:29:55,040 --> 00:29:58,640 Speaker 1: for a great show. They're entertainers. They're passionate about the music. 576 00:29:58,880 --> 00:30:01,360 Speaker 1: They front and back and down a record. You have 577 00:30:01,440 --> 00:30:03,600 Speaker 1: to get that. You hear the saliva coming out of there. 578 00:30:03,760 --> 00:30:06,280 Speaker 1: You hear the disappointment, you hear the frustration. You hear 579 00:30:06,680 --> 00:30:11,680 Speaker 1: all kinds of stories about sports, weather, news, tragedy, miracles, 580 00:30:11,680 --> 00:30:16,640 Speaker 1: elections in context with great music and great rotation. So 581 00:30:16,680 --> 00:30:20,480 Speaker 1: the endorsement of a radio station, the support that plays 582 00:30:20,520 --> 00:30:24,200 Speaker 1: it a lot, means that there's something going on. I 583 00:30:24,240 --> 00:30:27,520 Speaker 1: can't think of how to break an artist or a 584 00:30:27,600 --> 00:30:31,959 Speaker 1: record without radio in tandem with streaming. I think streaming 585 00:30:32,040 --> 00:30:34,680 Speaker 1: is very key as an early indicator or a late indicator. 586 00:30:35,000 --> 00:30:37,560 Speaker 1: But you must have radio. You know, it's very rare 587 00:30:38,120 --> 00:30:41,160 Speaker 1: that you get to Madison Square Garden or the headlining 588 00:30:41,200 --> 00:30:45,719 Speaker 1: of a festival, whether it's Lallapalooza or Glastonbury without radio. 589 00:30:46,120 --> 00:30:48,120 Speaker 1: I'll give you a scene in Copenhagen. I went to 590 00:30:48,200 --> 00:30:51,080 Speaker 1: a restaurant that blew my mind. My wife and I 591 00:30:51,160 --> 00:30:54,640 Speaker 1: really push ourselves culturally to do great things. So before 592 00:30:54,960 --> 00:30:57,320 Speaker 1: we went to see Mumford and Sons in Copenhagen Thursday night, 593 00:30:57,320 --> 00:30:59,200 Speaker 1: we got to go to Noma. How could you get in? 594 00:30:59,480 --> 00:31:02,000 Speaker 1: Because and he heard me on an interview once and 595 00:31:02,040 --> 00:31:05,200 Speaker 1: was inspired. One of the co owners and managers heard 596 00:31:05,200 --> 00:31:08,200 Speaker 1: it and invited me a year ago. Lucky. So I'm 597 00:31:08,280 --> 00:31:10,960 Speaker 1: very lucky, and I pinched myself. We get to Noma 598 00:31:11,040 --> 00:31:14,440 Speaker 1: and we're clicking. There are twenty four different chefs working there, 599 00:31:14,440 --> 00:31:17,720 Speaker 1: twenty four different nationalities helping us. And this one guy 600 00:31:17,800 --> 00:31:20,000 Speaker 1: comes over. I said, where you from? He says, hey, mate, 601 00:31:20,280 --> 00:31:23,880 Speaker 1: from Australia. And I start rattling off my successes. I've 602 00:31:23,920 --> 00:31:26,640 Speaker 1: got my early days of ice House and Johnny diesel On, 603 00:31:26,720 --> 00:31:28,800 Speaker 1: the divinyls that I hit him with, Mansion Air, the 604 00:31:28,800 --> 00:31:33,320 Speaker 1: temperature rap flight facilities, the Teskey brothers, it's blank, nothing 605 00:31:33,360 --> 00:31:36,120 Speaker 1: going on. My wife said, wow, that was like cold. 606 00:31:36,360 --> 00:31:38,720 Speaker 1: I'm on the way to the men's room and I said, 607 00:31:38,920 --> 00:31:40,680 Speaker 1: my wife thinks you're a hip hop head. He said, 608 00:31:40,720 --> 00:31:45,320 Speaker 1: I am. I said, well, you know, we broke childish gambino. Oh, 609 00:31:45,440 --> 00:31:48,440 Speaker 1: now you're talking. He said, I'm getting married. I'm gonna 610 00:31:48,440 --> 00:31:50,920 Speaker 1: march down the aisle just so into you. And he 611 00:31:51,040 --> 00:31:53,200 Speaker 1: has the wrong artist and I said, no, that was 612 00:31:53,280 --> 00:31:55,600 Speaker 1: to Mia and he did it on Triple J radio. 613 00:31:55,920 --> 00:31:58,240 Speaker 1: He comes back to the table and he said, you're right. 614 00:31:58,400 --> 00:32:00,560 Speaker 1: It was Triple J Radio. Why I first heard that song. 615 00:32:00,760 --> 00:32:04,480 Speaker 1: So it was radio connecting us at this moment of 616 00:32:04,520 --> 00:32:07,040 Speaker 1: a song that he did as a cover song when 617 00:32:07,040 --> 00:32:09,280 Speaker 1: he was in Australia, and that was a big moment. 618 00:32:09,640 --> 00:32:13,200 Speaker 1: So again radio came up. The lady that served us 619 00:32:13,200 --> 00:32:15,320 Speaker 1: our coffee, where are you from? She said, I'm from Kent. 620 00:32:15,680 --> 00:32:17,920 Speaker 1: I said, Kent, England. I said, we just signed most 621 00:32:17,960 --> 00:32:20,640 Speaker 1: of wild She said you did. I heard them in 622 00:32:20,680 --> 00:32:24,720 Speaker 1: the radio. So this is a meal in Copenhagen and 623 00:32:24,760 --> 00:32:28,000 Speaker 1: I'm dealing with Australian about radio and a UK person 624 00:32:28,360 --> 00:32:31,800 Speaker 1: about radio. The connection. Someone said to me the other day, 625 00:32:32,240 --> 00:32:34,680 Speaker 1: interviewed me as a college kid, what was the turning 626 00:32:34,720 --> 00:32:37,840 Speaker 1: point of glass? Note? When did you know? Because my 627 00:32:37,880 --> 00:32:39,800 Speaker 1: whole conversation with him was the fear of going out 628 00:32:39,800 --> 00:32:42,360 Speaker 1: of business, that fear of getting up on Monday morning 629 00:32:42,400 --> 00:32:44,760 Speaker 1: or Friday nights, whatever it was, and thinking we couldn't 630 00:32:44,760 --> 00:32:46,400 Speaker 1: stay in business, and I still have that fear. By 631 00:32:46,440 --> 00:32:49,320 Speaker 1: the way, Bob, I'm sure you do too. Every entrepreneur, 632 00:32:49,560 --> 00:32:52,320 Speaker 1: every owner goes through it daily and it's a great anxiety. 633 00:32:52,560 --> 00:32:54,760 Speaker 1: And I loved living on the edge like that. So 634 00:32:55,040 --> 00:32:58,560 Speaker 1: my moment of exhale, my moment of validation, was a 635 00:32:58,560 --> 00:33:01,640 Speaker 1: phone call from z one Ndred that we're adding The 636 00:33:01,640 --> 00:33:04,280 Speaker 1: first record we ever released was Full for You by 637 00:33:04,280 --> 00:33:07,920 Speaker 1: Secondhand Serenade. I was driving on the North Fork thinking 638 00:33:07,920 --> 00:33:10,520 Speaker 1: we're going out of business, and that phone call came 639 00:33:10,520 --> 00:33:13,160 Speaker 1: in and I realized, we're here to stay. That's a 640 00:33:13,200 --> 00:33:16,400 Speaker 1: real story, so let's go here to stay. The music 641 00:33:16,400 --> 00:33:19,680 Speaker 1: collection has clearly moved to streaming and subscription, but not 642 00:33:19,960 --> 00:33:22,640 Speaker 1: all the way. They're still CDs out there. Actually, the 643 00:33:22,680 --> 00:33:24,400 Speaker 1: funny thing is more people listen to c D in 644 00:33:24,400 --> 00:33:26,920 Speaker 1: the car than they do their streaming service. Will c 645 00:33:27,120 --> 00:33:29,880 Speaker 1: D survive in a diminished role or does it go 646 00:33:29,920 --> 00:33:32,560 Speaker 1: away like eight track tapes? The problem is cars. I 647 00:33:32,680 --> 00:33:34,520 Speaker 1: have a car, and one of the reasons I do 648 00:33:34,600 --> 00:33:36,760 Speaker 1: not trade it in because I have a CD player 649 00:33:37,240 --> 00:33:40,360 Speaker 1: and the team at Glassnoe makes me I do homework 650 00:33:40,360 --> 00:33:43,440 Speaker 1: every weekend, and it's a CD without knowing who the lawyer, 651 00:33:43,520 --> 00:33:45,920 Speaker 1: the agent, the manager, the producer is and I put 652 00:33:45,960 --> 00:33:48,760 Speaker 1: it on repeat and I listened to music. Maybe I'm 653 00:33:48,760 --> 00:33:51,280 Speaker 1: old fashioned that way. I think the CD is going 654 00:33:51,360 --> 00:33:54,360 Speaker 1: to subside like the download stores and go away. I 655 00:33:54,360 --> 00:33:57,160 Speaker 1: think vinyl will not go away. Vinyl is fine. The 656 00:33:57,240 --> 00:34:01,040 Speaker 1: country music scene of CDs is doing well. I just 657 00:34:01,080 --> 00:34:03,080 Speaker 1: got back from Germany about a month ago, and if 658 00:34:03,080 --> 00:34:05,480 Speaker 1: it's the first time I've seen a softening of that 659 00:34:05,560 --> 00:34:09,080 Speaker 1: physical market, Japan is about to turn, I think into 660 00:34:09,120 --> 00:34:13,200 Speaker 1: a streaming market. What percentage of glass note is physical copy? Oh? 661 00:34:13,239 --> 00:34:18,280 Speaker 1: Probably now? And as the hits get bigger, lower many records. 662 00:34:18,280 --> 00:34:22,759 Speaker 1: We never put anything physical out never, so all marketers 663 00:34:23,360 --> 00:34:25,760 Speaker 1: love their product to be the thing. I was fortunate 664 00:34:25,800 --> 00:34:27,520 Speaker 1: enough to hit it with the Gang at MTV in 665 00:34:27,560 --> 00:34:30,280 Speaker 1: the eighties, a O. L. In the mid nineties, Google 666 00:34:30,320 --> 00:34:33,400 Speaker 1: and Facebook had Benett I Heart visit with radio. But 667 00:34:33,600 --> 00:34:36,160 Speaker 1: you do it again and again every time you build 668 00:34:36,200 --> 00:34:40,040 Speaker 1: a new hit. It's the thing for a period of time. 669 00:34:40,360 --> 00:34:43,520 Speaker 1: Brands would like to know, how do you do that? Well, 670 00:34:43,560 --> 00:34:46,560 Speaker 1: you have to do less than more and not just 671 00:34:46,640 --> 00:34:49,000 Speaker 1: put you know, Frisbees and plates up in the air 672 00:34:49,760 --> 00:34:52,800 Speaker 1: is an example. We're breaking an artist now are helping 673 00:34:52,800 --> 00:34:55,880 Speaker 1: break an artist around the world named Jade Bird. And 674 00:34:56,440 --> 00:34:59,919 Speaker 1: her manager had come to me four or five time 675 00:35:00,080 --> 00:35:02,400 Speaker 1: in the last few years and we just didn't feel 676 00:35:02,560 --> 00:35:04,680 Speaker 1: that would be the right home for his artists. And 677 00:35:04,680 --> 00:35:07,880 Speaker 1: he's a very very important manager. He's got hits with 678 00:35:07,920 --> 00:35:10,360 Speaker 1: Tom O'Dell and he's got hits with Liam Gallagher and 679 00:35:10,600 --> 00:35:13,000 Speaker 1: Plan b and Jess Glynn and this is an a 680 00:35:13,080 --> 00:35:16,480 Speaker 1: plus manager. But we heard something in Jade Bird, a 681 00:35:16,640 --> 00:35:19,400 Speaker 1: UK artist. We heard some music that we thought we 682 00:35:19,480 --> 00:35:22,560 Speaker 1: could really take to the top, particularly in North America, 683 00:35:22,640 --> 00:35:26,200 Speaker 1: but also in other markets like Germany and Australia and Scandinavia. 684 00:35:26,600 --> 00:35:28,640 Speaker 1: The second thing is we met her and you meet her. 685 00:35:29,160 --> 00:35:30,880 Speaker 1: I was not there at the beginning when Scott was 686 00:35:30,920 --> 00:35:33,040 Speaker 1: shed A met Taylor Swift. I was not there when 687 00:35:33,080 --> 00:35:35,960 Speaker 1: the Atlantic people met ed Sharon. But this is the 688 00:35:36,000 --> 00:35:40,160 Speaker 1: same drive, that same crazy ambition that I of the 689 00:35:40,200 --> 00:35:43,400 Speaker 1: tiger makes life really better when someone works harder than 690 00:35:43,400 --> 00:35:46,000 Speaker 1: you and they're driven as Elton John was, what Mick 691 00:35:46,080 --> 00:35:48,360 Speaker 1: Jagger was, or John Lennon or Prince or you know 692 00:35:48,440 --> 00:35:51,479 Speaker 1: John Legend. These artists are different, They just different. Those 693 00:35:51,520 --> 00:35:54,680 Speaker 1: two factors. Her talent and her ambition came in. So 694 00:35:54,840 --> 00:35:58,160 Speaker 1: for a marketer, I would say to you, if you're 695 00:35:58,200 --> 00:36:02,480 Speaker 1: getting behind something, believe even it. Believe it has longevity, 696 00:36:02,480 --> 00:36:05,880 Speaker 1: it has authenticity, and it will stand the bad weather. 697 00:36:06,320 --> 00:36:09,200 Speaker 1: I know there's gonna be cloudy and rainy days in 698 00:36:09,280 --> 00:36:12,600 Speaker 1: Jade Bird's career. We all have them, but her talent 699 00:36:12,960 --> 00:36:16,040 Speaker 1: will rise to the top as a Casey Musgraves did, 700 00:36:16,080 --> 00:36:19,239 Speaker 1: as a Brandy Carlile did, as Ed Sharon did. So 701 00:36:19,400 --> 00:36:22,640 Speaker 1: I'm with her to go all the way around the world. 702 00:36:22,880 --> 00:36:25,080 Speaker 1: If we're gonna be listening to this podcast in two years, 703 00:36:25,239 --> 00:36:28,520 Speaker 1: you're talking about a superstar that will be headlining all 704 00:36:28,560 --> 00:36:32,160 Speaker 1: over the world on festival stages at arena's. It's gonna 705 00:36:32,200 --> 00:36:34,960 Speaker 1: happen for her because she has two D and thirty 706 00:36:35,040 --> 00:36:37,960 Speaker 1: songs in her arsenal that have never been heard, and 707 00:36:38,040 --> 00:36:41,360 Speaker 1: she has that thing that Adele had. She's different because 708 00:36:41,400 --> 00:36:47,360 Speaker 1: it's Americana folky rock music coming out and like of 709 00:36:47,360 --> 00:36:50,520 Speaker 1: a twenty one year old. But she's from England. But 710 00:36:50,600 --> 00:36:52,760 Speaker 1: people said we'd never get the banjo and the kickdrum 711 00:36:52,800 --> 00:36:55,000 Speaker 1: played by Mumford and Sons. By the way, a banjo 712 00:36:55,080 --> 00:36:58,439 Speaker 1: and zoo who would have imagined right. So I think 713 00:36:58,480 --> 00:37:01,000 Speaker 1: for a brand to take a lesson from this is 714 00:37:01,320 --> 00:37:03,720 Speaker 1: when something is different, but it has to be real, 715 00:37:04,080 --> 00:37:07,600 Speaker 1: it has to be quality, it has to transcend. Those 716 00:37:07,600 --> 00:37:10,640 Speaker 1: are the brands that I would get behind. And I 717 00:37:10,760 --> 00:37:13,839 Speaker 1: do social science research every day of my life. It's 718 00:37:13,840 --> 00:37:15,840 Speaker 1: my ability to walk into a radio station or a 719 00:37:15,880 --> 00:37:18,799 Speaker 1: restaurant or a clothing store and sniff it out and 720 00:37:18,800 --> 00:37:20,960 Speaker 1: say that is the place to be. I had that 721 00:37:21,000 --> 00:37:23,520 Speaker 1: feeling at NOMA Thursday night, just getting out of the car. 722 00:37:23,760 --> 00:37:25,840 Speaker 1: The way we were greeted, you knew you were in 723 00:37:25,840 --> 00:37:29,839 Speaker 1: somewhere special. Those are the products you get behind. And 724 00:37:30,120 --> 00:37:33,719 Speaker 1: that's why I think there are dominant executives around the 725 00:37:33,719 --> 00:37:36,680 Speaker 1: world at the LVMH's and the carrings and the I 726 00:37:36,840 --> 00:37:39,720 Speaker 1: hearts that by the best of the best of the best. 727 00:37:40,000 --> 00:37:41,600 Speaker 1: You have to be willing to walk away from a 728 00:37:41,640 --> 00:37:44,680 Speaker 1: B and in this era, i'd walk away. I didn't 729 00:37:44,680 --> 00:37:46,440 Speaker 1: say this ten years ago. I think you need to 730 00:37:46,440 --> 00:37:49,879 Speaker 1: walk away from an. They don't stream, they don't make 731 00:37:49,920 --> 00:37:52,680 Speaker 1: it anymore. What I learned when I turned thirty or 732 00:37:52,719 --> 00:37:55,399 Speaker 1: thirty five was you cannot fix it in the mix. 733 00:37:55,640 --> 00:37:58,200 Speaker 1: You can't fix a marriage, you can't fix a movie. 734 00:37:58,560 --> 00:38:01,279 Speaker 1: It's not on the cutting floor. It just isn't. As 735 00:38:01,280 --> 00:38:03,000 Speaker 1: I get olver, I think people try to fix things, 736 00:38:03,160 --> 00:38:07,399 Speaker 1: you know, the expressions, remix it, master it differently, edit 737 00:38:07,480 --> 00:38:10,279 Speaker 1: it differently. You can't. The story is not there, the 738 00:38:10,360 --> 00:38:12,840 Speaker 1: essence is not there, the emotions not there. We tend 739 00:38:12,880 --> 00:38:17,440 Speaker 1: to glamorize and romanticize A minuses and B pluses to 740 00:38:17,480 --> 00:38:20,839 Speaker 1: make them better than they are. They're not. Some things 741 00:38:20,840 --> 00:38:25,799 Speaker 1: are better than others. That's it. That's it. And the 742 00:38:25,880 --> 00:38:27,880 Speaker 1: more we admit that because you spend as much money 743 00:38:27,880 --> 00:38:31,279 Speaker 1: on an as and today there's less return. We had 744 00:38:31,280 --> 00:38:33,719 Speaker 1: a business in the eighties, it was expecially we used 745 00:38:33,760 --> 00:38:36,880 Speaker 1: to ship records golden return, platinum or vice versa. We 746 00:38:36,960 --> 00:38:39,560 Speaker 1: could put them in the windows. We could, you know, 747 00:38:39,640 --> 00:38:42,440 Speaker 1: kind of game it. Yeah, but you can't do that anymore. 748 00:38:42,960 --> 00:38:47,279 Speaker 1: Work harder, work harder for a's and a pluses. So 749 00:38:48,160 --> 00:38:52,440 Speaker 1: we end each episode by going back to math and magic. 750 00:38:52,800 --> 00:38:55,240 Speaker 1: So in your experience, you've seen a lot of people. 751 00:38:55,600 --> 00:38:59,760 Speaker 1: Who's the best mathematician, you know, that best analytical person 752 00:39:00,200 --> 00:39:03,080 Speaker 1: you've met in your career. So everything in my life 753 00:39:03,120 --> 00:39:06,799 Speaker 1: has happened by showing up. Sofia Coppola is married to 754 00:39:06,800 --> 00:39:10,520 Speaker 1: the lead singer of Phoenix and Sophia, and Toma invited 755 00:39:10,600 --> 00:39:12,919 Speaker 1: us to the opening at Lincoln Center of a show 756 00:39:12,960 --> 00:39:16,120 Speaker 1: called Mozart in the Jungle. So I showed up. We 757 00:39:16,160 --> 00:39:19,080 Speaker 1: went into the wrong room, and who's there. Jeff Bezos. 758 00:39:19,200 --> 00:39:22,319 Speaker 1: He funded this show. And he's there and I start 759 00:39:22,400 --> 00:39:25,160 Speaker 1: talking to him. He's asking me about music marketing, very 760 00:39:25,200 --> 00:39:27,200 Speaker 1: similar to you. He sounds very much like you. Do 761 00:39:27,200 --> 00:39:29,359 Speaker 1: you know him? Well, okay, you remind me of him, 762 00:39:29,400 --> 00:39:31,719 Speaker 1: and vice versa. I got so much out of that 763 00:39:31,760 --> 00:39:34,680 Speaker 1: conversation of what he was about to do in music, 764 00:39:35,280 --> 00:39:38,280 Speaker 1: and now that I've gotten to know his head of music, 765 00:39:38,320 --> 00:39:41,360 Speaker 1: Steve Boom. They are so good at what they do 766 00:39:42,120 --> 00:39:46,399 Speaker 1: in data and analytics, in math, catering and learning about 767 00:39:46,400 --> 00:39:49,920 Speaker 1: the customer. I know I have my heart through my Alexa. 768 00:39:50,160 --> 00:39:53,080 Speaker 1: So we buy an Alexa from my mother in law, 769 00:39:53,440 --> 00:39:56,400 Speaker 1: who's not a child, and she's living in Florida and 770 00:39:56,480 --> 00:40:00,200 Speaker 1: she has her Alexa and she starts Sinatra, this one, 771 00:40:00,239 --> 00:40:03,600 Speaker 1: that one. She's now getting solicited through her Alexa on 772 00:40:03,680 --> 00:40:06,680 Speaker 1: concerts appearances, and she said, I'd love to have tickets 773 00:40:06,680 --> 00:40:10,040 Speaker 1: for this. She orders her cars. So he's figured out 774 00:40:10,040 --> 00:40:11,839 Speaker 1: my mother in law. He's figured out my wife, by 775 00:40:11,840 --> 00:40:15,400 Speaker 1: the way, So he's the mathematician. He's a genius. So 776 00:40:15,440 --> 00:40:20,279 Speaker 1: who's the greatest magician you've known? That show person that 777 00:40:20,560 --> 00:40:23,520 Speaker 1: has that just sixth sense of how to make everything exciting. 778 00:40:23,760 --> 00:40:26,680 Speaker 1: The Glass family were huge fans of everything Kanye West. 779 00:40:26,880 --> 00:40:30,080 Speaker 1: A magician is maybe a disrespectful word for him. It's 780 00:40:30,080 --> 00:40:33,040 Speaker 1: a compliment. It's a good okay. So I met him. 781 00:40:33,080 --> 00:40:35,560 Speaker 1: I founded an organization called life Beat many years ago 782 00:40:35,600 --> 00:40:39,000 Speaker 1: with Bob Caviana, who unfortunately passed away. I got to 783 00:40:39,040 --> 00:40:42,000 Speaker 1: meet him then and then uh he donated a vesper 784 00:40:42,200 --> 00:40:46,280 Speaker 1: through a radio station promotion. We did his touching fashion 785 00:40:46,480 --> 00:40:49,759 Speaker 1: and culture. I love following him and not a coincidence, 786 00:40:49,800 --> 00:40:53,080 Speaker 1: not irony, but he marries into this family that is genius. 787 00:40:53,239 --> 00:40:55,719 Speaker 1: You call the magicians the Chris Jenna d n A 788 00:40:56,040 --> 00:40:59,920 Speaker 1: tree is unbelievable. They're billionaires in that tree with Kylie 789 00:41:00,040 --> 00:41:03,520 Speaker 1: and all the Kardashians and the genders. So again you 790 00:41:03,560 --> 00:41:06,920 Speaker 1: may think that's superficial, but I'm fascinated with their ability 791 00:41:06,960 --> 00:41:09,360 Speaker 1: to grab the imagination of people. That's not a fifteen 792 00:41:09,360 --> 00:41:12,120 Speaker 1: minutes of fame. That's something else. I love it. Today 793 00:41:12,120 --> 00:41:15,040 Speaker 1: we've gone, Jeff Bezos all the way to Kanye West. 794 00:41:15,320 --> 00:41:21,759 Speaker 1: Mathematician magician Daniel Thanks, thank you, thanks for listening. I'm 795 00:41:21,800 --> 00:41:35,000 Speaker 1: Bob Pittman. That's it for today's episode. Thanks so much 796 00:41:35,040 --> 00:41:37,400 Speaker 1: for listening to Math and Magic, a production of I 797 00:41:37,520 --> 00:41:41,000 Speaker 1: Heart Radio. The show is hosted by Bob Pittman. Special 798 00:41:41,040 --> 00:41:44,200 Speaker 1: thanks to Sue Schillinger for booking and wrangling our wonderful talent, 799 00:41:44,239 --> 00:41:47,600 Speaker 1: which is no small feat. Nikki Etre for pulling research 800 00:41:47,880 --> 00:41:51,240 Speaker 1: bill plaques, and Michael Asar for their recording help, our editor, 801 00:41:51,360 --> 00:41:55,040 Speaker 1: Ryan Murdoch, and of course Gayle Raoul, Eric Angel, Noel 802 00:41:55,239 --> 00:41:58,240 Speaker 1: Mango and everyone who helped bring this show to your ears. 803 00:41:58,560 --> 00:41:59,399 Speaker 1: Until next time,