Sep 26, 2026 · 28 min · 9 segments
### 🗒️ Episode Notes Rick's unconventional path: engineering degree → corporate tech job → sales → laid off in the dot-com bustThe origin story: selling Space Invaders T-shirts at Portobello Market…
The... what you were explaining to me when you first came on was actually super interesting like the licensing licensing for movies licensing for you mentioned brands like uh well bands actually like lincoln park from lincoln park to stranger things i mean
heck does somebody get involved with some of these major i mean like that's not even like
i wasn't even sure where to go from that when you brought those up you noticed i was quiet but i wanted to bring it back up on the show i mean tell us like what that experience was like and how you even managed to get those kinds of Connects.
So in terms of how the licensing industry works, it's very corporate, as you'd imagine.
If you're dealing with a Disney or Warner Brothers or Netflix, they're massive juggernaut businesses, big movie releases.
And you've got to go through the corporate method, let's say, of pitching a business plan to show them how you're going to make them a lot of money with their intellectual property.
If you look at the music side of things, Ken, it's more of a maverick relationship.
But it's much more of a relationship based trading relationship where you go to them with an opportunity and they decide if they want to let you run with it or not.
So you're operating really across the realms of very big corporates to handshake some relationships to land their IP and product into retail.
that's a good it's a good question i mean i think where we don't want to get you in trouble you know what i mean if it's bad no no no
The... what you were explaining to me when you first came on was actually super interesting like the licensing licensing for movies licensing for you mentioned brands like uh well bands actually like lincoln park from lincoln park to stranger things i mean
heck does somebody get involved with some of these major i mean like that's not even like
i wasn't even sure where to go from that when you brought those up you noticed i was quiet but i wanted to bring it back up on the show i mean tell us like what that experience was like and how you even managed to get those kinds of Connects.
So in terms of how the licensing industry works, it's very corporate, as you'd imagine.
If you're dealing with a Disney or Warner Brothers or Netflix, they're massive juggernaut businesses, big movie releases.
And you've got to go through the corporate method, let's say, of pitching a business plan to show them how you're going to make them a lot of money with their intellectual property.
If you look at the music side of things, Ken, it's more of a maverick relationship.
But it's much more of a relationship based trading relationship where you go to them with an opportunity and they decide if they want to let you run with it or not.
So you're operating really across the realms of very big corporates to handshake some relationships to land their IP and product into retail.
that's a good it's a good question i mean i think where we don't want to get you in trouble you know what i mean if it's bad no no no
The rest of this transcript — segmented and speaker-labeled, so you land on the exact moment something was said
Search every transcript — by keyword, by phrase, or by meaning, across every show Radar indexes
Trends — what is surging across podcasts, measured against its own baseline
Alerts — when a name you follow appears in a newly indexed episode
No account is needed to search Radar.
