[WP:10]The Crunchy Beat's Crushing Critique Of The Music Industry
Community driven platforms as 3rd spaces
Introduction
The following includes an article and transcript featuring The Crunchy Beat.
Music curator, founder and promoter.
They’re available on all platforms and publish podcasts about music on YouTube.
You can check out the curated playlist rotating undiscovered gems on Spotify.
Music Industry Insights
The Evolution of Music Business in the Digital Age
In this digital era, it would be unwise to ignore the crucial role played by curators in the music industry. The vast amount of content available can be daunting for individuals seeking quality music that truly speaks to them. This is where skilled music curators, such as The Crunchy Beat, step in. Their expertise filters through the noise and highlight music that is deserving of the time and focus of the audience. The Crunchy Beat presents a collection of music that is not only enjoyable, but also distinctive and inspiring.
If you weren't already aware, the concept of a third space is fascinating. The Crunchy Beat, as more than just an online platform, is a perfect example of this. It serves as a community hub for creatives to come together and collaborate in a space that is not their job or home. This type of environment fosters creativity and allows individuals to connect with others who share their passions. The Crunchy Beat is more than just an Instagram or TikTok page, it's a place where ideas are born and dreams are realized.
An example of The Crunchy Beat’s TikTok video.
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Creativity Renewed
A curator’s stance on the rise of technology in the creative industry
The advent of AI in the creative industry has been a transformative and controversial development. A great example of this potential was demonstrated during the conversation touching on Donald Glover launching a creative agency integrating AI called Gilga. This instance sparked discussions about the future of AI in entertainment and its applications in shaping the future of the creative industry.
“I don't think that AI can truly be as creative as a human being can be. I don't think that is something that scares me. The idea of AI being able to output creative, you know, concepts, it still has to have a user inputting it. And even if you're talking about self-learning AI and AI that can, you know, teach itself and get better and practice… There's still a human element that will always need to be there.”
Artificial Intelligence can be a useful tool for artists and creatives, but it can never replace the unique quality of human creativity. The human touch in art is irreplaceable, and AI can only enhance and complement human creativity. For instance, AI can generate innovative ideas, provide valuable inspiration, and automate certain tasks to enhance the overall creative process. By freeing up artists from mundane and repetitive tasks, AI can help them focus their efforts on exploring more imaginative aspects of their work.
Currently, AI is already being utilized to create music and to personalize music recommendations for listeners. Although the results may not always be perfect, it is still a development worth noting that can transform the music industry in unprecedented ways.
Excerpt from the Whiz Pill Podcast discussing with The Crunchy Beat on the topic of Patronage.
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Ethical Patronage
A perspective on the financial obstacles faced by artists.
Some of the insights provided by The Crunchy Beat has been their take on the Patreon model and how sustainable it is.
From his standpoint as a curator he states:
I wrestle with it a lot because I think even though the idea of a music curator is nothing new, you know, and it's music curators in the early 2010s, in the late 2000s, they were not called music curators. They were called music bloggers. And in the 90s, they were called radio DJs. And they existed even before that. So the idea of curating and collecting music to funnel through one source is not a new concept at all.
But I think that we don't get treated in the same creative light as a lot of musicians do which means we don't get a lot of the same type of investment opportunities that artists get, you know?
The role of a music curator may not be a new concept, but it is one that has evolved over time. From radio DJs, to music bloggers, curating and collecting music to share with audiences has always been a part of the industry. However, despite the importance of their work, music curators often do not receive the same recognition or investment opportunities as musicians. This has led to frustration among some curators who feel that their creative contributions are undervalued both from a community and marketing perspective.
While the idea of a music curator may not be new, the lack of recognition and investment opportunities for these individuals is a growing concern. In addition The Crunchy Beat goes on to state:
“I've thought about this a lot. And I have yet to come to a conclusion that I feel is realistic and possible and doesn't leave anybody out in the cold.
Frankly, without getting into a discussion about the pitfalls of capitalistic economics, Spotify and Apple should be paying their musicians more money per stream. That's the easiest thing to fix and it is completely within their control to do.
The problem being is that a lot of companies, particularly American companies or Western companies in general, (companies that function in a Western cultural sense) use this model.”
An example of The Crunchy Beat showcasing an upcoming talent on Instagram by the name of Salute.
Image demonstrating the community interaction on The Crunchy Beat’s Instagram account.
One of the ways to truly appreciate the full scope of the creative contributions that music curators make to the industry is the fanbases they allow to emerge. The feeling of discovering something new before anyone else is an elusive yet appealing and The Crunchy Beat taps right into that. His concern as a curator still prioritizes the artist’s growth and potential nonetheless.
As artists continue to explore the intersection of various creative mediums, and the technologies impacting them, there is a possibility that a new creative third space might emerge. One where people can come together and celebrate their creativity, insights and ability to foster genuine community connection in the pursuit of enabling the creative process to thrive.
-TRANSCRIPT-
Yo, how you doing my man?
00:07
Hey, what's going on, man? Nice to, nice to talk to you. Yeah. Nice to have you on. Um, thanks for coming all the way from Instagram land to the Twitter land. Yeah. I'm not a, I'm not a big Twitter user. So, but it's straightforward enough getting here. So no problem. Cool. Cool. Fair enough. Um, honestly, that's, um, as far as, you know, intros goes, uh, I like to start with having the guest.
00:37
kind of state, you know, who they are, what they do and, um, you know, what they're hoping to talk about for the next. So there for the floor is yours. Cool. Uh, my name is DJ. I am the owner and founder of the Crutchy Beat. I am a music curator. I don't know. Let me, um, cause I hold a lot of titles. So owner and founder of the Crutchy Beat for sure. I guess people perceive me as more of a, of a, uh,
01:06
music curator, which has a lot of inner workings in and of itself as well. But I guess that'll be my, my actual title. So I guess to re reintroduce myself, I'm DJ. I'm a music curator from the crunchy beat. I am the co I am the owner and founder. I also founded it with my partner who couldn't be here today, David. And we've been running the account on a larger scale for about a year, almost two now.
01:37
But the concept of the crunchy beat has been around for nearly a decade.
01:42
I see. So if you don't mind me asking, I know that the reason why we're even talking right now is because I've had the opportunity to cover some of the artists you've spotlighted through your playlist, Shit's Got Potential. But before we get into that aspect specifically of your creation, I'm curious as to why even you chose to do what you do, even though the concept has been around in your head seemingly for a while.
02:10
Um, what was the motive behind doing that like that? Uh, behind creating the, the music curation side of it. I've just always been, I always listen to music and I'm always sharing music with my friends and I'm always building playlists for fun as like, you know, brain teasers or, you know, personal therapy or, or whatever. So in my personal life, before the platform came around, I was constantly sharing music with my peers.
02:40
Uh, whether it be through playlists or just texting a song or, you know, personal conversation or, you know, DJing. I actually used to be a professional DJ as well. Uh, so the concept of music curation has always been, uh, a part of my life. And the practice of music curation has always been a part of my life, but it didn't become a, uh, a foundational and platform, my platformed idea and concept and community, uh, until much.
03:11
I see. Yeah, a lot of what you're doing is very reminiscent of what Kenny Beats has done. Are you familiar with Kenny Beats? Oh yeah, we love, Gretchen Beats loves Kenny Beats. We're big Kenny Beats fans. Yeah, so honestly, to give you a little bit of context as to even why I took the initiative to invite you over here was because there's a-
03:37
I fully recognize and I'm fully aware that there's a hub of musicians that lives and thrives online. It just so happens that if you're not exactly tapped in in certain platforms, you just won't know they exist. And Kenny Bissou is a good example of that because he currently has the second largest Discord server for musicians specifically. And the average person doesn't know about it. And I can really blame them because...
04:05
It's one of these things that if you know, you know, kind of sure. And, um, he's done a terrific job of curating that platform, not only for himself, but for a thriving and ongoing community who has gone on to win tons of accolades in terms of, you know, awards and, you know, the numbers of sales they pay and stuff like that. What's your take on community building specifically in the Instagram aspect? And to a
04:32
to an extent the TikTok aspect as well since these seems to be your most active platforms.
04:42
Yeah. So, uh, online community building, community building in real life and community building online are two fundamentally different ideas and concepts. Um, well, they're fundamentally the same, I suppose, but, but in practice and building them are, are there two very different things? Um, the biggest difference is it's much more difficult to see your community, uh, online.
05:11
It's hard to tell how bought in the people who are interacting with your community truly are because you're not, you don't see them physically every day. You see it, maybe a comic here and there. Most of the time it's just the like or two or even a view. And it's hard to tell just how invested they are into your community and in your brand, especially when you're not, when you're talking about communities like Instagram and Tik Tok, where there, there's
05:39
Like with discord, it's interesting because there has to be a conscious effort made to join that discord and interact in that discord. It's a closed community where Instagram and TikTok are communities that are publicly viewed. And so it just makes it a little bit trickier to understand.
06:06
what kind of buy-in you're getting on a daily basis, which makes it harder to understand whether you're going in the correct direction or not. Really, the only metrics that you have are your daily views, monthly views, view to like ratios, comment interactions. You just have basic numbers that you have to look for. Numbers can be incredibly impersonal and that sort of goes against what building community is all about. It's all about creating
06:36
humanity and numbers are anything but. So I think that's sort of like the obstacle that I run into the most. That's sort of my take on why building communities online could be a much more daunting task in general. I think I answered the question the best I could. I don't know, was that, did I do all right? Oh no, no, you're good. The goal here is not, even though I've stated that this was.
07:04
an interview format, the goal here is not for you to, you know, it's not a quiz. Um, sure. I just really think that what you're doing is interesting and that, um, it's worth spotting a light on because aside from yourself, I know of tons of other accounts that do something very similar to what you do. Right. And, um, I think people are not realizing the kind of influence that these accounts collectively have in terms of. Getting, you know,
07:33
a certain piece of music trending. Case in point, Tom Forte and Rosie Wen and May Bayjaw mentioned that the way they've discovered you was through this track called On and On from the UK. And that's what prompted them to reach out to you even. Yep. One thing led to another. So how are you so, rather, what are your methods to stay tapped in into?
08:01
What's up and coming? How do you spot trends and what makes you go, you know, this shit actually has potential. Um, I just listened to my, I just, I just listened to myself. I have confidence in my taste. I know what I like to listen to. Anything I'm ever sharing. Anything. Whether I'm doing a paid partnership or whether I'm doing it just because I love it or, you know, cause I'm always doing it because I love it, but whether there's.
08:30
The point I'm trying to make is that no matter what I share, number one reason why I'm sharing it is because I think it sounds good, bottom line. And that sort of allows me to stay true to the brand because the brand is me and I am the brand, David is the brand. I, you know, we are the crunchy beat. And so this entire journey started off not only as like a
08:56
a way to share music with other people, but it initially started off as just a music journal for myself. I was listening to music every day. I listened to music every day and I wanted to share. And so I was sharing a daily beat or whatever, and it was just something that I really liked. And I really thought sounded good. And that fundamental concept hasn't changed. You know, it's still, you know, whatever I like to listen to, if it sounds good to me, I will pluck for you. Bottom line, if it doesn't sound good, maybe next time.
09:25
Cause you know, sounds are always changing and stuff. So there's really no, I'm not spotting trends. I'm not, you know, trying to play to the algorithm to a degree. Of course I'm trying to make the algorithm work for me, but I don't sacrifice my personal taste to appease the viewer or the listener or the algorithm or whatever it is.
09:53
Because if I start changing shit like that, then I'm going to lose focus. I'm going to lose the horizon and I'm going to be underwater really fast. So it really is just, it's whenever I like, you know, then I share it. And that's sort of the basis of it. I see. I see. And as far as, you know, here's a post I found recently that talks about, we no longer live in the age of.
10:22
information. We now live in the age of curation because there's so much of it to go around that no single person can possibly make sense of it all, let alone figure out what's worth paying attention to at any given time. And my question to you is, what's your take on that quote? I think it bodes well for people like me, that's for sure. If that's the direction that society is going, then I'd set myself up to
10:52
to be all right, you know, cause I think that I think it's a good point. I think it's, uh, it certainly rings true in a lot of ways. I think you can start to see it in not only, you know, curators such as myself, but true, you know, bigger creator curators and artists for that, for that matter, you see, you're starting to see a lot more, you know, creative houses pop up, you know, creative firms, creative, you know, whatever.
11:21
these places that are just supposed to be collections of different variations and forms of art. Like for example, Donald Glover just, you know, he has his creative house. Exactly. Yeah, I saw it. Exactly. And he's doing exactly what that quote is talking about. He's creating a central place for people to, for him to curate a creative vision and allow other people to partake in his, in a, you know.
11:52
a collaborative, creative vision. And so I think that's sort of speaking truth to the quote that you're talking about. And that's something that I'm trying to turn the crunchy beat into as well, because music isn't my only creative passion. I have a creative passion for food. I have a culinary background. I'm not a chef by any standard, but I certainly understand how food works and how to make it delicious and how to present it in such a way.
12:19
I appreciate visual art. I'm an amateur videographer as well. I, you know, cause of course I shoot all my stuff myself and edit it all myself. Um, I am a graffiti artist as well. So I, I, I have, I have a, I think I have a nice eye for visual art as well. Like actually, you know, drawn or painted, you know, visual art. And I want to create a place, um, that
12:47
sort of houses all of that into one curated space for people to hang out and for people to be in. And that's sort of where I'm trying to take this platform next is off line. I'm trying to build, what I want to do is build creative third places, I suppose would be the best way to put it. I want to create space where people can come and socialize and enjoy each other and, you know, rebel in creativity.
13:16
whether it be a visual medium or a sonic medium or a written medium or a culinary medium or whatever it is, I want it to happen in a space that I can create for everybody around me to participate in and create community. Yeah, that makes sense. I'm really glad you brought Donald Glover up because he's a shining example of what that looks like when a multidisciplinary head.
13:45
gets into the weeds headfirst and makes a path for themselves and not only makes a path, but builds a platform. And another quote I'm throwing at you is from one of my personal tweets on this account where I've said in response to a tweet that talks about that artists deserve, you know, support, I said that, you know, artists, the artists having support is good, the artists having mentors is great.
14:13
The artist having a platform is excellent. And I feel like this curation slash platform slash third space leaning kind of approach is not only the way to go moving forward, but it's the way to maintain the culture that lives and thrive off of the internet. And a good example of that would be Vaporwave. I'm sure you're familiar with that, John. Yes. So Vaporwave.
14:42
to my disappointment, it's not exactly all that popular outside, you know, in the real world, quote unquote. And a couple of the reasons why I'm assessing that might be is because it's not the kind of thing the same way like hip hop or the same way like Jersey Club or even like the EDM slash, you know, rave scene have their own third spaces. So as a result of that, the conversation around that kind of art form and genre has died down over the years.
15:11
And mind you, one of the key integral figures that are involved in the vape wave scene in its beginning, they're still to this day doing their thing, streaming on Twitch and doing the whole VTuber lifestyle kind of thing and making music to this day. And none of that OG status is likely to trickle back to them because that conversation lives and dies online. So, Donald Glover specifically.
15:40
What I really like about Wadi's approach is with this current Gielgau announcement, for one, I don't know if you took a minute to look at the specifics of why they were looking to hire him. Oh yeah, I'm going to be applying. I feel like from a strategy analysis standpoint, you definitely have an edge compared to a lot of people. But yeah, like one of the specific positions I've seen him...
16:08
put out for a call to action is AI prompt animator, AI prompt engineer. And obviously AI has been quite a hot topic in the creative community for the last several months or so. Phase one of the question is, what's your take on AI? And phase two is, how do you see that sort of new medium influence music making and music listening?
16:37
I don't think that AI can truly be as creative as a human being can be. I don't think that is something that doesn't scare me. The idea of AI being able to output creative, you know, concepts, it still has to have a user inputting it. And even if you're talking about self-learning AI and AI that can, you know, teach itself and get better and practice and that's still, there's still a human element that will always need to be there.
17:07
And not to mention humans are incredibly resilient and like I said, creative. They are already finding ways. People are already finding ways to have AI as a complimentary source to create new art. There are so many, and they're finding ways to not only create art, but create. You know, pop culture of sorts, and they're finding new ways to spin old pop culture. Like for example, the, um, one of the most hilarious videos I've seen lately that,
17:37
not only is funny to watch because it's absurd, but it's also, it scratches an itch in your brain that you can't really quite speak to and that's what creativity is all about. And it's the one where somebody basically said, what if Harry Potter was actually Balenciaga? That's such a hilariously absurd concept. But when you watch it, it's...
18:04
there's an element of creativity there and hilarity and absurdity that you just can't help but not look away from. And that's a human component that's being inputted into that, where AI is creating everything around it. There are also great clips that I see on YouTube all the time of people taking human created sound and throwing it through an AI generator and creating a visual medium for sounds that they created as human. So there's always going to be ways for us to work.
18:33
symbiotically with the things that we've created. The idea that humans fall apart in a dystopic scenario, I don't subscribe to that. I think that when humanity and people are pushed to the brink of emergency, we act very, very calmly and resiliently. I mean, you know, it's sort of the whole first responder situation, you know, or like I was watching a video the other day of a person talking about
19:01
some firsthand accounts that he was reading about when the attacks on 9-11 happened in New York City and people, regular citizens, were taking their boats across into Manhattan from New Jersey. Just regular old people. And those scenarios, terrorist attacks, school shootings, whatever, those are microcosms of dystopia. And to see people bravely facing it and not devolving as so much of our-
19:31
pop culture has shown us to be, it shows that in the face of AI, which could create a dystopic scenario, which we've also seen in pop culture over and over again, maybe AI is the best thing that ever happens to humanity. And it lifts us out of whatever hole that we've been in for the millennia and millennia that have been humanity before that. Maybe it helps us adapt. Maybe it helps us...
19:59
you know, relief, stress loads and workloads. And maybe it helps with health. Maybe it helps with all this stuff. And maybe it doesn't destroy us. Maybe it makes us better. And I'm kind of, you know, I, the idea that it's going to destroy us, I think is, is I'm, I'm tired of that talk. What I want to talk about is how could it make us better?
20:19
Yeah, I see. I see. You know, from the medicine standpoint, I can confidently say that the research threat has allowed AI to get to that point where it hit mainstream has been ongoing in the medicine field specifically, pertaining through protein unfolding and figuring out that mess because no human up to that point was able to make sense of that and the AI tackled it. And basically what would take humans decades only took the AI
20:49
long hours and days to figure out. Love it. Which is pretty remarkable to see that. And I'm in a similar boat with you where I'm not necessarily on the angle that, you know, the tool is going to kill us all the same way, you know, social media is advertised to kill us all. Right. As, as you've done elegantly from your vantage point, you've built a third place that I personally found comfort and inspiration from.
21:18
A lot of the motive even with this platform I'm starting to build from the ground up has to deal with the fact that it hit me that, yo, there's so much worth preserving and documenting and highlighting that you served as a blueprint essentially, which is, you know, was pretty cool to kind of like have that kind of inspiration source. So thanks for that. Of course. But honestly, I'm very curious too, as far as, you know, the...
21:47
the artistic angle that you take from documenting what you document? Because there's an artistic flare, from what I can tell, it's pretty evident. From the way you sort of go into the talking section of the video to the actual music section, to even the way you frame your shoots and your content in general, how much of that would you say is...
22:15
plays a role in the appeal of, you know, what you're presenting? Or is it more so the song itself that attracts that crowd based on your assessment? Um, that's a good question. It's, it's, it's never, it's rarely ever just one thing, right? And I think that the music is certainly a big part. You know, I play the song.
22:45
You know, underneath my monologue for a reason, because I believe that no matter what I'm saying, if the song is ass, people are going to swipe up. Bottom line. I could be saying the most profound shit ever written in human, human, you know, human history, but if the song is cheeks, I'm not getting that view. That's just the bottom line. But I think what I've been able to do, because I've always been a writer and a reader and, uh,
23:14
I think I've managed to find ways to use the English language to captivate people a little bit more and maybe give them a different angle to approach the song from. Because sometimes I'll share stuff that's old. It's not always about new. It's just about how am I perceiving this work of art and how can I communicate it to the viewer to get them to...
23:44
see it from maybe a different point of view. So I appreciate you saying that there is an artistic and creative angle and edge to it because sometimes it's hard to see from my side of it because at the end of the day, all I'm doing is just being me. And I think that's sort of like, the way I like to put it is, you know, because what I'm doing is not groundbreaking. It's not new. It's in fact very old. But you know.
24:14
Every hand is a hand until you look at the thumbprint and all of the thumbprints are uniquely different. And so what you're seeing is just my thumbprint. I'm just sort of defining who I am and what I like to listen to and how I like to perceive and enjoy art. I'm defining it for other people to see, I guess would be the best way that I would put it. So I think it's a combination of everything. Let me see. Okay.
24:44
That's one hell of a quote, by the way, don't want to mouth the tongue-fing stuff. I'll be sure to include that in the article once I publish it. So another thing that I'm personally noticing from my vantage point, yeah, Twitter is a platform that I'm very active with, but I'm active everywhere. And that's for a reason. It's because I'm part of that generation.
25:11
1995, who was early enough to the internet and to what it will eventually become, to the revolution that the iPhone has introduced for basically every industry, to then now with social media and all these other things that have dominated the space of tech for quite a while, to now AI and all that stuff. So I've seen a lot come and go.
25:42
I'm living in a world that's evolving and it's in my best interest to make sense of it. So I tried my best to not stay on top of trends per se, but at the very least, not dismiss things even if it sounds ludicrous at first. And one of the things I'm noticing a lot of people talk about currently is the current social media climate and how some platforms are arguably better than others.
26:11
for the most part, Instagram and TikTok. What would you say about other platforms that you're potentially interested in expanding into, if at all, and what would be the motive of you doing so? Yeah, there are a handful of platforms that we are looking to expand into. And most of them are long form platforms. So YouTube, Twitch.
26:40
would probably be the two biggest ones. And then we also have our podcast as well. And that's not exactly social media per se, but they're cousins at the least, right? So, and the reason being is just because it's short form platforms are not sustainable for long-term growth. They're just not. From a...
27:10
from a lot of standpoints and the people who own and control those platforms, Instagram and TikTok, don't seem to be changing how they treat their creators anytime soon. If anything, the way they're going to start treating creators is going to get worse and they're going to start hamstringing a lot of people. And so it's in our best interest to...
27:39
not stop our work on Instagram and TikTok, but to find a way to cultivate an audience or port an audience from our current social media community into a more long-form place where we can start doing things like our podcast and radio shows and live events, filmed and recorded, curated live events. Stuff that is
28:09
you know, 30 minutes to an hour, to an hour and a half, to two hour long, you know, bits of content. That's sort of the direction that we, me and David have talked a lot about moving toward for many, many reasons, just because they're more stable platforms. They can be more ethically monetized. It's just a more stable place to build a real business around, basically.
28:38
So one thing that you said that stood out to me is ethically monetized. And that's something that both the artists and the curator side can agree on. You know, music has been not exactly been ethically monetized for a while, especially because of platforms like Spotify, you know, and to a certain degree, even YouTube, where the percentage that you would get
29:04
compared to the amount of views that a particular piece of content gets. Um, it's near peanuts, right? It is. Yeah. Yeah. So how, if you were to put in charge and you were to essentially be told to fix things, what would be your approach and making it, making it more ethical for the artist and that kind of business model? I've thought about this a lot. And I, I, I have yet to come to a conclusion that.
29:34
I feel is realistic and possible and doesn't leave anybody out in the cold. Frankly, without getting into a discussion about the pitfalls of capitalistic economics,
30:04
They're just Spotify and Apple should be paying their musicians more money on per stream. That's the easiest thing to fix and it is completely within their control to do. The problem being is that a lot of companies, particularly American companies or Western companies in general, companies that function in a Western cultural sense.
30:33
Their models for growth are based on exponential models, not linear models. So that means that they have to continue to double and double and double and double, you know, to the point where they have to squeeze every single bit of water out of a rock and they have to leave a lot of people, it's dry. Now, if companies like Spotify didn't function on exponential models and they were functioning on linear models,
31:02
that means that their growth goals every single year wouldn't be as severe. They wouldn't be as high the next year, which means that they could still report to their shareholders that the company is growing and the company is successful while also making sure to take care of the people that are providing the content for said platforms. So that would be the easiest thing to fix immediately is to, if I was in charge of Spotify, I'd go, hey, guess what?
31:30
We are no longer following an exponential growth model. We're going to follow a linear growth model, and we're going to start paying our creators, our musicians more money per stream. That would immediately fix so many issues, like right out the gate. So there's some other ideas that I have that I think maybe are possible, but maybe a little bit more far-fetched. But I think that could be the most realistic and immediate fix that would...
31:59
alleviate a lot of stress for people who are trying to make a living creating art. We see here. And the reason why I bring this up specifically to you as a question, as someone who's heavy on the curation side of music is because, you know, platforms like Spotify, SoundCloud, Apple Music, and so on and so forth, they have competitors, they have runner ups.
32:25
And in exhibit A, I would like to ring to our attention would be, uh, uh, Sonic's YZ does that name ring a bell to you at all? It does not. Okay. So Sonic's YZ is a platform, uh, where their business model is patronage. So I'm sure you're familiar with Patreon for example. Yes. So, so a little bit of the history of Patreon for those, I may not be aware, but.
32:55
Patreon was started by Jack Conte and Jack Conte used a college dropout turned musician on YouTube that was his platform of choice where he would you know release his songs on with his at the time wife from under the name Tom Plymouths that was like their band and they were touring to all that stuff and They ran into the same pitfalls that were just talked about so in a way to problem solve that issue
33:24
they came up with the concept for Patreon and they made that live. And within like what, a few months, it caught on like wildfire with the creative community to the point where it is now a billion dollar industry on its own. So that patronage model has to a certain capacity, even acknowledging the capitalistic system, that is something that is successful.
33:51
And Sound XYZ is positioning itself to follow in a very similar kind of model. The only difference is, as far as technology leveraging goes, they're using blockchain. And I'm curious to know what your take is on that, if any at all. On a platform that's using blockchain to create a subscriber-based platform? Yeah. To be fair, to be honest, I don't know a ton about blockchain. I don't know a ton about that. That's a side of...
34:21
of online presence and internet that I have very, very little. I basically, I've heard the term before and I roughly know what it associates to. So I really don't have an opinion on that because I'm just not educated on the fundamentals of what blockchain is. Fair enough. Fair enough. Yeah. It's interesting for me from my vantage point because...
34:48
I've been a freelancer, a creative for over a decade and these things have come on my radar personally from people I follow on Instagram and they would say, you know, that that patronage model I'm speaking of, a lot of that incentive there is for them to go into a platform where number one, they have quote unquote ownership of what they're putting out. But number two,
35:17
they have the ability to actively keep track of their supporters, which notoriously in older models like Spotify, it's not exactly possible to do that. Sure, you can keep track of demographics, you know, like what people are listening from and things like that, but a lot of the appeal behind these platforms that are coming out that aim to compete against, you know, Spotify and what have you, are taking that stance, and that's why...
35:46
Roughly speaking from an overview standpoint, that's what blockchain enables and one other artist have currently made a publication about they go by the name jaden violet and To give you context they currently have Of nearly 300 patrons on the platform sound xyz where they've published you know their sounds on music and
36:14
That translates to just about, if you were to do the math, as far as numbers goes, at $5 a patron, that's nearly a thousand, right? If I did the math correctly. So that's kind of a business model that I think is interesting, but I do get curious as far as how sustainable that is on the long term, because now you're transferring the...
36:42
the burden of support from a platform to the listener directly. And I feel like the listener has more of a say in, you know, showing support, especially when you account for the fact that they don't just listen to the song, they come out to shows, they buy merch and all that stuff. So that feature on its system in a way has always existed. But I think these are techniques that are trying to be experimented with as a way to
37:09
cut off the middleman, especially when we acknowledge the fact that currently, uh, Maggie Rogers, if I recall correctly, is in the midst of a similar battle with Ticketmaster and how they're price gouging their tickets so much that they have, they're actively seeking out all different ways to do things. Yeah. Sell their ticket. Right. Yeah. So like, what's your take on the pitch on the Patreon model and how sustainable do you really think that is from a music curator standpoint?
37:38
I wrestle with it a lot. I wrestle with it a lot because I think even though the idea of a music curator is nothing new, you know, and it's music curators in the early 2010s, in the late 2000s, they were called music curators. They were called music bloggers. And in the 90s, they were called radio DJs. And even before that. So the idea of curating and collecting music to funnel through one source is not a new concept at all.
38:07
But I think that we don't get treated in the same creative light as a lot of musicians do which means we don't get a lot of the same type of investment opportunities that artists get, you know? And the biggest thing that comes to mind is I was talking to another music curator friend of mine. He goes by Creator K. He runs the Let's Show and Tell account.
38:35
uh, on TikTok and on Instagram as well. And I was talking to him about why do, why is there not like a record label type, uh, entity that basically signs curators like ourselves to what would effectively be a record deal to invest in our creative platforms that can only benefit other artists, right? And that's sort of
39:03
What I want to see happen is I want to see, I want to see companies who have expendable capital invest in creative ventures of people like myself. I don't want to take the average Joe's money, even if it is just the $5 that they have sitting on their coffee table. That's money that they could be spending on other things for themselves, whether it be, you know,
39:33
some coffee at Starbucks, or maybe it just helps you with that little extra bit of gas in your tank, or maybe it's the reason why you're able to pay your electric bill. These are the things that I think about when I think of taking subscriber money from individual patrons. I look at it the same way as tipping at a restaurant. Restaurant tipping in America is a really, really interesting concept because it's basically the business has found a clever way to get the customer to pay for their labor.
40:03
And I think that's really fucked up. And I think the patron, I think the patron system is, is, is a good answer. To big corporations, sort of sucking up all the profits from the creatives. I think it's a, it's a good, it's a good, you know, temporary fix, but the best, the best situation that I could find myself in is somebody who has a lot of money and they want.
40:33
to invest it in something. They want to see somebody grow their concept and hope that it profits and hope that it's successful. I would feel much more comfortable taking money in that way than I would taking money from individual consumers. Now the catch is when you're taking money from individual consumers in a Patreon format, you don't have to worry about somebody, you know.
41:00
sticking their finger into your creative pie, so to speak. Right. And that's where you sort of run into an issue when you're talking about capital investment. Typically it always comes with strings. And if I were to take a large investment sum, even if the deal, you know, was the creative side is all, all mine. How many fucking TV shows and movies have we seen?
41:29
where the money says that and then it's never true. And so that's sort of the line that me and David are walking right now is do we follow the subscription, you know, the path? Do we ask our followers to basically financially support us? Or do we continue to function on basically a free basis and hope that somewhere down the line
41:57
we run into an investor that isn't a monster, right? And so that's sort of the place that we find ourselves stuck in, I guess. Yeah, I see. I mean, perverse capitalistic incentives aside, that's a hard proposition right there to find someone who's not just looking to make a profit and not really invest themselves into the actual project.
42:24
And that applies across the board from anything that's based on platforms such as Instagram, TikTok, Spotify, obviously, and even YouTube. And YouTube notoriously actually is the highest paid platform out there. And even then creators are breaking even in a certain way. Depending on what the video talk about, obviously, because some, from what I understand on their business model,
42:54
their revenue stream prioritizes certain topics and finance gets paid the highest on view per capita. So stuff like that, you know, I feel like given the amount of power that these platforms has it makes no sense to me that they're not putting that power and reinvesting that into the people that make them that powerful to begin with. Because the idea here is that if the people that support you
43:21
are well off, then so will your platform. Um, that's a no brainer. Let's try to, the average, the average reciept that you'll speak to don't think like that, and as you've eloquently mentioned, you know, like it's, um, exponential model and not a linear model. And honestly, as far as music as a commodity goes, you want to say commodity specifically, I mean, you know, we've gone from an era where people would buy
43:51
now, honestly, the closest I can think of people buying Astralisd music related stuff goes is like plugins through like software, you know, for your music making or DJs, you know, to a certain capacity. And even then these get cracked basically all the time. I rarely come into a producer who tells me that they've paid for their software. Yeah. So, so that's, that's dying as a, as a quote unquote business model.
44:20
You know, how do you see that evolve for the artist specifically? What's ethical in that scenario to help them monetize their music in such a hostile environment? That's the million dollar question, isn't it? It's just, it's
44:39
It's a hard one to wrap your head around. It's a hard one to give an answer that's, you know, wrapped up and tied up with a bow. You know, it's a long, you know, tough, you know, boxing match. It's a fight. You know, it's, there are so many ways to do it. You know, there are, there are a lot of artists that
45:05
I just don't know, man. I don't want to speak to something unless I have a good answer for it. There's a lot of potentialities, there's a lot of good ideas. I think...
45:19
I think the Patreon route is a great way to do it. I think as long as you're providing value to whomever is giving you money, I think that's a fair trade. I think that's ethical. I think that's why merch is a good idea. I think that's why live events are a good idea. You can still make money from that. It's hard to make money touring. Of course, that's a whole different can of worms.
45:48
But I have ideas on how to make that more affordable and more cost efficient and more, have better margins for the artists and for the label as well. This is what I mean when I say like, but not to get too far into it because I think a lot of my idea, I'm wary to share a lot of my ideas because they're, you know, I just, I'm waiting.
46:17
for somebody to, to, I'm looking for somebody who can invest in me because I think that I have the vision and the idea and the concept that can make a lot, uh, easier for not only the label, but for the musician as well. I think I can help musicians make more money and alleviate the stress of marketing their music while also making sure that the record label is happy and healthy too, and staying the fuck out of their business because
46:47
I think the worst art ever made is when a record label sticks their fingers in too many tops. Manufactured music is the bane of existence. And so, I guess that's where I stand. I feel like I didn't really, you know, that's kind of my thought, I guess. Yeah, yeah, like I said, you know, this is rather right. There's a lot of queries and then that's easy. This really just- Just trying to make sure- I know, just don't like an asshole. Yeah, I know.
47:17
Honestly, and here's the thing, these very topics, to give you further context as to what I've done up to that point, with this with Spillcutter project and concept, I've spoken from, you know, from project founders to artists to painters and musicians all across the board. And I think there's the sentiment that rings the same for everyone is that corporate greed has been an issue from the job. Not only corporate greed, but...
47:46
The way the business is done is very opaque. And if you don't know the lingo, if you don't know the practices, you're likely to get screwed over, even if you get in, you know, with an intent of trying to protect your stuff. Right. Um, that's why we're seeing that, you know, currently in the music industry where, you know, stories are coming out like Taylor Swift, most famously having been screwed over out of a master's kind of deal where you have to die.
48:14
She signed a contract with Steele Wallace, the masters that she's made for her literal songs. Yeah, you know, that's, that's, that's scummy, you know, that you just know the way to put it. That's just scummy. Yep. And, and even in the case of, you know, when you look at Novara and how they treated Kurt Cobain post-death, it's fairly obvious that they've only seen him as nothing but a commodity because, you know, they get the coast off of his name to still get that revenue and that income and that-
48:44
I doubt goes to his estate and if it does rather move it probably does get So, you know squeezing as much revenue back from the pockets of these corporate corporate entities to the pockets of the creators and the makers I feel like in a certain capacity AI has like a way to Leverage some of that because now we're seeing
49:10
Even with something as simple as ChadGPT, right, which the whole idea behind that was, hey, you the user get to prompt a machine to write stuff for you. There's so many creative ways that anyone can leverage that tool alone from a production standpoint. Um, musicians in particular that I've seen on YouTube are engaging in this interesting trend where they get the ChadGPT tool to write anything from lyrics for them to chord progression and stuff like that.
49:39
And kind of do this like, ha ha, let's like see what the AI comes up with kind of like hand in hand co-pilot kind of approach. But I see that evolve to a point where now in theory, based on what I know, and you know, the knowledge I currently have come up with that's going there, you know, like industry folks currently are in talks on implementing AI assisted tools to help them automate that process of what the record label.
50:08
does effectively which is you know, steal money away from the artist. So if that were put in the hands of the artist instead, I would think of that as being ethical. You know what I'm saying? Yeah, I agree.
50:23
It's also, I've had the opportunity to recently speak at a seminar with Leila Steinberg. Does that name ring a bell to you at all? That's right.
50:36
No, it doesn't. Uh, that would be okay. He doesn't. Okay. So Lila Steinberg is the, uh, former manager of Toolpak. Um, and Toolpak has been very instrumental in Lila's life in terms of a teaching moment. Um, from both a managerial standpoint and a mentorship standpoint. And this person's life mission has been from that point forward to ensure that the artists get their fair.
51:06
deal in the sense that what they get out of the industry heavily preys upon them being in a toxic place for them to be taken advantage of. Right. And unfortunately Tupac suffered from that. What you vocalized earlier as far as looking for people that would potentially be interested in funding these ideas, Lila Steinberg would be a good place for you to start because they're a very open channel.
51:35
I actually have their contact and I would be more than happy to help facilitate that at some point, you know because I do believe in what you're doing and that's actually why I even took the time to plan this and make you come over to Twitter because you would not believe it But there's a crazy hub of creatives here that are discussing these very same topic These very same topics day in and day out and everyone is solution oriented. It just so happens that
52:04
the isolation and the echo chamber effect that these platforms cause to the user are very much at play here. Yeah. Yeah, I'd be definitely open to getting that contact information and reaching out and starting a dialogue and moving that entire conversation forward for sure. Yeah. It's honestly, this has really been an enlightening conversation so far for me because
52:33
Up to that point, I just assumed that, you know, as a music curator slash hot highlighter, you were just kind of doing that, just thinking about doing music and sharing that with people. But there's a clear, you know, this is really thought out is what I'm trying to say, you know, you're not just thinking about it for me, you know, sharing music standpoint, but you go quite in depth into the artists and how to actively support them, even though
53:03
All you're doing is provide a platform to showcase their work. I'm curious to know as to how many of these artists, whether after the fact or before then, have reached out to you to talk to you specifically and either thank you or kind of go into this, hey, what you've done changed my life, it's my capacity. Well, the bigger the artist, the rarer that happens. And that sort of makes sense, right?
53:31
I suppose the ones that stick out to me the most are, very topically, Piri and Tommy and their single On and On. I was very instrumental in the initial virality and growth of that and popularity of that song. And so Piri and I specifically, Tommy's a little bit more quiet. He's not much for the camera. He's a true producer.
54:01
But Piri and I have developed somewhat of a friendship of sorts and we've had conversations just about sort of how wild it is that the video went viral and how helpful it was and how much it helped spike her numbers and help her with her fan base and getting new people in and stuff like that.
54:25
Jeking the Divine, I helped say I shared one of his songs. He had 14 monthly listeners when I found him. And the video that I made for him drove him up to over 100,000 consistently. Like he's still at over 100,000 at this point. He was very vocal in reaching out and we've struck up a friendship as well. And then there are bigger names and stuff. There are certainly bigger names that have reached out and sort of tipped their cap to me,
54:55
hold a lot of personal, you know, vindication for me as well. I don't know if you are you familiar with the record label Selection and the artist Taku? No, I'm not. So Taku is a part of the Selection family and Selection's a, it's a bigger label now, but it's still considered boutique in my opinion. They
55:21
Taku reached out not too long ago just to give me a handshake of sorts and just say that he sees me and that he appreciates my creativity and what I'm doing over here. And I share his music from time to time because I've been listening to him for at least a decade now. Let's see who else. There have just been times where...
55:46
I think one of the more rewarding things is the relationships that I've been able to develop with artists that are small and big. And I think it's always interesting the places that it comes from sometime. There are names that-
56:03
It's just, I think that's the thing that's been sort of one of my favorite parts about all this, is the relationships I've cultivated with the artists themselves. And what's really cool about that is I'm not done helping, I'm not done giving back to them as well. Because of the plans that I have to take this platform offline and have more live events and more in-person events, there are opportunities for new
56:32
for me to help stage them and help platform them further and have them be a part of the growth that I'm trying to provide in a more long form format. So yeah.
56:46
You know, a lot of what you're talking about reminds me of 88 Rising. Does that name ring a bell? Oh, yeah. Yeah. I'm familiar with the, with the, with 88 Rising. Yeah. So honestly, um, pardon, I count me as, you know, a supporter of that cause because I've literally seen 88 Rising rise to the point that they are today. And it's nuts to me. Yeah. It's nuts to me that they were even able to pull that off when all
57:16
said and done because they've done that on YouTube. YouTube is a very competitive platform. It's not easy to do that at all. And the fact that they've made this specifically for the Asian sort of American kind of crowd is even more impressive because that's a demographic that notoriously doesn't really get that much airwave in the American mainstream. And now, formerly known
57:46
That other guy. Did Rich Brian do some, yeah, Rich Brian did some work with him. Yeah, it's definitely an interesting concept. I had never thought to compare myself or contrast myself to them. I'll have to. But that's effectively what you are. I'm just being honest. Yeah, yeah, totally. Like if you were to take that same approach of what they've done and do that on YouTube, I promise you that potential is there. And you know, not to like...
58:14
point one of your own tight lines back at you but your shit best got potential back at you. You and Wade used that line haven't you? That was clever you cheeky bastard. Yeah, let's just say I have a little bit of a talent for avoiding that. But man, like yeah, there's some, honestly, you know, like, I think one of the last few questions I have for you will have more to do with, you know, your personal
58:42
Life and I'm not gonna pry into it too much But I am curious to ask you as far as your routine goes, you know from say sun up to sundown How how do you listen to music? Do you kind of like get up and turn on the speaker and play something or do you kind of? Put headphones on as you make coffee and stuff like that. Like how do you consume music? Well, I don't drink coffee or I drink very little coffee Caffeine hits me like a fucking freight train
59:10
Um, but my alarm, my alarm clock in the morning, I have, uh, I have Sonos speakers in my, in my house. And so, uh, one of the cool things about Sonos that you can set playlist as your alarm clock. Um, and so I have like rotational playlists that all I've been, I've been experimenting with which playlist gets me out of bed because sometimes. Oh, you know, I have, I have playlists. I started out with chill music. Of course I wanted to wake up softly, but I started to realize that it was actually doing the opposite. And then I started, you know,
59:40
I, so even from this, from the moment I wake up, I'm experimenting with music and listening to music in some sort of form. I'm, I'm, I'm doing that. Um, so when I wake up in the morning, music is playing. It's, it's my alarm clock. Um, from there, you know, my day is, is absolutely studded with, with music. My, probably the most, the, the, probably the way that I listen to music the most is with my AirPods, like my earbuds, the actual little pods. Um, because.
01:00:10
I, that's how I, when I go run errands and stuff like that outside of my, outside of my house, like I always have my AirPods in and I'm always listening to something. A lot of times it's just whatever, whatever I'm personally listening to. I call it, you know, it's music that I'm just like personally enjoying. I have no, I have no ulterior motive other than I just like what I, you know, I'm just, that's the vibe I'm in that day.
01:00:40
When I get home, my music, you know, I put on my over-the-year headphones to actually like if I'm actually sort of scanning the airwaves, so to speak, looking for music to do content on or share or playlist or whatever. I spend a lot of time listening to music through submissions as of late, as of the last like six months or so that a lot of the music that I listen to is submitted from our community
01:01:10
are artists. But other than that, most of the time music is playing through my sonos speakers in my apartment. I like to just create sound as an atmosphere. I don't like still air. I don't like dead air. So yeah, I'd say that's probably the biggest way that I listen to music. So yeah. As far as your consumption of music videos goes, how much of that accounts for
01:01:40
the ratio in your music diet. Music videos probably account for 5% of my music listening, if I'm being completely honest, but I will say recently I've been watching a lot more long form content, music content. So I've been watching a lot of, uh, KEXP sets. I've been watching tiny desk sets. I've been watching a lot of, uh,
01:02:08
live album recordings. I've been watching a lot of curated DJ sets. I've been watching boiler rooms. There have been, there's been a lot more, and I think a part of that is because I'm studying it. But also there is an element of nostalgia with that too, because a lot of artists I've found through those mediums.
01:02:34
Like I'll go out, I'll flex it right now. I found K. Trinada when he was still with HW&W. You know, I was a part of that. I found him on SoundCloud. You know, I was, I was scouring the, the, the website when it was first popular, like in 2012, you know, 2010. Um, and so the music videos I don't watch too much of. I appreciate a good music video. Um, but it's, it's rarely my go-to, you know.
01:03:03
I like to listen. I don't particularly like to watch for consumption sake. I see. That makes sense. That makes sense. It's, I would say, totally off the record, or I guess not a little bit off topic, but the K-pop industry is so heavy on the music- Oh yeah.
01:03:32
makes them that big as an industry because I remember when their collab with J.Cole, the collab with J.Cole with the NJ Hope drop, with them the first day gained 20 million streams and that personally blows my mind that this many people were ready to watch something that quickly. And the K-pop fandom is very voracious. There's a lot to be learned from them personally from my vantage point.
01:04:02
Korean culture is a very interesting culture and it's a culture that I find personally interesting. One of my very good friends is he's from Seoul, South Korea, and I've spent a lot of time talking with him and listening to him talk about USA versus South Korea and what's similar and what's not and that whole world. And while...
01:04:31
K-pop is not a huge sound that I get into. There is a very, very impressive and very cool Korean hip hop community that is doing some really, really rad stuff all the time. And I think K-pop is an interesting one because when you take pop music in general, pop music fanbases like Beyonce or Taylor Swift or you know what...
01:05:00
you name it, those fan bases are voraciously loyal, always. And they organize very, very well. And they'll organize behind their leader, which is the artist. And I think that's something that Korean culture also does very well in general. They tend to organize and collect and move toward one common goal very, very well.
01:05:27
And so when you have Korean, when you have K-pop, you have basically these two cultures that can move on mass very efficiently. So it doesn't shock me at all that, you know, Psy Gangnam Style is one of the biggest music videos of all time that J. Cole with his K-pop collab did 20 mil on the first day or whatever. You know, it doesn't really shock me all that much that these, these, this stuff is happening the way it is because they're basically getting a double dose.
01:05:56
That's just kind of my personal take on what I see with that whole side of the world. Industry. Interesting. Yeah, honestly, as far as like composers go, Chim Fallen is one I definitely recommend to add into your playlist rotation because he's an unsung hero of the music industry and
01:06:25
Actually the follow-up track that you've heard that has been remixed into was made by none other than Deadmau5. And Deadmau5 as we all know has gone on to influence the industry in his own right. So it's interesting that you made that kind of comment of that song having like a futuristic sound and trying to hone in on what that would sound like.
01:06:51
Quite literally, like a few decades down the line, Deadmau5 took on the mantle and made sure to give that song its shine and obviously went on to make some crazy things. Yeah. But cool. Last thing I'll leave you on is, as far as recommendation goes for where to listen to music and how to find good music, you know, like what would be your advice to your listeners, you know, worldwide? Just put in the time and find what works for you.
01:07:20
You know, the way I've discovered music over the years has changed yearly. You know, I find a lot of my music through Spotify now. And it's because I tailored and curated and trained the algorithm to spit at me when I want to hear and what works for me. You know, I defend my algorithm with my life. You know, I don't, there are certain no-no bands that will never get even typed into the damn search bar.
01:07:49
I refuse. But now also because of this platform, I've discovered a lot of music because people send it to me. And I've spent my whole life cultivating a personality that music is a big part of it. And so even my friends that I've known for decades, my whole life practically, they've been sending me music because it reminds them of me, or me of them or whatever. Pronouns are hard. But-
01:08:18
You know, like I just, it's become my life. And so just find what works for you, you know, whether it's, you know, listening to curators radio stations or find your favorite curators playlists or dig around on Spotify, you know, just find a song that you really like, and then open up the radio that Spotify makes for it, you know, those are great tools because you could just endlessly open up radios.
01:08:46
You know, you find a song that you like, hop into the radio for that song. Find another song that you like that's similar to that one, hop into that radio. And before long, you're just, you're just down a rabbit hole of music. Um, do your, do your homework. You know, if you really, really like the way I do it, this is how I function. If I come across a group randomly three times and I like their songs, I'll do my research on the band or the artist or whatever, and I'll dig around and see who they're affiliated with or what labels they're attached to or.
01:09:15
or other people that they've collaborated with. You just gotta follow the breadcrumbs. That's really all it is, just be curious. Just stay open-minded, and if you see something that makes you go, huh, act on that thought, act on that and chase it, because it'll take you to some pretty weird and cool places. That's how I found out about a lot of really cool bands that have unbelievable stories of how they created their music or how their group came to be. So.
01:09:45
Just stay curious, I guess is the best thing to do and find what works for you. Interesting, yeah. I mean, that speaks volumes of your character and really how you take that third place approach in building a community and a platform. You know, I think curiosity is in itself a lost art form that too often people get either shamed for or mocked for. Yeah. So, yeah, man, like honestly,
01:10:15
I for one wish you all the best in that endeavor that you're doing and for two, I cannot highly recommend your platform enough to basically everyone I come across. Even if it's just like, hey, no, I mean like just me being honest, you know, like that's that classic water mouth effect. You know, that's not some advertisement kind of thing where it's like, so like here's the clock time for the conchibis. What you really are doing is something that I think takes...
01:10:45
the aspects of the best of both worlds from the social media angle to the music angle and making that accessible to the average person and potentially helping them influence their own soundtracks and their own curiosities. That's huge in terms of preserving and pushing the culture forward. So I can't thank you enough for what you're doing. Thank you, man. I appreciate that. It means a lot. And I'll...
01:11:09
I'm happy to inspire and I'm glad I can do that for you and for anybody else listening and all the people that have interacted with my community. For the bottom of my heart, thank you for everything. I'm putting in the work, there's no doubt, but I wouldn't be here if it wasn't for the fact that people fuck with it. Yeah. Good and a green heart.
01:11:33
So is there anything you'd like to plug before you head out, like upcoming projects, platforms you're on, stuff like that? We're just trying to grow the podcast right now. So just listen to the podcast. We released an episode today, our 20th episode. That's sort of where we want to start moving a lot of our new content is growing and cultivating long form, starting with the podcast and hopefully moving into YouTube space as well. So the YouTube isn't too...
01:12:03
hot and heavy with content right now, but we're quietly developing it. We've got a website on the way and maybe some merchandise coming soon too as well to help support and future projects that maybe cost a little bit of money. Yeah, I'd say that's sort of what we're doing. So listen to the podcast. You can find us on all major platforms, Spotify, Apple.
01:12:30
Deezer wherever he listened to podcast. We're there. You know, now that got me curious. I need to look into who's listening to Deezer. No idea. No idea. No, but like, yeah, I mean, this has been a very enriching, enlightening and encouraging conversation. Um, I love music with the bottom of my heart. I think I wouldn't really be where I'm at today if it wasn't for music. Quite a great movie. Because.
01:12:59
Because like that, that is, that's part of why I do what I do in terms of preserving the, the cultural stand that music has on the 2010 and the 2020s, you know, like that, that work needs to be preserved. So once again, now the CRUNCHY BEAT or David, as you're known as, right? DJ. Or is it your boy? Okay. There it goes. Sorry. Um, so yeah. Um, yeah, thanks for coming on. Um, the article is going to be published in a few days on the podcast.
01:13:29
Just about the same. So yeah, like pleasure to have you on and very much look forward to see what you do next. Me too, man. I'm looking forward to it too. And I appreciate your time. Thank you. You get some excellent questions and I'm always humbled to be brought on to other people's creative endeavors. I'm really happy to be a part of it in any capacity. So. Dope, man, dope.
01:13:54
On that note, this has been Whispill featuring the cultural beat, music curator, music taste maker, I would even dare to say, and that would be it for today. Have a good one, folks.
01:14:11
Cool. That's basically it. Like at that point, I'm just gonna close this space and it's like a regular phone call. Cool. Yeah, no worries. Alright. Uh, catch you around later, man. Yeah, bro. Thanks again. Yeah, of course. Bye.