1 00:00:01,280 --> 00:00:03,160 Speaker 1: NHS. 2 00:00:04,480 --> 00:00:09,439 Speaker 2: Sorry for the words I said, Sorry that you were 3 00:00:09,519 --> 00:00:13,640 a mislead. Sorry, but you won't. 4 00:00:13,439 --> 00:00:17,239 Speaker 3: Believe I could ever change. 5 00:00:17,399 --> 00:00:17,800 Speaker 1: Really. 6 00:00:19,239 --> 00:00:20,320 Speaker 4: Bridges burned. 7 00:00:22,039 --> 00:00:30,679 Speaker 2: Bridges burned, and I can return cortics, and I. 8 00:00:30,640 --> 00:00:31,519 Speaker 1: Can't go back. 9 00:00:33,520 --> 00:00:34,640 Speaker 5: Oh my life. 10 00:00:35,960 --> 00:00:37,719 Speaker 1: So lesson learned. 11 00:00:38,880 --> 00:00:44,039 Speaker 4: When bridge is burned, When bridges burn. 12 00:00:45,679 --> 00:00:51,560 Speaker 2: Take me back to yesterday, take away my sorrows, Give 13 00:00:51,679 --> 00:00:58,759 to me my dreams today and all my tomorrows. 14 00:00:58,799 --> 00:01:00,799 Speaker 1: Because I can't go. 15 00:01:01,759 --> 00:01:07,680 Speaker 2: But I can't go back, and what I've done I 16 00:01:07,760 --> 00:01:08,760 can't retract. 17 00:01:10,599 --> 00:01:17,560 Speaker 6: But there's allways a lesson learns when bridges burn. 18 00:01:18,920 --> 00:01:20,280 Speaker 4: And bridges burn. 19 00:01:22,799 --> 00:01:30,439 Speaker 3: Feeding too forgotten all our memories, but my heart won't let. 20 00:01:30,319 --> 00:01:32,519 Speaker 2: Them break away from me. 21 00:01:34,239 --> 00:01:38,120 Speaker 7: If by chance you think of me, if I cross 22 00:01:38,239 --> 00:01:42,280 your mind, I wish I could turn back the hands 23 00:01:42,319 --> 00:01:48,040 of time. I wish I could turn back the hands 24 00:01:48,040 --> 00:01:49,000 of time. 25 00:01:50,200 --> 00:01:52,799 Speaker 1: Because I can't go on. 26 00:01:53,200 --> 00:01:59,120 Speaker 2: But I can't go back, and what I've done I 27 00:01:59,200 --> 00:02:00,319 can't retract. 28 00:02:00,079 --> 00:02:06,599 Speaker 1: But there's always some lesson learns. 29 00:02:07,480 --> 00:02:16,120 Speaker 4: When bridges burn and bridges burn, take me back to yesterday. 30 00:02:17,120 --> 00:02:22,719 Take away my sawbrows. Gift to me my dreams today. 31 00:02:22,800 --> 00:02:30,439 Speaker 2: And all my tomorrows, cause I can't go on. But 32 00:02:30,560 --> 00:02:37,280 I can't go back. But I've done, I can't retract. 33 00:02:39,199 --> 00:02:43,080 Speaker 1: But there's allways a lesson learn. 34 00:02:44,599 --> 00:02:48,639 Speaker 4: When bridges burn, bridges bird. 35 00:02:50,360 --> 00:02:57,280 Speaker 6: Yes, there is allays a lesson learn when priges burn, 36 00:02:59,159 --> 00:03:04,879 bridges burn, silver lining in the clouds. 37 00:03:05,879 --> 00:03:07,840 Speaker 1: What do you have for me? 38 00:03:12,080 --> 00:03:15,360 Speaker 8: What a beautiful voice? Linda Avelinda, and that is called 39 00:03:15,599 --> 00:03:18,439 bridges Burned? And I believe we have Linda with us 40 00:03:18,520 --> 00:03:22,599 via the phone. Hello, Linda, Hello, how are you good? 41 00:03:22,719 --> 00:03:23,680 Welcome to the show. 42 00:03:24,000 --> 00:03:24,240 Speaker 9: Uh? 43 00:03:24,319 --> 00:03:28,560 Speaker 8: Yeah, we were, Yeah, wonderful, wonderful voice you have. Tell 44 00:03:28,639 --> 00:03:30,919 us about Well, let's let's start here. So first of all, 45 00:03:30,960 --> 00:03:32,159 how do you say your last name? I want to 46 00:03:32,159 --> 00:03:33,159 make sure I'm saying it correctly. 47 00:03:34,400 --> 00:03:36,520 Speaker 10: Oh, you're saying it correctly, Linda? 48 00:03:36,599 --> 00:03:39,919 Speaker 8: Okay? What was your was Avelinda? Or avea? Linda? But 49 00:03:40,199 --> 00:03:41,159 where are you from? Linda? 50 00:03:42,560 --> 00:03:45,120 Speaker 10: I am from Long Island? Are you up Nasall County? 51 00:03:45,319 --> 00:03:50,039 Speaker 8: Okay? Okay, okay, very good, very good. So tell us 52 00:03:50,039 --> 00:03:54,080 about that song, because I I strongly suspect a song 53 00:03:54,159 --> 00:03:57,360 like that there's usually a story, right you don't You 54 00:03:57,680 --> 00:03:59,719 probably didn't just think one day I'm going to write 55 00:03:59,719 --> 00:04:02,840 a song about bridges Burned and the consequences of that, 56 00:04:02,960 --> 00:04:05,400 and and you know the rumination that comes with that 57 00:04:05,439 --> 00:04:08,000 when you're looking back. Is there a story behind the song. 58 00:04:09,400 --> 00:04:12,560 Speaker 10: Yes, there's always a story behind all of my songs. Yeah, 59 00:04:12,719 --> 00:04:15,039 this is the first one that I'm releasing. So this 60 00:04:15,120 --> 00:04:19,519 story came about because somebody who I know said that 61 00:04:19,839 --> 00:04:23,079 he's changed a lot over the years, but nobody believes him. 62 00:04:23,680 --> 00:04:27,839 And he didn't say bridges burns, but automatically I thought, 63 00:04:27,920 --> 00:04:30,279 you know, he burned a lot of bridges, you know. 64 00:04:30,639 --> 00:04:35,879 And so all of my storngs start out with one line, 65 00:04:35,920 --> 00:04:37,839 and if I could sing it to a good melody, 66 00:04:38,360 --> 00:04:40,800 I just keep singing and singing in until the next 67 00:04:40,839 --> 00:04:43,720 line comes. The next line comes. So it started out 68 00:04:43,720 --> 00:04:46,000 with the first lines of the song, the first line 69 00:04:46,000 --> 00:04:48,319 of the song, sorry for the words I said, And 70 00:04:48,319 --> 00:04:49,680 then it just kept going from there. 71 00:04:50,439 --> 00:04:53,519 Speaker 8: Now are you so are the lyrics from your own 72 00:04:53,519 --> 00:04:55,360 point of view in dealing with this person or are 73 00:04:55,399 --> 00:04:58,360 they more from his point of view? Are you writing? 74 00:04:58,439 --> 00:05:00,720 Are you writing the song from the point of view this, 75 00:05:01,199 --> 00:05:03,879 this person who is sorry for the thing? 76 00:05:04,480 --> 00:05:06,399 Speaker 10: Yes, I'm writting the song from the point of view 77 00:05:06,399 --> 00:05:07,000 of that person. 78 00:05:07,199 --> 00:05:09,519 Speaker 8: Gotcha, gotcha? Now have they heard the. 79 00:05:09,519 --> 00:05:16,560 Speaker 10: Song, yes, and it resonates with them. Okay, and I've 80 00:05:16,600 --> 00:05:19,839 played it for you know, my friends and everything. And 81 00:05:20,079 --> 00:05:23,879 one other person said that, wow, this person is somebody 82 00:05:23,920 --> 00:05:27,040 you know this song it's just it tells a story 83 00:05:27,079 --> 00:05:29,959 about somebody's life who he knows, you know, a woman. 84 00:05:30,079 --> 00:05:33,000 So I think, you know, I guess we've all burned 85 00:05:33,079 --> 00:05:37,079 bridges big and small in our lives, and I think 86 00:05:37,079 --> 00:05:39,959 this song probably resonates with a lot of people. 87 00:05:40,279 --> 00:05:42,600 Speaker 8: Well that's what I was thinking too, because obviously that's 88 00:05:42,680 --> 00:05:46,759 very relatable. Everybody has. You know, sometimes people will say, oh, 89 00:05:46,800 --> 00:05:48,720 you know, I live my life with no regrets or 90 00:05:48,839 --> 00:05:50,600 you know, but we all have regrets and we all 91 00:05:50,639 --> 00:05:53,600 have things that we look back on, whether there are 92 00:05:53,839 --> 00:05:59,759 family relationships, friendships, romantic relationships, you know, or professional relationships 93 00:05:59,759 --> 00:06:02,279 where maybe you you you burn a bridge out of 94 00:06:02,439 --> 00:06:04,279 out of pride, you know, you don't want to admit 95 00:06:04,319 --> 00:06:06,920 that maybe you were wrong about something, or or you 96 00:06:07,079 --> 00:06:09,839 just didn't have the emotional maturity to handle the situation 97 00:06:09,959 --> 00:06:11,199 or whatever it is, and then you kind of look 98 00:06:11,240 --> 00:06:14,240 back and you go, wow, I really I really pushed 99 00:06:14,439 --> 00:06:19,079 some people away or wrecked some relationships that in hindsight, 100 00:06:19,160 --> 00:06:23,319 I probably shouldn't have, So I think we can all relate. 101 00:06:23,079 --> 00:06:25,360 Speaker 11: To that, right, definitely. 102 00:06:25,480 --> 00:06:26,040 Speaker 10: Definitely. 103 00:06:27,360 --> 00:06:28,879 Speaker 8: Do you have a lot of people who've heard the song? 104 00:06:28,959 --> 00:06:30,720 I mean, I know it's it's been out for a 105 00:06:30,800 --> 00:06:32,720 short time, but I mean, do you have a lot 106 00:06:32,720 --> 00:06:34,879 of people tell you that they can relate to, Like 107 00:06:34,920 --> 00:06:37,279 they can think of specific instances from their own lives 108 00:06:37,600 --> 00:06:40,040 that they can kind of could connect with the lyrics. 109 00:06:41,120 --> 00:06:45,079 Speaker 10: Oh, definitely. They don't get into specifics, but they said 110 00:06:45,079 --> 00:06:48,240 that they the song resonates with them, and you can 111 00:06:48,319 --> 00:06:49,199 relate to the song. 112 00:06:49,839 --> 00:06:52,920 Speaker 8: Now, the person who the song is about, who inspired it? 113 00:06:53,560 --> 00:06:55,720 So you said they like the song? Do they do 114 00:06:55,759 --> 00:06:57,079 they realize it's about them? 115 00:06:59,160 --> 00:07:01,319 Speaker 10: H yes, I told that person that it was about them. 116 00:07:01,439 --> 00:07:02,279 Speaker 8: Okay, they don't. 117 00:07:02,160 --> 00:07:05,439 Speaker 10: Want me to share their story specifically, right, right, person 118 00:07:06,120 --> 00:07:09,879 knows that that song was inspired by you know, the 119 00:07:09,920 --> 00:07:11,639 person's wife and what they said. 120 00:07:11,959 --> 00:07:16,079 Speaker 8: Oh okay, it's it's good that it's good that you've 121 00:07:16,040 --> 00:07:19,560 got a positive reaction because sometimes that can that can 122 00:07:19,600 --> 00:07:23,079 really I can really backfire. Like Jenny, remember we uh 123 00:07:23,439 --> 00:07:27,120 one of our conversations with Nancy Manet, she she did 124 00:07:27,199 --> 00:07:29,319 a whole basically, you know a lot of one of 125 00:07:29,319 --> 00:07:33,399 her albums is about her experiences with family members. Yes, 126 00:07:33,439 --> 00:07:36,920 and when they hear the songs, they get angry with her. Yep. 127 00:07:37,639 --> 00:07:41,199 So yeah, yeah, yeah, So you never know how that 128 00:07:41,279 --> 00:07:43,519 might go. Now, this is so this is the first 129 00:07:43,519 --> 00:07:46,199 single that you've released online. 130 00:07:47,399 --> 00:07:50,000 Speaker 10: Yes, it's the first single that I've released online. I 131 00:07:50,120 --> 00:07:54,199 started writing songs and lyrics late in life. I have 132 00:07:54,639 --> 00:07:58,439 absolutely I don't play an instrument. I really have kind 133 00:07:58,480 --> 00:08:01,560 of no musical background. I mean to go background was 134 00:08:01,639 --> 00:08:04,199 kind of an elementary school, raising my hand as high 135 00:08:04,199 --> 00:08:06,519 as I could to try and play that triangle. Remember 136 00:08:06,519 --> 00:08:10,399 that triangle in school? You know, I never got picked of, 137 00:08:10,680 --> 00:08:13,279 you know, either that or I got the rhythm sticks instead. 138 00:08:13,879 --> 00:08:17,199 And then years ago I had a boyfriend and he 139 00:08:17,279 --> 00:08:21,279 was a music teacher, and he got me into writing lyrics. 140 00:08:21,319 --> 00:08:24,120 I you know, I've always been interested in writing. My 141 00:08:24,560 --> 00:08:28,920 major in college was creative writing, but I never envisioned 142 00:08:28,920 --> 00:08:31,120 that I would ever write a song. So I started 143 00:08:31,160 --> 00:08:33,679 writing the lyrics. He would do some music, and then 144 00:08:33,720 --> 00:08:37,120 we broke up, and you know, at the end, he's like, 145 00:08:37,159 --> 00:08:39,200 I wanted to just sing your lyrics into the song 146 00:08:39,360 --> 00:08:42,879 into your phone. So I'm like, okay, well these words 147 00:08:42,960 --> 00:08:45,080 keep coming. What am I going to do now? So 148 00:08:45,120 --> 00:08:49,639 I kept singing my lyrics and my songs into my phone, 149 00:08:49,759 --> 00:08:53,039 and then I went and there was a guitar teacher. 150 00:08:53,039 --> 00:08:54,879 I'm like, oh, maybe I'll learned how to play guitar 151 00:08:55,000 --> 00:08:58,320 late in life, but that's really hard to do. So 152 00:08:58,440 --> 00:09:02,440 they kind of turned into me bringing in my lyrics 153 00:09:02,519 --> 00:09:05,840 and saying, hey, what do you think et cetera, et cetera, 154 00:09:06,039 --> 00:09:07,679 And then I would just show up for the guitar 155 00:09:07,759 --> 00:09:09,879 lessons with no guitar. I know you're ever going to 156 00:09:09,919 --> 00:09:13,039 bring the guitar. I'm like, no, I have all these songs. 157 00:09:13,360 --> 00:09:18,159 Speaker 8: Interesting. So then so that guitar teacher did they help you? 158 00:09:18,240 --> 00:09:19,799 Did they help you develop these songs? 159 00:09:21,080 --> 00:09:24,039 Speaker 10: Well, I kind of wanted I just wanted to, you know, 160 00:09:24,159 --> 00:09:27,000 sometimes not with this song. This one kind of came 161 00:09:27,039 --> 00:09:31,879 out just as virtually it is, But like other songs 162 00:09:32,000 --> 00:09:34,960 that I just you know, I just wanted to learn 163 00:09:35,039 --> 00:09:38,600 the format. I kept changing key when I was I 164 00:09:38,600 --> 00:09:42,559 didn't know the rules of the songs of what you know, 165 00:09:42,639 --> 00:09:44,919 song ran evens about. So I learned a little bit 166 00:09:44,960 --> 00:09:46,919 about that. Not that to say that I don't break 167 00:09:46,960 --> 00:09:49,559 the rules or anything, because I don't know them well enough, 168 00:09:49,600 --> 00:09:53,039 which is a good thing, I think. But this song 169 00:09:53,279 --> 00:09:55,480 pretty much came out, you know, the way it was. 170 00:09:56,679 --> 00:09:56,960 Speaker 5: It is. 171 00:09:57,320 --> 00:09:59,399 Speaker 8: So I'm curious how you learned to sing, because, like 172 00:09:59,440 --> 00:10:02,440 I said, you have a beautiful voice. I mean, are 173 00:10:03,399 --> 00:10:06,559 you self nowhere? When when you were talking just now 174 00:10:06,600 --> 00:10:08,720 nowhere did you mention any kind of voice lessons? I mean, 175 00:10:08,720 --> 00:10:10,440 how did you learn to sing? Are you self taught? 176 00:10:10,960 --> 00:10:14,240 Some people the voice is like the one instrument where 177 00:10:14,240 --> 00:10:16,639 some people are just you know, and it is an instrument, right, 178 00:10:16,679 --> 00:10:19,480 it just happens to be a part of us physically. 179 00:10:19,519 --> 00:10:21,440 But the voice is like the one instrument where some 180 00:10:21,480 --> 00:10:24,600 people just seem to be able to to conduct that 181 00:10:24,720 --> 00:10:28,919 instrument naturally without any training. Is that the case with you? 182 00:10:30,240 --> 00:10:33,639 Speaker 10: Well, yes, I can't play an instrument, never had a 183 00:10:33,799 --> 00:10:38,279 formal you know, voice lesson or anything. But sing about 184 00:10:38,559 --> 00:10:42,320 when you write your own song, you're singing them to 185 00:10:42,399 --> 00:10:45,240 what feels good and comfortable to you. You're not singing 186 00:10:45,279 --> 00:10:48,759 somebody else's song to the songs that I've written. I'm 187 00:10:48,799 --> 00:10:52,240 singing it, you know, to suit my own voice. 188 00:10:52,440 --> 00:10:57,000 Speaker 8: Yeah, so you so, so you're naturally able to sing 189 00:10:57,080 --> 00:11:01,240 that way? That's like, how how did you. I mean, 190 00:11:01,279 --> 00:11:03,559 did you realize that about yourself from a young age 191 00:11:03,559 --> 00:11:05,720 that you could sing? Or is that something that kind 192 00:11:05,720 --> 00:11:08,039 of came as you were starting to write these songs 193 00:11:08,039 --> 00:11:09,759 and bring them to your guitar teacher and say, hey, 194 00:11:09,759 --> 00:11:10,879 what do you think? I mean? 195 00:11:11,039 --> 00:11:11,480 Speaker 12: Is that? 196 00:11:11,639 --> 00:11:13,320 Speaker 8: Is that something you always knew that you had or 197 00:11:13,399 --> 00:11:15,519 did you develop that more recently when you started really 198 00:11:15,519 --> 00:11:16,320 getting into writing. 199 00:11:17,600 --> 00:11:20,919 Speaker 10: Yes, I never knew I had, you know that you know, 200 00:11:21,279 --> 00:11:24,159 would be able to sing. Yeah, so when I started 201 00:11:24,200 --> 00:11:30,919 singing my songs into my phone. Initially, when I found 202 00:11:30,919 --> 00:11:35,080 out about this producer was just wonderful Voodoo v U 203 00:11:35,360 --> 00:11:40,879 z U Studios in Port Jefferson and Long Island. I 204 00:11:40,919 --> 00:11:44,000 sent him my song which I recorded. Over the song, 205 00:11:44,120 --> 00:11:47,279 I'm like, well, you know, I'd like to hire a singer. Yeah, YadA, YadA. 206 00:11:47,480 --> 00:11:49,960 He's like, no, you stayed in tea and that's really 207 00:11:49,960 --> 00:11:52,200 hard to do with new music. It's like, we could 208 00:11:52,200 --> 00:11:55,759 work with you. Oh wow, Okay, I'd rather sing my 209 00:11:55,840 --> 00:11:58,440 own songs, of course, I would rather sing, But I 210 00:11:58,519 --> 00:12:00,759 never even dreamed about it. I was all set to 211 00:12:00,879 --> 00:12:01,639 hire a singer. 212 00:12:02,240 --> 00:12:04,360 Speaker 8: How cool is that? Though, Like to get that kind 213 00:12:04,360 --> 00:12:07,600 of validation where you're going into a situation where you're like, 214 00:12:07,679 --> 00:12:10,120 I have the song, I want to hire someone to 215 00:12:10,120 --> 00:12:12,639 sing it, and then the producer says, you know, why 216 00:12:12,679 --> 00:12:14,919 don't you sing it? You know you're you're good enough. 217 00:12:14,960 --> 00:12:17,399 You know the way you sing it is great. Why 218 00:12:17,440 --> 00:12:18,919 don't you do it? I mean, that must have been 219 00:12:19,360 --> 00:12:21,639 that must have been a pretty affirming moment for you. 220 00:12:21,679 --> 00:12:24,159 I would imagine it. 221 00:12:24,200 --> 00:12:28,559 Speaker 10: Was shocking and pleasantly surprised that he thought that. Yeah, 222 00:12:28,679 --> 00:12:30,840 I'm like, okay, well, I'll give it a try, and 223 00:12:31,039 --> 00:12:33,240 what's the worst that can happen if it doesn't sound good, 224 00:12:33,279 --> 00:12:36,000 I'll hire a singer, right anyway. 225 00:12:36,080 --> 00:12:40,480 Speaker 8: You know, yeah, Oh that's fantastic. So that studio they 226 00:12:40,480 --> 00:12:43,200 did all the the the what's the name of the 227 00:12:43,200 --> 00:12:46,440 studio again, Voodoo. 228 00:12:46,200 --> 00:12:50,240 Speaker 10: It's stilled the like Victor, you like Umbrella, d like David, 229 00:12:50,480 --> 00:12:51,480 you like Umbrella? 230 00:12:51,679 --> 00:12:52,000 Speaker 8: Okay? 231 00:12:52,120 --> 00:12:55,519 Speaker 10: Studios in Port Jefferson, Okay, okay. 232 00:12:55,919 --> 00:12:58,000 Speaker 8: And then, uh, now have you just recorded the one 233 00:12:58,080 --> 00:13:00,600 song there? Or do you do you intend to because 234 00:13:00,840 --> 00:13:02,720 obviously because I assume you're going to be recording more 235 00:13:02,759 --> 00:13:03,720 singles in the future. 236 00:13:05,399 --> 00:13:08,759 Speaker 10: Yes, I have about four others that are ready to 237 00:13:08,799 --> 00:13:09,519 be mastered. 238 00:13:09,720 --> 00:13:12,799 Speaker 8: Oh excellent, Yes, and I never know. 239 00:13:12,879 --> 00:13:15,320 Speaker 10: I'm always thinking, okay, though, that might be the last 240 00:13:15,320 --> 00:13:17,600 song I'm writing. And then and then a lot of 241 00:13:17,600 --> 00:13:21,200 my songs they come from either something from someone has said, 242 00:13:22,080 --> 00:13:25,240 like this song, it could be a mishurt lyric. I'll 243 00:13:25,240 --> 00:13:28,559 get a line and it's totally miss hurt lyrics. And 244 00:13:29,240 --> 00:13:31,799 then I'll set the radio off right away and I'm like, okay, 245 00:13:32,080 --> 00:13:33,799 I've been driving the car. That's when you get your 246 00:13:33,799 --> 00:13:36,720 best ideas. I'm like, yet light, red light, and you 247 00:13:36,759 --> 00:13:39,080 want it to last really long, the red life of course, 248 00:13:39,120 --> 00:13:41,679 when you wanted to last only just it turns green 249 00:13:41,799 --> 00:13:44,879 right away, right, And so I either put recording, you know, 250 00:13:44,960 --> 00:13:47,559 my phone on and start singing it, or I have 251 00:13:47,600 --> 00:13:50,480 a pad and paper next to me and start writing it. 252 00:13:50,519 --> 00:13:53,200 So my best ideas come when i'm driving and you know, 253 00:13:53,200 --> 00:13:57,759 it's hard to write things down, and when i'm doing dishes, Yeah, 254 00:13:57,840 --> 00:14:00,720 I'm doing this very bad days that like I'm starting 255 00:14:00,759 --> 00:14:02,440 to do that. This is something will come to me 256 00:14:02,960 --> 00:14:05,159 and I have plans and literally I have to sit 257 00:14:05,200 --> 00:14:08,519 down until the words stop, you know, because if you 258 00:14:08,559 --> 00:14:10,320 put it off until later, they're gone. 259 00:14:10,639 --> 00:14:14,159 Speaker 8: Yeah. Yeah, that's a good a good problem to have, though, 260 00:14:14,159 --> 00:14:16,240 that you've got all these ideas, and so you've got 261 00:14:16,399 --> 00:14:18,399 so you've got four more that you're planning to record, 262 00:14:18,440 --> 00:14:21,559 and then so do you intend to h they recorded, 263 00:14:21,600 --> 00:14:24,080 they're just ready to be mastered. Oh there, Oh they're 264 00:14:24,080 --> 00:14:26,440 already Oh they're already recorded. They're ready to be mastered. 265 00:14:26,480 --> 00:14:29,320 Oh that's fantastic. And will these will these be? Will 266 00:14:29,360 --> 00:14:31,120 these be released as singles? Or do you intend to 267 00:14:31,120 --> 00:14:33,399 put out an EP or an album or what's what's 268 00:14:33,440 --> 00:14:34,559 kind of the long term plan? 269 00:14:36,159 --> 00:14:40,039 Speaker 10: Well, I come, I'm just winging it because I don't 270 00:14:40,080 --> 00:14:42,960 know what I'm doing. But uh sure, sometimes like going 271 00:14:43,000 --> 00:14:46,320 to keep taking that next step and you figure out 272 00:14:46,559 --> 00:14:51,000 as I go along. I guess I'll release them as singles. 273 00:14:51,200 --> 00:14:54,879 Speaker 8: I guess, yeah, yeah, No, that's that's fantastic. You know, 274 00:14:54,919 --> 00:14:57,320 we live in a time when you have so many 275 00:14:57,320 --> 00:15:00,120 different options in terms of how you release music. If 276 00:15:00,159 --> 00:15:01,440 you want to do an album, if you want to 277 00:15:01,440 --> 00:15:03,720 do an EP, if you just want to do singles. 278 00:15:03,759 --> 00:15:06,200 You know, some artists now they'll release a series of 279 00:15:06,240 --> 00:15:10,159 singles that eventually coalesce into an EP or an album, 280 00:15:10,360 --> 00:15:12,200 which is kind of the inverse of how it used 281 00:15:12,240 --> 00:15:14,000 to be. You know, when I was growing up, it 282 00:15:14,120 --> 00:15:16,279 was you know, the album and it would have a 283 00:15:16,320 --> 00:15:18,799 series of singles. Now some artists are doing the inversion 284 00:15:19,200 --> 00:15:21,399 of that, but you can you know, there are no 285 00:15:21,440 --> 00:15:23,480 you know, you were talking about rules and breaking the 286 00:15:23,559 --> 00:15:26,240 rules of songwriting, and you know, there's really no rules 287 00:15:26,240 --> 00:15:28,639 to how you release music anymore either in terms of 288 00:15:28,840 --> 00:15:30,759 I mean, there are things that you can do promotionally, 289 00:15:30,799 --> 00:15:33,679 that you should do promotionally, but as far as but 290 00:15:33,720 --> 00:15:36,840 as far as some sort of a schedule, uh, in 291 00:15:36,919 --> 00:15:40,039 terms of how you release the music and in what format. 292 00:15:40,960 --> 00:15:42,600 You know, there's you've got You've got a lot of 293 00:15:42,600 --> 00:15:45,639 freedom now in the industry, uh, in terms of how 294 00:15:45,720 --> 00:15:48,519 you do that. So uh, we will be uh, we 295 00:15:48,600 --> 00:15:50,639 will be watching with great interest to see how your 296 00:15:50,720 --> 00:15:52,879 your career progresses. Do you do you have any kind 297 00:15:52,919 --> 00:15:54,879 of do you have any kind of an idea of 298 00:15:54,879 --> 00:15:56,519 when the next single is going to be out? After 299 00:15:56,559 --> 00:16:00,200 the mastering's done, I assume it'll be ready to go, right, Oh, 300 00:16:00,399 --> 00:16:01,000 give this a. 301 00:16:00,960 --> 00:16:04,000 Speaker 10: Couple of months, I think maybe before months, and I know, yeah, 302 00:16:04,120 --> 00:16:05,159 release the next one. 303 00:16:05,279 --> 00:16:08,639 Speaker 8: Yeah, fantastic, fantastic, thank you. 304 00:16:08,960 --> 00:16:09,159 Speaker 5: Yeah. 305 00:16:09,240 --> 00:16:10,559 Speaker 8: Did you grow up in New York? 306 00:16:12,240 --> 00:16:15,559 Speaker 10: I grew up in Brooklyn. For thirteen years, and then 307 00:16:15,600 --> 00:16:18,159 I moved to Queens, which is another borough in New 308 00:16:18,240 --> 00:16:21,360 York City, Brooklyn and Queens. And then I moved out 309 00:16:21,399 --> 00:16:27,120 to Long Island and just you know, a little more trees, 310 00:16:27,360 --> 00:16:29,919 more parks and stuff like that. I really like Long Island. 311 00:16:30,120 --> 00:16:32,440 Speaker 8: Yeah, no, but it sounds like you're a real New Yorker. 312 00:16:32,519 --> 00:16:35,120 You've you've been there, You've been there most of your 313 00:16:35,279 --> 00:16:38,559 if not your whole life, right, yes, the whole life. 314 00:16:38,600 --> 00:16:40,399 Speaker 10: Yeah, definitely a real New. 315 00:16:40,480 --> 00:16:43,399 Speaker 8: New York excellent. Well, there's a lot of great music 316 00:16:43,440 --> 00:16:44,919 that comes out of that area, So you're in a 317 00:16:45,039 --> 00:16:49,200 You're in a good place, that's for sure. That's for sure. Well, Linda, 318 00:16:49,279 --> 00:16:51,600 let's let me ask you this and again, congratulations on 319 00:16:51,679 --> 00:16:55,759 the single Bridges Burned. And where should you know because 320 00:16:55,759 --> 00:16:57,240 you are going to be releasing new music in the 321 00:16:57,240 --> 00:17:00,000 future in addition to this, so where should people go online? 322 00:17:00,159 --> 00:17:01,960 Where's the best place for people to go online to 323 00:17:02,039 --> 00:17:05,759 keep up with everything that you're doing, so that so 324 00:17:05,799 --> 00:17:08,720 that they know when when new new music is coming out? 325 00:17:09,680 --> 00:17:13,519 Speaker 10: Okay, well, I am on Instagram at Linda Avalanda. I 326 00:17:13,519 --> 00:17:17,279 guess because I literally just started Instagram three weeks ago. Okay, 327 00:17:17,720 --> 00:17:21,319 had no online presence before releasing this. Oh wow, I 328 00:17:21,359 --> 00:17:24,599 do have a I do have a YouTube video. Yes, 329 00:17:24,880 --> 00:17:28,119 you have to put in probably my name first, Linda Avalanza, 330 00:17:28,160 --> 00:17:30,680 then bridges Burned. If you do it the other way, 331 00:17:30,799 --> 00:17:35,359 the things will come up. And my song is out 332 00:17:35,400 --> 00:17:39,599 on all of the streaming services yep, so people can access. 333 00:17:39,200 --> 00:17:43,319 Speaker 8: My song there, yep. Excellent, excellent. Well, you're off to 334 00:17:43,400 --> 00:17:46,920 a great start. And when the next UH single is 335 00:17:46,960 --> 00:17:48,880 ready to be released, I hope that you'll send it 336 00:17:48,920 --> 00:17:50,599 to us and you know we'd love to give it 337 00:17:50,599 --> 00:17:52,160 a spin here and have you back on to talk 338 00:17:52,200 --> 00:17:52,519 some more. 339 00:17:53,759 --> 00:17:55,400 Speaker 10: Well, definitely, thank you so much. 340 00:17:55,599 --> 00:17:59,160 Speaker 8: All right, Linda Avalinda, congratulations again on the single and 341 00:17:59,400 --> 00:18:02,519 we'll let you go, but thank you for joining us today. 342 00:18:02,759 --> 00:18:04,720 Thank you all right, you got it, Bye bye, Thank 343 00:18:04,799 --> 00:18:09,359 you you too. All right. That is Linda Avelinda again 344 00:18:09,400 --> 00:18:11,559 if you missed it, we played her her new single 345 00:18:11,559 --> 00:18:15,240 Bridges Burned, and I look forward to hearing more from 346 00:18:15,279 --> 00:18:18,319 her in the future. If you are listening live, we 347 00:18:18,359 --> 00:18:21,039 are live on WM and H ninety five point three 348 00:18:21,279 --> 00:18:24,839 FM in Glorious Manchester, New Hampshire. The date is August 349 00:18:24,880 --> 00:18:29,279 twenty third, twenty twenty five and this is Matt Connorton Unleashed, 350 00:18:29,400 --> 00:18:32,079 So I don't go away. We've got plenty more to come. 351 00:18:32,279 --> 00:18:34,640 And at the top of the show today we did 352 00:18:34,640 --> 00:18:37,359 a little the new single from Jersey Calling, a great 353 00:18:37,400 --> 00:18:40,839 band from Philly, and this is We're gonna play this again. 354 00:18:40,880 --> 00:18:43,759 This is called working Class Punk, and this is so 355 00:18:43,880 --> 00:18:45,720 good and we're gonna have them on to talk about 356 00:18:45,759 --> 00:18:48,359 it soon. But this is the first time this has 357 00:18:48,400 --> 00:18:53,759 been played on American radio. Here we go. You're listening 358 00:18:53,799 --> 00:18:56,759 to Matt Connorton Unleashed on. 359 00:18:56,839 --> 00:19:01,319 Speaker 9: WM and H ninety five point three. 360 00:19:00,119 --> 00:19:03,200 Speaker 8: And now the world radio premiere of the new single 361 00:19:03,519 --> 00:19:07,720 from Jersey Calling. This is called working Class Punk. 362 00:19:12,839 --> 00:19:17,359 Speaker 9: Why me at six am looks like got over, slept again? 363 00:19:18,200 --> 00:19:21,759 Jud got me dressed in on the door in and 364 00:19:23,319 --> 00:19:26,960 it's like trapping at its worst. Swear to God it 365 00:19:27,200 --> 00:19:28,839 must be cursed joined. 366 00:19:28,880 --> 00:19:33,039 Speaker 5: The resident of dailout. 367 00:19:32,079 --> 00:19:37,880 Speaker 1: Was screaming, suns. 368 00:19:44,440 --> 00:19:49,440 Speaker 12: Go work, go to work, Go to work, Go to work, 369 00:19:50,119 --> 00:19:53,440 work so you can't feel the hurt till it makes 370 00:19:53,480 --> 00:19:54,720 you go berserve. 371 00:19:55,079 --> 00:19:58,319 Speaker 11: Go to work, go to work, go to. 372 00:19:58,519 --> 00:20:04,039 Speaker 9: Work, go to head in the closet, your face covered. 373 00:20:03,640 --> 00:20:09,880 Speaker 5: In dir go to work. 374 00:20:11,480 --> 00:20:14,920 Speaker 9: The bun gives me a shout, says I'm just a 375 00:20:15,200 --> 00:20:20,240 burnt out my altress to the confederations him down. 376 00:20:21,680 --> 00:20:25,039 Speaker 13: So I say, hey, you're right, old man, flip. 377 00:20:24,920 --> 00:20:28,720 Speaker 5: The burden of a ram. But there's now as get 378 00:20:28,759 --> 00:20:30,720 a taste out of the love. 379 00:20:32,480 --> 00:20:38,160 Speaker 14: That's a redo in my straining sounds that let that say, wow, 380 00:20:38,519 --> 00:20:41,319 trying to tool. 381 00:20:43,079 --> 00:20:48,200 Speaker 11: Go work, go to work, go to work, go to work. 382 00:20:48,799 --> 00:20:49,599 Speaker 5: What do you get? 383 00:20:49,759 --> 00:20:53,920 Speaker 12: Feel the hurtile it makes you go preserve go. 384 00:20:54,240 --> 00:20:58,799 Speaker 11: To work, go to work, go to work, go to work. 385 00:20:59,559 --> 00:21:04,559 Speaker 9: Head in the cloudst your race, cupboard and day, go 386 00:21:04,920 --> 00:21:05,480 to work. 387 00:21:05,759 --> 00:21:31,400 Speaker 5: Four three where you win? You Yeah? 388 00:21:31,559 --> 00:21:37,079 Speaker 13: How that bo screaming south time that the s low we. 389 00:21:37,240 --> 00:21:39,839 Speaker 5: By going that as of to. 390 00:21:41,759 --> 00:21:45,839 Speaker 15: Go to work, Go to work, Go to work, go 391 00:21:46,240 --> 00:21:50,119 to work, work so you can't feel the herd till 392 00:21:50,279 --> 00:21:52,119 it makes you go berserk. 393 00:21:52,440 --> 00:21:56,960 Speaker 11: No work, go to work, go to work, go to. 394 00:21:57,200 --> 00:22:01,039 Speaker 13: Work, head in the clouds with your face covered in. 395 00:22:03,160 --> 00:22:08,880 Speaker 5: Count and watch out the work got you work? What 396 00:22:09,079 --> 00:22:09,559 do you get? 397 00:22:09,720 --> 00:22:15,359 Speaker 16: Filin said it makes you come beside came walking doll 398 00:22:15,599 --> 00:22:17,519 you way do you work? 399 00:22:18,559 --> 00:22:23,000 Speaker 5: Work? And in my confid go face common in jockey, 400 00:22:24,200 --> 00:22:50,240 don't go work. I got got a fading you. 401 00:22:52,640 --> 00:23:01,160 Speaker 12: Somebody somebody to keep bott say to you know what's 402 00:23:01,240 --> 00:23:02,319 coming in my bow? 403 00:23:02,400 --> 00:23:04,400 Speaker 8: The lights up, bun, It's time to go. 404 00:23:05,559 --> 00:23:07,119 Speaker 5: Why did I keep my playing? 405 00:23:07,400 --> 00:23:10,759 Speaker 12: No Stephen began, y'all izob man wasted? 406 00:23:11,119 --> 00:23:16,759 Speaker 5: Yeah no your car man die, y'all stopping sell the 407 00:23:18,519 --> 00:23:22,839 why he even got up through the world, say. 408 00:23:27,720 --> 00:23:30,400 Speaker 12: We'll come and geez, I'm starting some days to deal 409 00:23:30,559 --> 00:23:31,160 in nothing. 410 00:23:31,480 --> 00:23:32,880 Speaker 1: All aptide is going. 411 00:23:32,920 --> 00:23:36,200 Speaker 17: Man, You're not to your car one days a monthday 412 00:23:36,279 --> 00:23:38,559 feeling you start going to blain seat dealers. 413 00:23:38,799 --> 00:23:41,319 Speaker 12: No waste against y'all be a slipping Yeah no your 414 00:23:41,440 --> 00:23:42,039 come man. 415 00:23:44,359 --> 00:23:46,680 Speaker 5: The gotta stop us settling. 416 00:23:48,079 --> 00:24:07,920 Speaker 18: Ya yaga is all. 417 00:24:07,920 --> 00:24:15,079 Speaker 16: Y'all, BA, saybody comes out of bust out this buddy, 418 00:24:15,319 --> 00:24:16,200 yap brain. 419 00:24:17,519 --> 00:24:22,720 Speaker 5: Still up it. I'll see if the same y'all gotta out. 420 00:24:22,680 --> 00:24:29,079 Speaker 16: Y'all BA, let's stay buy jims outs like. 421 00:24:29,200 --> 00:25:19,279 Speaker 5: This buddy, y'all braid see this same. I gotta be 422 00:25:19,720 --> 00:25:23,799 you know, t't me take your boy. 423 00:25:25,920 --> 00:25:27,119 Speaker 11: You know you're got. 424 00:25:30,359 --> 00:25:43,160 Speaker 5: On shirt boy, got they got you want anything to 425 00:25:43,279 --> 00:25:46,799 do that. I don't want to be like you. 426 00:25:48,039 --> 00:25:54,839 Speaker 17: I recognize you from the persons should have known better. 427 00:25:56,400 --> 00:26:01,960 She's found for a while now probably trying to go. 428 00:26:02,119 --> 00:26:04,119 I said a lot of back chun. 429 00:26:04,839 --> 00:26:15,599 Speaker 5: No way, Hill, don't wait, chow that ain't long, guy 430 00:26:17,079 --> 00:26:17,960 that ain't long? 431 00:26:21,759 --> 00:26:23,039 Speaker 11: No brody r. 432 00:26:25,599 --> 00:26:29,799 Speaker 5: That ain't a long guy? How do you love? God? 433 00:26:33,119 --> 00:26:36,680 Speaker 13: Can say, I ain't hit the reset, but I don't. 434 00:26:36,519 --> 00:26:37,160 Speaker 5: Want to start. 435 00:26:37,440 --> 00:26:40,880 Speaker 17: John said, ain't no, please start choke. 436 00:26:41,279 --> 00:26:43,119 Speaker 5: Let me start like you start. 437 00:26:43,240 --> 00:26:49,039 Speaker 17: Say he wasn't what your mont's said, Joy, John is seven. 438 00:26:49,920 --> 00:26:52,160 Speaker 13: We can't waste some min and we want to waste 439 00:26:52,200 --> 00:26:52,759 some minutes. 440 00:26:53,000 --> 00:27:00,799 Speaker 5: Joy, some man, don't wait, chill that ain't Oh God, 441 00:27:02,279 --> 00:27:03,400 how long. 442 00:27:06,960 --> 00:27:08,319 Speaker 1: My black yard? 443 00:27:08,680 --> 00:27:14,359 Speaker 5: Guy that ain't a long? Guy that ain't long? 444 00:27:24,160 --> 00:27:24,400 Speaker 10: M h. 445 00:27:28,880 --> 00:27:32,680 Speaker 7: I've got that sick jim feeling? What out off we 446 00:27:32,799 --> 00:27:33,799 used to feeling. 447 00:27:34,400 --> 00:27:36,200 Speaker 1: I don't know what to do. 448 00:27:36,880 --> 00:27:39,079 Speaker 11: I still love shop you. 449 00:27:40,160 --> 00:27:41,559 Speaker 13: I got that sick. 450 00:27:41,480 --> 00:27:43,480 Speaker 11: Jet figure out right down. 451 00:27:43,640 --> 00:27:48,599 Speaker 13: No, I don't know what sometime so. 452 00:28:14,720 --> 00:28:30,680 Speaker 5: No way that a long long? No body that ain't long? 453 00:28:32,680 --> 00:28:33,440 That long? 454 00:28:36,640 --> 00:28:41,319 Speaker 13: I got that, said Jeff very but I always to him. 455 00:28:42,240 --> 00:28:45,240 I said, no, what so su sell? 456 00:28:45,759 --> 00:28:47,039 Speaker 5: How they sell? Yow? 457 00:28:54,640 --> 00:28:58,000 Speaker 13: We're back from the Grand Corners. 458 00:29:10,200 --> 00:29:10,680 Speaker 11: All right. 459 00:29:10,960 --> 00:29:15,440 Speaker 8: Matt Connorton Unleashed is live from the studios of WMNH 460 00:29:15,599 --> 00:29:19,079 ninety five. Point three in Glorious Manchester, New Hampshire. And 461 00:29:19,160 --> 00:29:20,799 of course you can stream the show from anywhere. Go 462 00:29:20,839 --> 00:29:24,160 to Matt connorton dot com slash live for all your 463 00:29:24,200 --> 00:29:27,799 live streaming options, social media links, contact infoshore, archives, et cetera, 464 00:29:27,920 --> 00:29:31,000 et cetera if you are listening live. Today is Saturday, 465 00:29:31,359 --> 00:29:35,119 August twenty third, twenty twenty five. Jenny is here of 466 00:29:35,160 --> 00:29:38,519 course at the news table, President account and we want 467 00:29:38,519 --> 00:29:42,319 to mention again a big event next weekend, a big 468 00:29:42,519 --> 00:29:46,519 festival happening at the Strand Theater in Dover, New Hampshire. 469 00:29:46,599 --> 00:29:49,599 Our friends in the band Vices Inc. They put this 470 00:29:49,720 --> 00:29:53,039 show on every year, and this is August. It's three 471 00:29:53,119 --> 00:29:56,079 days August twenty ninth, thirtieth and thirty first, so it 472 00:29:56,200 --> 00:29:59,200 is Labor Day weekend. Let's see. I'm gonna give you 473 00:29:59,240 --> 00:30:02,359 the full here. A lot of these bands have been 474 00:30:02,440 --> 00:30:06,160 on the show. Let's see Vice's Inc. Of course, a 475 00:30:06,240 --> 00:30:09,720 signal to noise. Sepsis, of course, we've had Sepsus on 476 00:30:09,839 --> 00:30:13,640 many times. Trall they were on recently Scarecrow Hill, They've 477 00:30:13,680 --> 00:30:18,759 been on euphemea jony earthquake band, Night Fury under the Horizon. 478 00:30:18,839 --> 00:30:22,000 Of course we Love Under the Horizon, The Roscoes, Lions 479 00:30:22,039 --> 00:30:25,279 and Lavender, Battle Mode, House Lights. They've been on the show, 480 00:30:25,880 --> 00:30:30,400 The Shirts and Shoes, Alaska Angels, Let's See the Carrot Flowers, 481 00:30:30,960 --> 00:30:33,400 Plague Dad has been on the show Love Plague Dad, 482 00:30:33,839 --> 00:30:38,480 The Living Space, Boyd and the Monkeys, Willie DeNardo and 483 00:30:38,559 --> 00:30:47,920 the corporates Mango, Cash, Manuel, Separator, Silver Cord, Mother, Nimbus, Trading, Tombstones. 484 00:30:47,960 --> 00:30:51,640 They've been on the show Love Them, Decaine, Continuum, Cellar Door, 485 00:30:52,359 --> 00:30:57,319 Crian Caleb was on just recently Fine Pioneer Brady's Grown 486 00:30:57,400 --> 00:31:02,200 Up Time, The Joe Bilander, Shred Trio, Peter Gay, Adam Vatali, 487 00:31:02,640 --> 00:31:07,200 Jake Hebert and twenty five percent Vegan. So doors open 488 00:31:07,400 --> 00:31:10,279 on the twenty ninth at eleven am uh and then 489 00:31:10,599 --> 00:31:13,160 Saturday also at eleven am, and then Sunday the thirty 490 00:31:13,240 --> 00:31:16,039 first at noon. It is an all ages show and 491 00:31:16,160 --> 00:31:18,640 you can go to vices Fest twenty twenty three dot 492 00:31:18,759 --> 00:31:22,759 event brite dot com to get the tickets directly there, 493 00:31:22,920 --> 00:31:27,279 or just go to vices fest dot com and vice 494 00:31:27,319 --> 00:31:29,680 Fest twenty twenty five. So Jenny and I were invited, 495 00:31:29,720 --> 00:31:31,799 but it's hard to already get away for a three 496 00:31:31,880 --> 00:31:34,759 day festival with all of our other commitments like this 497 00:31:34,920 --> 00:31:38,119 radio show for example. So but but we we do 498 00:31:38,200 --> 00:31:40,680 support what they're uh, what they're doing. Oh and I 499 00:31:40,720 --> 00:31:42,599 didn't realize this earlier too. There's also going to be 500 00:31:42,640 --> 00:31:47,119 stand up comedy between sets provided by Jen Rose, So 501 00:31:47,440 --> 00:31:50,960 comedian Jen Rose will be there too. That sounds fun. Yeah, yeah, 502 00:31:51,160 --> 00:31:52,960 so I'm sure they'll I'm sure they'll have a very 503 00:31:53,000 --> 00:31:55,960 successful event. So yeah, that's a big commitment to three days. 504 00:31:56,680 --> 00:32:00,599 Oh boy. So speaking of events and ticket prices and 505 00:32:00,839 --> 00:32:02,680 you know, we actually we kind of mentioned that we 506 00:32:02,880 --> 00:32:04,400 didn't get into this part of it when we were 507 00:32:04,400 --> 00:32:07,680 talking to Charles about WWE and uh, you know how 508 00:32:07,720 --> 00:32:10,119 expensive it is with all the streaming services and everything, 509 00:32:10,160 --> 00:32:13,680 but also ticket price is very expensive. And of course 510 00:32:13,720 --> 00:32:17,200 when you buy tickets to go to a WW event, 511 00:32:17,279 --> 00:32:19,200 you're going to be buying them through you know, Live 512 00:32:19,319 --> 00:32:22,799 Nation slash Ticketmaster. There is some news now we've talked 513 00:32:22,839 --> 00:32:25,720 a lot about over the past couple of years on 514 00:32:25,839 --> 00:32:31,319 the show about tickets and ticket prices and how you know, 515 00:32:31,400 --> 00:32:34,599 the monopoly that Live Nation has on ticket prices and 516 00:32:34,640 --> 00:32:37,839 how expensive it is getting has become uh to go 517 00:32:37,960 --> 00:32:41,200 see live shows digital Music News has a story up. 518 00:32:41,359 --> 00:32:46,640 Major law firms seek class certification in Live Nation Ticketmaster suit. 519 00:32:47,200 --> 00:32:51,039 Uh say, the companies used their decade plus monopoly to 520 00:32:51,279 --> 00:32:55,920 raise prices, and of course that is nothing new. Everybody 521 00:32:55,960 --> 00:32:58,160 in the industry knows that that goes on. It's very, 522 00:32:58,279 --> 00:33:03,200 very difficult to compete with Live Nation slash Ticketmaster. You know, 523 00:33:03,279 --> 00:33:05,960 it's the same company. The two names are interchangeable, and 524 00:33:06,279 --> 00:33:09,440 when whenever anyone has tried, they haven't gotten very far. 525 00:33:09,559 --> 00:33:12,279 I still remember, Jesus goes back a long time now, 526 00:33:12,400 --> 00:33:14,960 But remember when Pearl Jam tried it, yep, and they 527 00:33:15,039 --> 00:33:16,839 started working with I don't even remember the name of 528 00:33:16,880 --> 00:33:18,640 the company they were working with, but they started working 529 00:33:18,680 --> 00:33:22,319 with a different company I cannot remember. I can't remember either, 530 00:33:22,480 --> 00:33:24,839 but you know, and they went and they testified before Congress. 531 00:33:24,920 --> 00:33:27,640 A couple of the members testified before Congress about the matter. 532 00:33:27,960 --> 00:33:32,680 But uh, the issue that they ran into was not 533 00:33:32,920 --> 00:33:36,240 only they tried to use a different ticketing service. Not 534 00:33:36,559 --> 00:33:40,680 only though does part of why Live Nation is able 535 00:33:40,759 --> 00:33:44,920 to maintain their stranglehold on all of this is because 536 00:33:45,440 --> 00:33:50,680 they don't just control the ticketing process, but they also 537 00:33:50,759 --> 00:33:53,640 control a lot of a lot of these buildings. So 538 00:33:54,440 --> 00:33:56,759 if you say, and by the way, this was pre merger, 539 00:33:56,880 --> 00:34:00,000 but if you are you know, even a band is popular, 540 00:34:00,279 --> 00:34:02,480 is Pearl Jam at that time? You know, this was 541 00:34:02,559 --> 00:34:04,640 back in the nineties when this happened. If you decide, 542 00:34:04,680 --> 00:34:06,759 you know, you're gonna flip the bird Ticketmaster and say 543 00:34:06,799 --> 00:34:09,480 we're gonna do this without you, you've still got the 544 00:34:09,559 --> 00:34:12,880 problem of they not only control the ticketing process, they 545 00:34:12,960 --> 00:34:17,400 control the buildings. They have exclusive relationships with these promoters, 546 00:34:17,719 --> 00:34:20,760 or even if they don't have exclusive relationships on paper. 547 00:34:21,639 --> 00:34:24,800 You know, if you're a promoter, you do not want 548 00:34:24,960 --> 00:34:29,199 to do something that's going to anger this organization, in 549 00:34:29,280 --> 00:34:32,679 this case Ticketmaster, that you depend on, that you have 550 00:34:32,880 --> 00:34:36,639 to work with, by suddenly you're putting on shows working 551 00:34:36,760 --> 00:34:40,599 with this other company. So Pearl Jam ended up. They 552 00:34:40,639 --> 00:34:42,719 had to finally give up, They had to give up 553 00:34:42,760 --> 00:34:45,039 on the whole thing because and just go back to 554 00:34:45,119 --> 00:34:48,199 working with Ticketmaster because they were running into a problem. 555 00:34:48,800 --> 00:34:53,280 Not only was it you know, they're using this this 556 00:34:53,440 --> 00:34:57,559 small sort of upstart company to sell their tickets, but 557 00:34:58,320 --> 00:35:01,440 there's venues, all these venues they say suddenly can't play yep, 558 00:35:01,719 --> 00:35:06,079 because Ticketmaster controls the venues. So it's very difficult to 559 00:35:06,199 --> 00:35:10,679 break this monopoly and to break through. So here's what's 560 00:35:10,719 --> 00:35:13,000 happening now. This is the latest. This story just went 561 00:35:13,079 --> 00:35:15,960 up yesterday on Digitalmusicnews dot com, which is a great 562 00:35:16,000 --> 00:35:18,960 site by the way, if you're interested in this subjector 563 00:35:19,159 --> 00:35:22,119 or anything involving the music industry. Major law firms are 564 00:35:22,159 --> 00:35:24,760 once again pushing for class certification in a high stakes 565 00:35:24,840 --> 00:35:29,639 lawsuit centering on the alleged anti competitive business practices of 566 00:35:29,840 --> 00:35:34,480 Live Nation and its Ticketmasters subsidiary. Let's see it says 567 00:35:34,519 --> 00:35:40,480 here attorneys with Quinn, Emanuel, Erkhart, and Sullivan. That's a 568 00:35:40,559 --> 00:35:46,039 mouthful as well as Keller Postman just recently asked the 569 00:35:46,159 --> 00:35:50,000 court for class certification in the complaint, which technically dates 570 00:35:50,039 --> 00:35:52,159 back to twenty twenty two. And I think we've talked 571 00:35:52,159 --> 00:35:54,599 about this case specifically on the show. So back in 572 00:35:54,679 --> 00:35:57,639 the twenty twenty two action, the plaintiffs maintained that Live 573 00:35:57,800 --> 00:36:02,519 Nation and Ticketmaster had since updated their arbitration agreement in 574 00:36:02,639 --> 00:36:07,840 ways that renders it unenforceable. Okay. Next part of this 575 00:36:08,719 --> 00:36:11,639 fast forward passed multiple twists and turns to October twenty 576 00:36:11,679 --> 00:36:15,519 twenty four, when the Ninth Circuit then upheld a District 577 00:36:15,559 --> 00:36:19,639 Court ruling rejecting Ticketmaster's attempt to compel arbitration via quote 578 00:36:20,119 --> 00:36:24,159 an arbitrator employed by a newly created entity, new era 579 00:36:24,320 --> 00:36:29,360 ADR using novel and unusual expedited mass arbitration procedures unquote, 580 00:36:29,880 --> 00:36:32,679 letting the October ruling summary take the wheel in the 581 00:36:32,760 --> 00:36:37,400 interest of brevity. The relevant quote panel held that the 582 00:36:37,559 --> 00:36:41,159 delegation clause of the arbitration agreement and the arbitration agreement 583 00:36:41,199 --> 00:36:46,039 as a whole were unconscionable and unenforceable under California law unquote. 584 00:36:47,480 --> 00:36:49,920 For this will all make sense eventually, we just got 585 00:36:50,039 --> 00:36:52,320 to get to it, okay. So for a company Live 586 00:36:52,440 --> 00:36:54,320 Nation in this case that's face and is facing a 587 00:36:54,400 --> 00:36:57,960 number of suits from ticked off consumers, the development was, 588 00:36:58,079 --> 00:37:00,719 of course significant. The promoter moved forward with a Supreme 589 00:37:00,760 --> 00:37:05,039 Court petition as well, with Live Nations slash Ticketmaster lacking 590 00:37:05,119 --> 00:37:08,239 quote the shield of an enforceable arbitration agreement unquote. The 591 00:37:08,320 --> 00:37:10,519 Columbia Law Journal of the Arts summed up quote it 592 00:37:10,559 --> 00:37:13,800 seems the plaintiffs are free to bring their antitrust case unquote. 593 00:37:14,559 --> 00:37:18,000 Speaker 19: So just to clarify for people too, a class certification 594 00:37:18,760 --> 00:37:23,000 is a legal step that comes before the actual class 595 00:37:23,079 --> 00:37:26,480 action lawsuit. It's when you go to court and you 596 00:37:26,679 --> 00:37:29,679 prove to the court that you've got numerous people, that 597 00:37:30,000 --> 00:37:34,239 there's commonality between it all, that there's adequate representation, that 598 00:37:34,360 --> 00:37:37,559 you meet all of the essential parts to go forward 599 00:37:37,639 --> 00:37:40,239 with a class astion lawsuit. So this is a critical 600 00:37:40,280 --> 00:37:40,480 for a. 601 00:37:40,559 --> 00:37:48,480 Speaker 8: Step, right right, let's see. Okay, the next part of 602 00:37:48,559 --> 00:37:51,679 this enter the initially mentioned attempt to secure class certification, 603 00:37:52,280 --> 00:37:54,480 with a related hearing schedule to take place on the 604 00:37:54,519 --> 00:37:58,320 morning of December fourth, so closer to the present. The 605 00:37:58,440 --> 00:38:04,440 filing largely recaps the alleged consumer harm resulting from the 606 00:38:04,559 --> 00:38:07,559 practices of Live Nation and Ticketmaster. Okay, this gets to 607 00:38:07,639 --> 00:38:11,599 the heart of the matter. Admittedly, as recent years have 608 00:38:11,760 --> 00:38:15,119 delivered more than a few qualms with and suits against 609 00:38:15,440 --> 00:38:19,400 the defendants, not to mention an ongoing doj antitrust action 610 00:38:19,880 --> 00:38:23,199 looking to split ticket Master from Live Nation, the underlying 611 00:38:23,320 --> 00:38:26,920 arguments don't exactly break new ground. The legal text reads, 612 00:38:26,960 --> 00:38:31,400 in part quote to backstop their exclusive dealing, defendants have 613 00:38:31,599 --> 00:38:37,039 leveraged their dominance in concert promotion to coerce venues. This 614 00:38:37,199 --> 00:38:39,239 is what I was referring to earlier. This is a 615 00:38:39,559 --> 00:38:43,800 problem Pearl Jam ran into to coerce venues into exclusive 616 00:38:43,880 --> 00:38:50,079 ticketing deals with Ticketmaster. Major venues rely on concert promoters 617 00:38:50,159 --> 00:38:54,400 to rent their space and sell tickets. Defendants exploit this 618 00:38:54,679 --> 00:38:59,920 dependence by tying Ticketmaster services to Live Nation promoted conscer. 619 00:39:00,119 --> 00:39:03,719 It's unquote. I mean, look, let's call it what it is. 620 00:39:03,960 --> 00:39:08,679 They own. They own the concert industry. They own, they 621 00:39:08,760 --> 00:39:10,480 own it, and that's the problem. 622 00:39:10,719 --> 00:39:14,960 Speaker 19: Yeah, and then that translates into these enormous ticket prices. 623 00:39:16,280 --> 00:39:19,559 I mentioned it earlier. The artist young Blood, he there's 624 00:39:19,559 --> 00:39:23,159 an interview out there with him talking about how ridiculous 625 00:39:23,760 --> 00:39:26,559 prices are and how he was really freaked out when 626 00:39:26,599 --> 00:39:28,880 he found out that people who were getting up front 627 00:39:28,920 --> 00:39:32,880 were paying three hundred dollars a ticket yeah to see him, 628 00:39:32,880 --> 00:39:35,400 and he thought that was really grotesque. And a lot 629 00:39:35,440 --> 00:39:37,800 of artists do. But they're stuck between a rock and 630 00:39:37,840 --> 00:39:40,039 a hard place. You want to go to, you want 631 00:39:40,079 --> 00:39:42,039 to do a concert, you gotta have a venue. And 632 00:39:42,119 --> 00:39:45,880 if the venues got the exclusivity contract with Ticketmaster to 633 00:39:45,960 --> 00:39:48,480 do all the ticket sales, you can't do anything. 634 00:39:49,119 --> 00:39:50,920 Speaker 8: And even if there is no agreement, even if there 635 00:39:51,000 --> 00:39:55,559 is no exclusivity agreement, they're still going to lean on you, right, 636 00:39:55,639 --> 00:39:56,119 you know what I mean. 637 00:39:56,199 --> 00:39:58,119 Speaker 19: And if that's where the venue is going anyway, like 638 00:39:58,199 --> 00:40:01,119 that's where they're doing it. And it probably simplicity they have. 639 00:40:01,360 --> 00:40:04,280 It's easier to put a concert up and sell the 640 00:40:04,360 --> 00:40:07,480 tickets through them than it is for the individual venues 641 00:40:07,559 --> 00:40:10,719 to do it themselves, which requires more employees or what 642 00:40:10,880 --> 00:40:14,400 have you. So, yeah, they've used to be venues told 643 00:40:14,559 --> 00:40:19,119 sold their own tickets years ago. Yeah, years and years ago, 644 00:40:19,599 --> 00:40:22,440 But now that's completely pretty much unheard of. You you 645 00:40:22,960 --> 00:40:25,199 got to go to a ticket math where else do 646 00:40:25,239 --> 00:40:26,039 you go to get a ticket? 647 00:40:26,360 --> 00:40:28,599 Speaker 8: I mean for small for you know, if you're a 648 00:40:28,639 --> 00:40:30,920 small promoter like so so for example, we were just 649 00:40:30,960 --> 00:40:33,320 talking about vices Fest. You know, you go to you 650 00:40:33,400 --> 00:40:36,559 go to the vice's best website and you can buy tickets, 651 00:40:36,920 --> 00:40:38,719 but you know through you know, because you do have 652 00:40:38,800 --> 00:40:41,840 services like event right and so forth. But but if 653 00:40:41,880 --> 00:40:42,639 you're if. 654 00:40:42,639 --> 00:40:45,360 Speaker 19: You're a venue that doesn't put a requirement. 655 00:40:44,800 --> 00:40:47,719 Speaker 8: On them, how the ticket right, it's the Strand and Dover, 656 00:40:47,840 --> 00:40:50,679 it's not a you know, it's not an arena. But 657 00:40:50,760 --> 00:40:53,079 if you're in an arena or even even a lot 658 00:40:53,159 --> 00:40:55,840 of theaters, you know, this is this is what you're 659 00:40:55,880 --> 00:41:00,800 dealing with, It says here. Ultimately, this alleged misconduct class 660 00:41:00,920 --> 00:41:04,320 members those who bought tickets in or after twenty ten 661 00:41:04,400 --> 00:41:08,119 and therefore coughed up quote associated primary ticketing fees for 662 00:41:08,159 --> 00:41:11,000 an event at a major concert venue unquote, to pay 663 00:41:11,119 --> 00:41:14,239 more than they would have in a competitive market. Per 664 00:41:14,360 --> 00:41:18,559 the document, Live Nation and Ticketmaster quote used their decade 665 00:41:18,559 --> 00:41:23,039 plus monopoly to raise prices, stifle competition, and output into 666 00:41:23,079 --> 00:41:27,239 grade service quality by squashing rivals and innovation impacts that 667 00:41:27,519 --> 00:41:31,519 each class member felt unquote. The filing says, can. 668 00:41:31,480 --> 00:41:34,559 Speaker 19: We say grotesque greed again? It's the theme of the day. 669 00:41:34,840 --> 00:41:37,639 Oh yeah, oh yeah, gro tesque greed. That's what it like. 670 00:41:37,719 --> 00:41:41,039 They're not happy making money. They got to really take 671 00:41:41,119 --> 00:41:44,360 every dime out of the person's pocket that they can get. Well, 672 00:41:44,480 --> 00:41:48,360 it's it's sad, and it also disenfranchises so many people 673 00:41:48,400 --> 00:41:51,679 from being able to see artists. Because you get spent 674 00:41:51,719 --> 00:41:53,800 three hundred dollars on the ticket, it's gonna cost you 675 00:41:53,800 --> 00:41:56,840 two hudred dollars for groceries for the week. So yeah, 676 00:41:56,920 --> 00:41:59,800 you don't really have three hundred discs laying around for 677 00:41:59,840 --> 00:42:04,719 the average Joe, The average working man is getting the 678 00:42:04,800 --> 00:42:07,400 shaft on being able to go to concerts unless they 679 00:42:07,440 --> 00:42:09,920 play for Nosebleeder Sea. It's you know, you get your 680 00:42:09,920 --> 00:42:13,400 fifty bucks set up in the mesona behind a poll. 681 00:42:13,719 --> 00:42:15,360 You can't see anything, but you can hear it. 682 00:42:15,760 --> 00:42:15,880 Speaker 9: Right. 683 00:42:17,079 --> 00:42:21,519 Speaker 19: Yeah, it's not about quality for the customer anymore. 684 00:42:21,280 --> 00:42:21,400 Speaker 16: Is it. 685 00:42:22,519 --> 00:42:24,679 Speaker 8: It also says here it'll be worth noting. I'm sorry, 686 00:42:24,719 --> 00:42:27,159 it'll be worth tracking the push for class certification moving 687 00:42:27,199 --> 00:42:30,039 forward right now. Discovery is ongoing and the plaintiff's council 688 00:42:30,119 --> 00:42:33,679 reiterated plans to prove their arguments with, among other things, 689 00:42:33,760 --> 00:42:38,840 testimony from Live Nation, ticketmaster competitors, and market participants to boot. 690 00:42:39,519 --> 00:42:44,159 So that is from Digitalmusic News dot com. So that's 691 00:42:44,199 --> 00:42:47,559 where that stands. But there's another element here. This is 692 00:42:47,639 --> 00:42:51,159 from hypebot dot com, another site that has a lot 693 00:42:51,199 --> 00:42:53,440 of industry related news on it that's very interesting. So, 694 00:42:55,039 --> 00:42:58,639 and this just went up. This just went up a 695 00:42:59,239 --> 00:43:05,000 last couple days. Could state attorneys general use RICO to 696 00:43:05,239 --> 00:43:10,000 stop ticket scalpers and bots? Now the reason so part 697 00:43:10,039 --> 00:43:11,920 of what and the other article didn't get into this 698 00:43:12,000 --> 00:43:13,320 part of it, but part of what is so in 699 00:43:13,400 --> 00:43:15,039 city and we've talked about this on the show. Part 700 00:43:15,039 --> 00:43:17,920 of what is so insidious about the ticketing business is 701 00:43:18,000 --> 00:43:23,719 how is the secondary market and how so? And there's 702 00:43:23,960 --> 00:43:27,880 multi levels to this. But part of how that works 703 00:43:28,000 --> 00:43:32,840 is scalpers buy up these tickets and then resell them 704 00:43:32,920 --> 00:43:37,719 on their own sites ridiculous prices, right right. So so 705 00:43:37,920 --> 00:43:39,719 now you can't get so now the show has sold 706 00:43:39,719 --> 00:43:43,639 out through Ticketmaster, but now you can get it at 707 00:43:43,639 --> 00:43:45,960 a much higher price on one of these secondary sites. 708 00:43:46,400 --> 00:43:49,159 But here's the kicker. Some of these secondary sites are 709 00:43:49,320 --> 00:43:52,280 literally they're actually owned by Live Nation. 710 00:43:52,679 --> 00:43:53,559 Speaker 19: Stop it really. 711 00:43:53,760 --> 00:43:57,079 Speaker 8: Yeah, we've talked about that on the show before. Oh yeah, yeah, 712 00:43:57,760 --> 00:44:01,360 that's how that's how much they've rigged the game legal, 713 00:44:02,039 --> 00:44:04,760 you know, until the Justice Department says they can't do 714 00:44:04,840 --> 00:44:09,920 it anymore. No, it's it's all. It's all legal U 715 00:44:10,719 --> 00:44:13,800 at least for now. So so this story is also 716 00:44:13,960 --> 00:44:17,239 interesting because it talks about scalpers and bots. So again 717 00:44:17,320 --> 00:44:20,239 this is from Hypebot. The Federal Trade Commission has filed 718 00:44:20,280 --> 00:44:26,119 the lawsuit in federal Court UH in Maryland against Key 719 00:44:26,320 --> 00:44:32,000 Investment Group, a ticket reseller operating under names like epic Seats, 720 00:44:32,239 --> 00:44:36,719 total tickets, dot Com, and totally Ticks. The FTC alleges 721 00:44:36,840 --> 00:44:40,519 that between November one, twenty twenty two, and December thirtieth, 722 00:44:40,599 --> 00:44:45,400 twenty twenty three, the company used thousands of fictitious or 723 00:44:45,719 --> 00:44:52,280 purchased Ticketmaster accounts, along with spoofed IP addresses, proxy networks, 724 00:44:52,599 --> 00:44:58,719 virtual credit cards, and simbach setups to evade purchasing limits 725 00:44:59,039 --> 00:45:03,440 on high demand events, including and we definitely talked about this, 726 00:45:03,840 --> 00:45:08,280 including Taylor Swift's eras tour. Oh yeah, remember all the 727 00:45:08,360 --> 00:45:13,239 controverts remember that now? Yep? Yep. All together the defendants 728 00:45:13,360 --> 00:45:18,000 purchased three hundred seventy nine thousand, seven hundred and seventy 729 00:45:18,039 --> 00:45:21,679 six tickets at a cost of nearly fifty seven million, 730 00:45:22,400 --> 00:45:27,519 reselling many for approximately sixty four million. Notably, two hundred 731 00:45:27,559 --> 00:45:31,119 seventy three tickets for one Swift concert were acquired via 732 00:45:31,320 --> 00:45:36,119 forty nine different accounts, far exceeding the sixth ticket per 733 00:45:36,320 --> 00:45:39,679 event limit. And by the way, just some quick math. 734 00:45:39,719 --> 00:45:41,920 I'm not good at math, but that's that's what a 735 00:45:42,000 --> 00:45:43,440 seven million dollar profit. 736 00:45:43,880 --> 00:45:47,000 Speaker 19: Us ruin music for everybody else. 737 00:45:47,199 --> 00:45:52,960 Speaker 8: Yep. The FTC alleges violations of both the Better Online 738 00:45:53,039 --> 00:45:59,039 Ticket Sales Act or BOTS, which prohibits circumventing online ticketing 739 00:45:59,119 --> 00:46:03,400 controls and the broader FTC Act prohibiting unfair or deceptive 740 00:46:03,519 --> 00:46:07,119 business practices. Key Investment Group's defenses are likely to be 741 00:46:07,239 --> 00:46:11,760 that the company employs human buyers, not bots, and therefore 742 00:46:11,840 --> 00:46:14,800 the FDC is misapplying the Bots Act, and that the 743 00:46:14,880 --> 00:46:19,280 lawsuit risks dismantling the secondary ticket market and ending competition 744 00:46:19,639 --> 00:46:26,119 benefiting only major corporate players. Now so I'm guessing then, 745 00:46:26,239 --> 00:46:29,199 So what that means is so Key Investments Group defense 746 00:46:29,280 --> 00:46:33,920 will be, well, you know these fictitious accounts, these are 747 00:46:33,960 --> 00:46:37,480 actual human beings operating the fictitious accounts, therefore is not 748 00:46:37,599 --> 00:46:42,559 covered by the Bots Act. That'll be their defense. Let's 749 00:46:42,559 --> 00:46:46,760 see the loophole. Yeah, a loophole exactly. The case is 750 00:46:46,800 --> 00:46:50,039 part of an expanded federal court federal effort rather spurred 751 00:46:50,079 --> 00:46:53,320 by an executive order from March twenty twenty five, issued 752 00:46:53,639 --> 00:46:57,199 after President Trump met with kid Rock to promote transparency 753 00:46:57,239 --> 00:47:00,679 and fairness in ticket resale markets and to curb predatory 754 00:47:00,760 --> 00:47:04,079 resale tactics. Well that's something I support a blind dog, 755 00:47:04,840 --> 00:47:08,880 that's right. The FTC's action reflects growing regulatory scrutiny of 756 00:47:09,000 --> 00:47:14,159 ticketing practices that disadvantages ordinary consumers at both the federal 757 00:47:14,280 --> 00:47:18,000 and state levels. Recall that the authors of the Obama 758 00:47:18,159 --> 00:47:22,159 era Bots Act were recently complaining that the FTC had 759 00:47:22,280 --> 00:47:26,559 rarely enforced that law. It seems unlikely that the FTC's 760 00:47:26,639 --> 00:47:29,719 enforcement action against Key Investment Group would have occurred without 761 00:47:29,719 --> 00:47:33,880 the broader policy momentum catalyzed by President Trump's executive Order 762 00:47:33,960 --> 00:47:38,519 targeting ticket scalping and abusive resale practices. That order directed 763 00:47:38,760 --> 00:47:43,280 federal agencies, including the FTCN, DOJ, to prioritize investigations and 764 00:47:43,440 --> 00:47:47,360 enforcement actions addressing deceptive or anti competitive conduct in the 765 00:47:47,440 --> 00:47:51,000 live events and ticketing industries. The executive like what you 766 00:47:51,000 --> 00:47:54,480 said about a blind dog or a broken clock. The 767 00:47:54,599 --> 00:47:59,360 executive order was followed by public consultation processes jointly initiated 768 00:47:59,400 --> 00:48:02,079 by the DOJ and FDC to gather information on how 769 00:48:02,119 --> 00:48:06,519 ticket resellers were impacting consumer access and market fairness. These 770 00:48:06,639 --> 00:48:10,800 actions created a clear regulatory mandate to pursue high profile 771 00:48:10,880 --> 00:48:16,840 investigations like the one brought against Key Investment Group. I 772 00:48:16,840 --> 00:48:18,239 don't know if we have time to get through all 773 00:48:18,280 --> 00:48:20,079 of this just a little bit more. We don't have 774 00:48:20,119 --> 00:48:21,800 to think to go through the whole thing, but so 775 00:48:21,920 --> 00:48:24,159 the elements of a recocase. So how does this become 776 00:48:24,199 --> 00:48:29,920 a recocase racketeering? If the FTC case sounds like racketeering, 777 00:48:30,159 --> 00:48:35,480 that's because it is. To make a reco case, Federal 778 00:48:35,679 --> 00:48:41,480 or state prosecutors must show one enterprise a structured association 779 00:48:41,719 --> 00:48:46,239 formal or informal, two pattern of racketeering activity, at least 780 00:48:46,239 --> 00:48:50,559 two participate I'm sorry, at least two predicate crimes within 781 00:48:50,679 --> 00:48:56,159 ten years, Three predicate acts crimes like wire fraud, mail fraud, 782 00:48:56,239 --> 00:49:00,880 computer fraud, access device fraud, or identity theft. And continuity 783 00:49:01,280 --> 00:49:05,480 conduct that is ongoing or opposes a threat of continuing harm. 784 00:49:06,159 --> 00:49:10,440 The FDC's complaint practically hands this up on a silver platter, 785 00:49:10,960 --> 00:49:15,920 multiple interlocking LLCs. You've got Key Investment Group, Total Tickets, 786 00:49:15,960 --> 00:49:20,840 dot Com totally takes front Rows Tickets, WLKE Investments plus 787 00:49:20,960 --> 00:49:25,000 individual managers provide the enterprise. The use of fake accounts, bots, 788 00:49:25,039 --> 00:49:29,639 and deceptive transactions can likely be recast as wire fraud 789 00:49:30,039 --> 00:49:35,639 and computer fraud. The classic reco predicates, and the continuity 790 00:49:35,760 --> 00:49:39,599 is obvious. The complaint says the conduct has persisted from 791 00:49:39,639 --> 00:49:48,920 twenty sixteen through today. So I'm gonna kind of skip 792 00:49:49,039 --> 00:49:52,800 down here. Because we're running out of time. The FDC's 793 00:49:52,840 --> 00:49:56,400 complaint seeks civil penalties and injunctions, but a state recoaction 794 00:49:56,559 --> 00:50:01,400 could carry treble damages, asset forfeitures, and potentially criminal exposure. 795 00:50:01,599 --> 00:50:04,559 That shift in remedies would change the incentives dramatically for 796 00:50:04,760 --> 00:50:07,679 defendants who have so far treated civil finds as a 797 00:50:07,840 --> 00:50:11,840 cost of doing business, and beyond punishment, it would send 798 00:50:11,920 --> 00:50:16,800 a signal ticket bodying isn't just unfair, it's racketeering. So 799 00:50:16,880 --> 00:50:18,320 there's more to the article. We don't have time to 800 00:50:18,360 --> 00:50:19,719 get through the rest of it, but I encourage you 801 00:50:19,800 --> 00:50:23,559 to check out hypebot dot com. Very interesting. And that is, 802 00:50:23,679 --> 00:50:25,719 by the way, how a lot of businesses get around things. 803 00:50:25,880 --> 00:50:30,880 Like you know, if something is is uh illegal but 804 00:50:31,039 --> 00:50:39,320 not necessarily a crime, but just there are potential fines involved. Yeah, 805 00:50:39,440 --> 00:50:41,559 you can say, okay, well that's the cost of doing 806 00:50:41,639 --> 00:50:44,599 business if I have to pay this fine, but the 807 00:50:44,719 --> 00:50:48,119 fine is well, that's the thing. It's like a tax 808 00:50:48,199 --> 00:50:51,719 to them exactly if the fine is say okay, I 809 00:50:51,840 --> 00:50:54,039 got to pay this two hundred thousand dollars fine, but 810 00:50:54,119 --> 00:50:56,960 I made but I made seven million on the transaction. 811 00:50:57,400 --> 00:50:57,920 Who cares? 812 00:50:58,320 --> 00:50:59,119 Speaker 19: I paid a tax? 813 00:50:59,239 --> 00:51:03,039 Speaker 8: Cost of doing this exactly business that's so terrible. 814 00:51:03,559 --> 00:51:06,599 Speaker 19: So on that note, it's thee all these subsidiaries, it's 815 00:51:06,599 --> 00:51:08,360 all the different versions of themselves. 816 00:51:08,599 --> 00:51:10,639 Speaker 8: Yes, yeah, exactly exactly. 817 00:51:10,800 --> 00:51:12,159 Speaker 19: And healthcare does the same thing. 818 00:51:12,440 --> 00:51:15,039 Speaker 8: Yeah, there you go, there you go. All right, we 819 00:51:15,119 --> 00:51:16,760 got to begin to wrap up. But thank you to 820 00:51:16,800 --> 00:51:18,559 everybody who joined us today. Of course in the first 821 00:51:18,599 --> 00:51:21,639 hour where were joined by scal a great band from 822 00:51:21,639 --> 00:51:24,360 the UK, and the second hour Charles Richardson. Always loved 823 00:51:24,360 --> 00:51:27,360 having Charles on. And in the third hour Linda Avelinda 824 00:51:27,840 --> 00:51:31,840 and her new single Burning Bridges and really enjoyed speaking 825 00:51:31,880 --> 00:51:34,760 with her or Bridges burned. I think actually, if you burned, 826 00:51:34,960 --> 00:51:37,360 I think I'm pardon me. I believe I'm suffering from 827 00:51:37,360 --> 00:51:38,679 adult onset dyslexia. 828 00:51:40,559 --> 00:51:42,679 Speaker 10: So uh. 829 00:51:43,159 --> 00:51:46,280 Speaker 8: Jenny, again, congratulations on the article on Common Dreams. If 830 00:51:46,280 --> 00:51:47,320 you want to mention that again. 831 00:51:47,199 --> 00:51:49,559 Speaker 19: Lei, I am proud to have my first byline on 832 00:51:49,800 --> 00:51:53,039 Common Dreams. You can check out the article on their website. 833 00:51:53,039 --> 00:51:54,960 You can also check me out on my website at 834 00:51:55,039 --> 00:51:57,679 Jencoffee dot com j E. N N C O F 835 00:51:57,840 --> 00:52:01,000 f Ey dot com. And don't forget the mosaic. Our 836 00:52:01,119 --> 00:52:03,800 collective has an open call right now for art for 837 00:52:03,920 --> 00:52:07,719 the Full Circus, Full Circus, Full Circle for the Full 838 00:52:07,800 --> 00:52:11,280 Circle Art Show. The deadline is next week Saturday, so 839 00:52:11,519 --> 00:52:13,519 get your pieces in love to see you on the 840 00:52:13,519 --> 00:52:16,199 our alls. Check out mosaic Arcollective dot com. 841 00:52:17,400 --> 00:52:20,960 Speaker 8: Very good, let's see, And of course you can go 842 00:52:21,000 --> 00:52:23,840 to Gencoffee dot com for more information on Jenny. You 843 00:52:23,880 --> 00:52:26,199 can go to my website Matt Connorton dot com for 844 00:52:26,320 --> 00:52:28,360 more information on me if you want to keep up 845 00:52:28,400 --> 00:52:31,280 with everything I'm doing. I do believe we're doing another 846 00:52:31,400 --> 00:52:36,239 Tough Pumps podcast on Sunday, Eric Pilcher and I and oh, 847 00:52:36,320 --> 00:52:38,000 I should let this out of the bag just quickly. 848 00:52:38,199 --> 00:52:40,440 If you're a fan of Eric Pilcher's classic film reviews, 849 00:52:40,599 --> 00:52:42,880 those are finally coming back, so we'll have more information 850 00:52:42,960 --> 00:52:45,760 about that in the near future as well. All Right, 851 00:52:46,199 --> 00:52:47,719 we gotta wrap up. If you missed any part of 852 00:52:47,719 --> 00:52:49,199 today's show, it will be up in just a little 853 00:52:49,199 --> 00:52:53,280 bit Wmnhradio dot org and of course at my website 854 00:52:53,320 --> 00:52:55,360 Matt Connorton dot com. And that's it for us for now. 855 00:52:55,400 --> 00:52:58,320 Did we forget anything? All right, We'll talk to y'all 856 00:52:58,320 --> 00:52:59,719 a little bit later. Bye everybody, Bye. 857 00:52:59,760 --> 00:52:59,920 Speaker 11: Bye. 858 00:53:03,239 --> 00:53:08,320 Speaker 8: You're listening to macconnorton Unleashed on wm n H ninety 859 00:53:08,400 --> 00:53:12,599 five point three and now the world radio premiere of 860 00:53:12,679 --> 00:53:17,000 the new single from Jersey Calling. This is called working 861 00:53:17,159 --> 00:53:18,000 Class Punk. 862 00:53:23,119 --> 00:53:27,599 Speaker 9: Why me at six am looks like got over? Slept again? 863 00:53:28,480 --> 00:53:30,199 Jun cocky dressing on. 864 00:53:30,400 --> 00:53:35,159 Speaker 5: The door, and and fight traffic at. 865 00:53:35,119 --> 00:53:37,880 Speaker 13: Its worst, swear and God must. 866 00:53:37,760 --> 00:53:41,400 Speaker 5: Be curse join the r resident of Taylor. 867 00:53:42,360 --> 00:53:47,840 Speaker 1: Was screaming sounds. 868 00:53:54,719 --> 00:53:59,679 Speaker 12: Go work, go to work, Go to work, go to work, 869 00:54:00,400 --> 00:54:03,679 work so you can't feel the hurt till it makes 870 00:54:03,760 --> 00:54:04,960 you go berserve. 871 00:54:05,360 --> 00:54:09,400 Speaker 11: Go to work, go to work, go to work, go 872 00:54:09,840 --> 00:54:10,400 to work. 873 00:54:11,519 --> 00:54:13,480 Speaker 13: In the covert, your face. 874 00:54:13,360 --> 00:54:14,480 Speaker 11: Covered in tur. 875 00:54:16,079 --> 00:54:17,119 Speaker 5: Go to work. 876 00:54:21,760 --> 00:54:26,000 Speaker 9: Love bunkiss me a shout says I'm just up, burnt 877 00:54:26,079 --> 00:54:29,800 out my algiance to the Confederations. 878 00:54:29,880 --> 00:54:30,480 Speaker 5: Him down. 879 00:54:31,920 --> 00:54:35,239 Speaker 9: Oh, I say, hey, you're right, old man, flip the 880 00:54:35,519 --> 00:54:37,039 burden of a ramp. 881 00:54:37,440 --> 00:54:40,360 Speaker 5: But there's now as get a taste that hard of 882 00:54:40,440 --> 00:54:41,039 a love. 883 00:54:42,719 --> 00:54:46,840 Speaker 14: That's a res in my own streaming sounds not what 884 00:54:47,079 --> 00:54:51,599 I said, low me trying to It's essential tool. 885 00:54:53,360 --> 00:54:59,280 Speaker 11: Go work, go to work, go to work, go to work, or. 886 00:54:59,360 --> 00:55:02,480 Speaker 13: Till you get feel the hurt till it makes you 887 00:55:02,719 --> 00:55:04,199 go berserve. 888 00:55:04,039 --> 00:55:08,039 Speaker 11: Go to work, Go to work, Go to work, go 889 00:55:08,519 --> 00:55:09,280 to work. 890 00:55:09,840 --> 00:55:12,920 Speaker 13: Head in the closet, your face covered in d. 891 00:55:14,760 --> 00:55:18,440 Speaker 5: Go to work. Three where you keep going RB. 892 00:55:41,480 --> 00:55:45,119 Speaker 13: Yeah, come that bone scream itself. 893 00:55:45,519 --> 00:55:50,320 Speaker 5: But I said, wow, we like to that of tone. 894 00:55:52,039 --> 00:55:56,079 Go to work, Go to work, Go to work, go 895 00:55:56,519 --> 00:55:57,360 to work. 896 00:55:57,760 --> 00:56:01,079 Speaker 13: Work so you can't feel the herd till it makes 897 00:56:01,159 --> 00:56:02,360 you go berserk. 898 00:56:02,719 --> 00:56:07,719 Speaker 1: No work, go to work, go to work, go work. 899 00:56:08,519 --> 00:56:11,320 Speaker 13: Head in the clouds with your face covered in. 900 00:56:13,440 --> 00:56:18,440 Speaker 5: Cou walk out, you work out, you work, go work. 901 00:56:19,119 --> 00:56:21,599 What do you get tall? 902 00:56:21,800 --> 00:56:23,679 Speaker 13: It makes you come beside? 903 00:56:24,039 --> 00:56:29,079 Speaker 5: Go work do what do you work? Go to work? 904 00:56:29,880 --> 00:56:34,800 And I content re comedy to go. 905 00:56:41,079 --> 00:56:48,599 Speaker 20: Work, work, w work yeeh its is Texas Smike And 906 00:56:48,679 --> 00:56:51,960 you're listening to Matt Carrnton on Reach on W M 907 00:56:52,039 --> 00:56:53,880 and H ninety five point three f M. 908 00:56:55,360 --> 00:56:57,199 Speaker 15: You are listening to WU M and H. 909 00:57:01,920 --> 00:57:07,159 Speaker 9: The Commander don't get Supreme Leader mats coming. 910 00:58:26,079 --> 00:58:30,880 Speaker 8: This is Jesse Rutstein and Caleb Dyer. Oh oh no, okay, 911 00:58:30,920 --> 00:58:32,599 we we can. Let's do that one more time. This 912 00:58:32,760 --> 00:58:37,280 is Jesse Rutstein and Caleb Dyer. Oh crap, hold on, 913 00:58:37,400 --> 00:58:38,599 what do you want me to say? Right after that? 914 00:58:39,280 --> 00:58:42,360 From Hatchet Act from and then I'll say you're listening right, 915 00:58:42,519 --> 00:58:45,519 sounds good. This is Jesse Rutstein and oh