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- [00:05]
A
I'm Dan Runcy. Welcome to Trap Ital. Today the conversation is about Jay z Younghov, the 56 year old billionaire who in his words has been on offense this year. Three straight shows at Yankee Stadium, including a last show on the final day that caused four hour delay worth of logistical challenges given the heightened demand for the event. Jay Z also headlined the Roots picnic where with the hair float and everything was not shy to call out the people he had issues with. Jay Z also re released Reasonable doubt on the 30th anniversary of that album. He did a sit down interview with GQ and he rarely does interviews like that anymore. And oh how can we forget he cut his hair. And anytime an artist is cutting their hair, you know something big is coming. But one thing was notable, we didn't hear as much on the new business front, especially considering how the 2010s for Jay Z was all about new business partnerships. Whether it was him buying and selling Ace of Spades, partnerships with Roc Nation and others, investments into early stage and later stage startup companies. Is that going to be something that we hear about on offense moving forward from Jay Z? Well, to break down Jay Z's moves, I'm joined by my guy Justin Tinsley. You may be familiar with Justin through ESPN where he works and he is a contributor on several of their shows. You may also be familiar with his writing on Andscape. After the segment with Justin, you'll also hear a bold prediction leading up to our trapital summit with the founder and CEO of Symphonic Distribution, Jorge Brea. Really fun episode and I hope you enjoy it as much as we did. Here's my conversation with Justin. This episode of trapital is presented by Symphonic, which recently launched next. Their new initiative focused on catalog acquisitions, royalty advances and indie artist financing. As the needs of independent artists and labels evolve, so does Symphonic. With next, they're creating new pathways to capital and strategic partnerships, giving their clients the flexibility to grow, invest and scale on their terms. According to Symphonix CEO Jose Brea, NEXT is designed to be flexible across a wide range of opportunities, typically supporting transactions from catalogs generating around $25,000 in the last 12 months of earnings, up to larger multi million dollar acquisitions depending on the opportunity. To learn more, click the link in our show notes to read more about next. All right, we are here to talk about Jay Z and this run that he's been on in 2026 and we're with ESPN's Justin Tinsley. Welcome to the show bro.
- [02:45]
B
Hey man, it's always a pleasure Talking to you. Always have conversations with you, and I always leave feeling smarter. So I'm really looking forward to this conversation. We got a lot to unpack, and thank you for having me on, bro.
- [02:57]
A
No, well, I appreciate you, man. The feelings, mutual. Talking about Jay Z and all of the various angles has been something that you and I both do. You were recently at his Yankee Stadium shows. I believe you're at the Blueprint show. So what were your initial thoughts?
- [03:12]
B
Man, it was. It was surreal. I went into it knowing and understanding and was really excited to write about what that moment would feel like in Yankee Stadium. Because Yankee Stadium is one of those places where you don't have to be a baseball aficionado. You don't even really have to care about baseball. You understand the lore that comes with Yankee Stadium. I understood the history of Jay Z and what his music meant to that city. And as I've told People, for me personally, the Blueprint is my favorite Jay Z album of all time. So to hear some of those songs, to hear song cry, to hear the crowd singing the hook to Heart of the City, and you realize, and again, you're in Yankee Stadium. It's one of those moments that give you goosebumps. Bringing Eminem out for Renegade. I know people say this all the time, Dan, but the stadium was literally vibrating like my seat was moving. Because if you're. If he's doing Renegade, you knew Eminem was coming out. He's not gonna do Renegade without Eminem. You know, you're not gonna get these moments to see Jay Z perform live in a venue like Yankee Stadium many more times, if ever again.
- [04:24]
A
Right? You never know when it's promised because he doesn't regularly go there. The only other times I could think of is when him and Eminem had done that home and home tour in 2013. Him and Justin Timberlake had did that one. So this is really only the third show. But it's also fascinating to think about how much has changed in how we view Jay Z, how we talk about Jay Z, and even how he's moved in even since that show with Justin Timberlake, how he carries himself, what his ideals are. And even now that he's much richer, attained more wealth, he feels so much more both defensive and on the offense, too. This is definitely a different Jay Z than it was the last time he was at Yankee Stadium.
- [05:04]
B
I mean, his life is categorically different. The last time he was at. At Yankee Stadium, I believe Blue was still a toddler. The twins hadn't even been born. Yet when you look at 2026, and I know in the GQ article, which probably the biggest music journalism article of the year or it will be, he talked about 2026 being about all offense. And what I've taken from that is, yes, there are so many conversations to be had about Jay Z, but he wanted this year to be about the music. He wanted this year to be like, look, you understand that, yes, I'm a businessman. He said that in his lyrics as much, right? But from the moment he said I wanted 2026 to be all about offense, the first thought that popped in my head was, he's going to be doing a lot musically this year. I know a lot of people keep saying that a new album is coming, and it very well could, but with the rerelease of these singles on vinyl, and then obviously the live show, Roots Picnic, the trifecta of Nights at Yankee Stadium, he wanted this year to be about the music. And I think it worked out perfectly. It's been 30 years since reasonable Doubt. And to understand the story of Jay Z, you have to understand how that album came to be and what it represents. Far beyond just great songs on a great album, where he was at that point in time in his life, his relationship with the music industry. And then you got 25 years since the Blueprint again, a lot of people's eyes. And to people of a certain, I guess, generation or people of a certain, what you find to be the pinnacle of his catalog. That's your album. That album came out on September 11, 2001. The album had some of his biggest records. Some of the people that he collaborated with on that album are either no longer here or he's not friends with anymore, namely Kanye West. And so you understand that these are time capsules that he wants to celebrate.
- [06:55]
A
I was really trying to get down to why he's probably been more on offense. Cause I agree he was all about the music. But why between that, the things he said in interviews, what sparks this? And I have a theory, I'm going to run it by you. Let me know your thoughts. For a lot of his career in the 2000s and then even in the 2000s, so much of it was talking about the accumulation of wealth, right? He would sit down with Warren Buffett and talk about money and do those Forbes interviews, being very vocal and wanting people to know how wealthy he was, right? So then in 2019, it was named publicly that he was a billionaire. So he then, at that point, objectively obtained a lot of these things. But at that point, the cultural climate started to shift. For a lot of the time that Jay Z wanted to become a billionaire, billionaires were the celebrated people. They were cool. Everyone wanted to do it. But once things got into a different political climate, there's billionaire fatigue. As you have written about, people don't necessarily have the same appreciation for it. I know that there are plenty of people that 10 years ago would have loved to have the Forbes feature talking about their wealth. They no longer want those things in the same type of way because of the negative backlash that can come. So you have that happening. But concurrently, as Jay Z clearly was starting to ascend Even more in the 2010s, he would also have his music where he would talk about, hey, I'm coming up. Why do these people want to try to act like they could be on my level? Why can't you come up with me? Look at what we've built. Look what we can do together almost in this group economics way. But Jay Z still at the top of that economic. And a lot of those people said, no, I want to go do my own thing. And I think that offended him. So the combination of that, of those two things happening makes me think, okay, is that a push for the offense? Where frankly, now, even though he's richer than he's ever been, he's not talking about the money as much anymore. He's trying to go back into the music. And this year, calling people out and all these things, is that part of the reason why he may have been changing his tune?
- [08:51]
B
I think that plays into it. I think that's a very good theory. And he talked about in his GQ interview, some of the headlines that were associated with his name in 2025 were really dark. And I'm talking about the Diddy lawsuits and the allegations that were out against his name. You can tell he actively wanted to push back on that. But to your point, in terms of the economics of it all, I think there's a lot of ground to stand on there. Because the thing about Jay Z and Dan you noticed to be true, he never lied about his intentions about getting into rap from day one. From day one, he told you on Dead Presidents with the nasam, I'm out for presidents to represent me. It's been such a significant part of the brand identity that we've had with Jay Z for the last 30 years. And like you said, to your point, that was celebrated for a long time. Like, we saw it on tv, like Lifestyles of the Rich and Famous, the Forbes list, like you said even MTV Cribs, Redman's Crib notwithstanding, which is my favorite episode for MTV Cribs. But yes, that was celebrated. But over the last decade, we've seen how those conversations shift and we've seen some really dark stories about what the mass accumulation of wealth means for larger society. And it's not saying that like Jay Z has to feel bad about any of the money he's accumulated over the course of his life. He's worked hard for his money. I don't think anybody would deny that. But these are different types of conversations that we're having about wealth that honestly we haven't had on a grand large scale term that we've seen over the course of our lifetimes. It's not blaming him for anything in particular, but that's why I wrote that story earlier this year. Now that he's active in music again, these are going to start a lot of conversations that didn't honestly exist the last time he was really active in music.
- [10:39]
A
And I've wondered if part of the backlash has also affected the change in the business moves he's made in terms of new business ventures and development. He was a lot more active in terms of new things. He was moving in the 2000 and tens as opposed to the past few years. Of course, the NFL partnership has been front and center. He still has Roc Nation, and he's working with others to lead some of the investment moves there. But I feel like between critiques about capitalism, black capitalism, black excellence, what that really means, where a lot of his money was made on these alcohol deals, and there's been more critiques about that or the, the casino that he had wanted to try to launch in the Tri State area. All those things. I feel like any move that Jay Z tried to do from a business perspective probably got some type of backlash where he was doing that talk where he compared him being called a capitalist in a negative way to being called the N word. I've wondered, okay, are those things impacting him? But it makes me think in some ways of these NBA stars that may switch to a different team, and then they want to win a championship, right? And then they win the championship and they're like, oh, this didn't fulfill the thing that I thought it was going to fulfill.
- [11:49]
B
Yeah. And the only time we really get him to respond to those type of things is when he does these freestyles at concerts. Right. And which I think are very fascinating case studies in terms of how we internalize music, how we hear it, but that's another reason why new music from him would be welcomed, because that would be his space to really think about what he wants to say. He's not in front of crowds of 40, 50,000 people, but these conversations and the shifts in these conversations have to impact him in certain ways. Right, Dan? Because for his entire career, this was celebrated. And now, not saying that it's not celebrated, but it's far more complex than it's ever been at any point in time of his time in the public eye over the last 30 years. These are questions that you probably won't get answered in one single radio interview. For him to give the best answers possible on these topics, I. I think he has to go back to something that he's massively familiar with, and that's a recording booth. I'm not trying to sit here and say, like, Jay, go make a new album, just talking about this, but you mentioned 444, right? 444 was the most vulnerable album he's ever made. From a personal and emotional standpoint. You can make the argument that he can do something similar with new music, but really addressing his perspective and his emotional capabilities of dealing with, hey, I made my entire career. So much of my public Persona is being this guy who never hid his paper chase, who never hid his desire to do all of these things. And when you hear the word billionaire, it's not saying that you didn't earn your money, by all means, get every coin that you can get. But when you're the everyday American and you're seeing these headlines about affordability costs, you're seeing these things about tax breaks to certain people get certain people infinitely more rich. While the great majority of people have to experience financial hardships in a myriad of ways, it's going to hit people differently in 2026, as it did in 2011 or 2005 or definitely 1998 or something like that. So these are very complicated conversations that I'm sure Jay Z's probably tired of talking about it in a lot of ways, but they're not going anywhere because society isn't changing, at least at the rate that we want it to.
- [14:17]
A
Let's take a break for our chart metric stat of the week. Jay Z's streams on all audio platforms have been growing ever since his three concerts at Yankee Stadium in July 2026. But if you look at his YouTube page, there's some interesting things going on there. Only three videos on Jay Z's official page on YouTube have over 100 million views. Empire State of Mind with Alicia keys is number one, 496 million. The Story of OJ is number two. That's from his 444 album with 166 million views. And then Song Cry, surprisingly, with 129 million views. Granted, that video has been on the platform for 16 years. That was one of those Vevo uploads back in the day. But here's the thing. Some of Jay Z's videos, like Otis and some of his collaborations with Kanye west, are actually on Kanye West's page. They're not also on Jay Z's page. And Jay Z does have a number of memorable music videos. So I do think that there is an opportunity here. If his team or others ever really wanted to double down on Jay z's impact on YouTube, I am sure that some of these videos could have a lot more views than they currently do today. Let's get back to the episode. This makes me think too, about the piece that you've written this year or the series that you have around the American Carnival, which is Jay Z's role with the super bowl halftime show. The spectacle of this and the position that he now sits in, and how that ties into music, but also how that ties into the capitalism, business, and all other aspects of the media and entertainment world that he lives in.
- [15:50]
B
Yeah, it's really about the super bowl halftime show even more than it is Jay Z. But you can't talk about the halftime show without talking about Jay Z, because objectively speaking, Jay Z and Roc Nation, especially over the last five or six years or so, they have completely. And we've had conversations about this, Dan. They've completely reinvented what the halftime show feels like, what the conversations are even months before the actual performance. Those 12 to 15 minutes on stage for an artist reveal more about the conversations that are dominating society even more than the actual game itself. In a lot of ways, they deserve a lot of credit with that. But this is also a multi billion dollar industry that we're talking about here. This isn't just a concert at a football game. This is a branding opportunity like none other. This is a career opportunity like none other. And it's happening at the same time when I think America is at one of its most polarizing chapters in history that we've ever had. And that's saying something because this country has had a lot of polarizing chapters. So it's a really complex, sometimes fun way to look at what I think is the most important 15 minutes in American culture that we all consume at the same exact time. And that's the super bowl halftime show, you're right.
- [17:14]
A
And it continues to grow and elevate each year. You and I talked about the New Orleans one where the whole Cash Money, Young Money crew, specifically Lil Wayne, was very upset. They thought it was going to be them. That conversation never happened 12 years before that when it was Bruno Mars on that stage doing that in that city. Right. And a lot of that is because Jay Z's there and whether who he picks, who he doesn't pick, and that is there is a lot of weight that comes with that.
- [17:39]
B
They've turned a big moment for an artist. They've turned it into a spectacle. And I don't mean that in like, bad ways. They've given the super bowl halftime performance a Runway that it's never had before. And again, like you said, the times in media are different. How we consume information is different. Social media is different. But what Jay Z and Roc Nation have done, they've made it appointment viewing at the most appointment viewing TV show annually in America. And that's the super bowl in a lot of ways with the halftime show does what the game itself doesn't even necessarily do. It could draw in international audiences. Look at Bad Bunny this previous year and look at the numbers that he put up. I'm pretty sure not everybody that was tuning in to see Bad Bunny necessarily cared who was going to win between the Seattle Seahawks and the New England Patriots. And guess what? When we talk about the moments that really changed the halftime show in America, we talk about what and Living Color did with their counter programming in 1992. And obviously the very next year you get Michael Jackson in California. And then I think obviously there were big performances in between them. I'm thinking things like Prince in 2007, Beyonce quite literally knocking the power out in New Orleans in 13 or 14. And then the Bruno Mars Beyonce and Coldplay performance in 2016 where Beyonce played paid tribute to the Black Panthers. Another pivotal moment in that progression is Jay Z and Roc Nation. And the wild thing is that partnership even started off with a ton of controversy and it's still there. I mean, he just brought up Kaepernick again at Night One at Yankee Stadium. And people were still having discussions about this seven years later. And I think these discussions aren't going anywhere because it's part of the enigma who Jay Z is as well part of the enigma who Colin Kaepernick is part of the enigma who the NFL is. We know there was a settlement. We just don't exactly know what the settlement said, and we never will. So there's always going to be this intrigue about what happened. Did Jay Z get involved at the right time? How much is Kaepernick to blame in this? How much is Jay Z to blame in this? How much is the NFL to blame in this? And I do think that of all the partnerships that Jay Z has ever done in his life, I do think the NFL partnership is going to be the one where people debate, critique, and analyze it for very, very long.
- [20:07]
A
Yeah, no, you're absolutely right. And only part of the discussion is in terms of who's actually selected. Right. I know as part of your coverage on this, you have your power rankings for where things are. So I love to hear, at least right now, what are your power rankings looking like for the 2027 Super bowl halftime show?
- [20:25]
B
Dan, again, I could be completely wrong on this. No one has been more active than jay Z in 2026. And you think about it, this is a guy who has done everything that you could possibly want to do as a musician and done it as a rapper. We talked about his business acumen and yes, that comes with a lot of serious conversations of which we've had quite a few already. And he completely revolutionized the super bowl halftime show. Obviously it's a team, but he is the face of that team. The one thing he hasn't done is perform at the super bowl himself. And what those Yankee Stadium shows showed, if there was any doubt, he has stadium worthy records, he can do 15 minutes on, on a stage. He can do, you don't know you. He can do public service announcement. He can do so many other more solo records from his catalog. And oh yeah, Beyonce's Act 3 is around the corner, or at least it's looming. That's not even a big joker. That's the entire deck that I can incorporate. You know, I can incorporate my wife into this performance. I can incorporate my daughter into this performance. I just think there's so much momentum for him and those Yankee Stadium shows, really, I don't want to say it convinced me 100% because you're never 100% to the announcement is made. But if you ask me right now, who is number one on my super bowl power rankings, put in the man who actually picks the artist to perform. The only hesitation I have, Dan, is like, would he actually pick himself?
- [22:04]
A
And that's where I get hung up on it because I agree with everything that you said, but I'm not convinced that he would pick himself because I think that Gayle King had asked him this in an interview once and he was like, oh, you know, wouldn't that be like, selfish? Or he said something along those lines. I forget his exact word. I don't doubt that he thinks he isn't worthy of the stage. Right. So, yeah, the only reason I wouldn't put him as high just because I don't know if he would pick himself. Let's say that someone else was doing it. I could see them definitely making him the first pick. Right.
- [22:29]
B
There's no. I quote the Wire all the time. Jay Z is not a 40 degree day. Nope, he's not a 40 degree day. People like, he'll make a decision. And like, I don't really care about that. No. Like, Jay Z got shows at Yankee Stadium. We got to go. Oh, Jay Z did a partnership with Target. Oh, Jay Z mentioned Kaepernick. Like, everybody feels a way about something, and that's a sign of relevancy. That's a sign of a cultural cachet that you don't just get from having a hit song here and there or a classic album here and there. This is what 30 years of relevancy at the highest level or evolving highest levels have looked like. Again, that's a testament to him. But as you've said before, heavy is the head that wears the crown or heavy is the head that wears the Yankee fitted.
- [23:19]
A
Heavy as that. That wears the Yankee fit. I like that. And before we close things out, Justin, anything else on your end about Jay Z?
- [23:26]
B
I'm just really fascinated to see his moves this year. I really want to see him embrace these conversations that are being had around his name. And what does that look like when you get a chance to really hone your thoughts? Not saying that he didn't hone his thoughts beforehand, but he'll always be the most comfortable when it comes to making music, and that'll always be the most comfortable that we are hearing him speak about things. I love Jay Z's interviews. I think there's so many fascinating things to come out of an interview anytime Jay Z speaks. But I'm really interested to see what is left for him musically. And I want people to understand that. Jay Z had an incredible 1998, he had an incredible 2001, had an incredible 2009, 2007. You can pick the random years that he has just dominated discourse. To me, he is the most relevant artist in 2026, and that's saying something. It's aging like fine wine. But the conversations evolve. Conversations shift, and his place in those conversations shifted. So it's going to impact how people hear music. It's going to impact how people read up on whatever your new business deal is. Not saying that you shouldn't continue to do it. But nobody, and I mean nobody, is above reproach. Now. I just hope that everybody goes into these conversations with good faith in doing their own research about the details that come from them. But with Jay Z, as long as he's active, the conversation in pop culture is always going to reverberate on a different decibel.
- [25:06]
A
Well, hey, I know we could probably continue talking about this for a minute, but Justin, I appreciate you coming on and spending time with us to break this down. And I'm sure we'll be revisiting this conversation at least by the end of September because by that point we will know who's at the halftime show. And if we do have an album before that Grammy cutoff.
- [25:23]
B
Hey, put it on the calendar. Send me the calendar invite. We definitely need to talk at the end of September, man. It's always a pleasure talking to you, brother. Trap Ital is one of my favorite brands. These are very honest discussions that you have here. You're a brilliant man, bro, and I'm proud to call you a friend. And yeah, send me that calendar invite for late September.
- [25:41]
A
You already know. Likewise, man. Appreciate you. All right, you take care. We'll talk soon. Thank you again to Justin Tinsley for joining us. Now here's the bold prediction from Symphonic Distributions. Jorge Brea. All right, we have another bold prediction segment leading up to our trapital summit and we are joined by Jorge Brea from Symphonic. Welcome.
- [26:03]
C
Really awesome to be here and pumped up for the summit as well.
- [26:06]
A
I'm glad you're coming. As you know, this is our bold predictions segment. What's your bold prediction?
- [26:12]
C
So my bold prediction is that the word distributor, it's actually going to feel outdated in a few years. AI, which is spawning tons of music right now is actually going to heavily commoditize technology and building a distribution front end royalty system, analytics tools or even sophisticated workflows is going to become easier that will create is that obviously tons of new entrants are going to come into the fold. And I believe that the companies that will win aren't going to just simply distribute music. They're going to have to help finance artists, acquire catalogs and really be a strong trust layer to ensure that the market is, you know, really, really protected out there. So I think distribution used to be about access. I believe the next era is really about ownership. Capital, intelligence and trust. And I actually think that independent music becomes stronger over the next decade. But the winners are going to be the companies that really combine the heart of an independent with the sophistication of a tech company, a rights organization and an investment platform. So I would say the future belongs to a really, really, really few trusted music infrastructure companies, not just distributors.
- [27:17]
A
So with that, do you think that there would be less distributors then in the future?
- [27:22]
C
I would say there's going to be a lot of folks that are going to be calling themselves distributors, but we'll need distributors to help back them. Right. So I think that with all these different AI generative tools, people will be able to create their front ends, but they might not get the direct access of, you know, of delivering to DSPs and even collecting royalties directly from DSPs. So that's where we, as a trust layer become, I would say, more important because we've had the experience and the amount of years of sort of like policing and ensuring that content that is coming through our pipes is legitimate. And that is exactly what the DSPs need. We've had to, over the years, diversify what it is that we do. Used to be about distributing to all these different outlets, and then it's become ensuring that whatever is being distributed to those outlets is as legitimate as possible. But now it's also evolving to us being financiers and rights, you know, potential owners, you know, to be able to then further monetize music and partnering with even more capital going out there to artists and record labels here, you say.
- [28:22]
A
That makes me think of the increased competition as well. Because on one hand, yes, there may be less distributors moving forward, but if you all are taking on more and more services that other companies outside of music distribution have typically done, everyone's trying to do a little bit of everyone else's thing. And yes, it becomes a game of scale. But that horizontal competition starts to increase.
- [28:44]
C
No, I would say that that's correct. I mean, I think the biggest thing that we have to do and I think our competitors have to do is really focus on your strengths. When you do start to do everything, it starts to see degradation in what it is that you do. But naturally there's just a push into these different areas, whether we like it or not, in order to be competitive, I would say. But we welcome the competition and we actually have great relationships with our competitors. You know, everyone, in my view, that we deal with is really aiming to do the right thing. And I think for independents and artists, it's a pretty Great time to be able to, you know, get more capital and to be able to grow much easier than before in my view.
- [29:26]
A
Right. And then on the DSP side too, I also have to imagine that as there are increasing number of guardrails looking at both the tracks that are uploaded, what was used to create those tracks was the AI involved with it labeling things, making sure that there's less fraud, there's less manipulation. As the DSPS just become stricter, it requires more resources on the companies that do distribute music to make sure that they're doing it in the right way, 100% right.
- [29:54]
C
And we actually welcome that. I think that that goes back to a bit of the bold prediction, right? So anyone will be able to create something that can service as a front end. But that relationship that we might have with the DSP and, or the standards that we have to, you know, uphold are going to only increase. And while those are costs and sometimes they do create frustrations and, and, or different sort of like friction points, it actually creates opportunity. It makes us and, you know, folks that can keep up be in the room more so than folks that are not willing to do that work. And I think ultimately also creates a better music industry and music business.
- [30:33]
A
So a few years down the road for this bull prediction to be true, is there anything that has to happen or that you expect to happen that maybe is uncertain yet for the reality to come to life? Like what does the future need to look like in order for this bull?
- [30:48]
C
I think that, you know, the gatekeepers of sorts that enable the direct deals with the DSPs, whether that means the DSPS themselves or other entry points into those DSPs need to be highly selective. I think there's enough entry points to get music out there into the DSP ecosystem. So I think it's trusting those and enabling those rather than adding on to those because it's really not necessary in my view. I think that's one thing. Second thing would be just pretty direct clarity on how to handle AI from a music generative perspective because of the fact that there's just thousands and thousands of songs, you know, compounding day to day, and that will be potentially millions of songs, you know, daily or monthly, whatever it might be, however you're, however it's being tracked. So some definitive clarity on what the value of a song is that's AI or AI assisted, I think will be important whether it is wanted or not at the end of the day. So those are just some basic things that I could see that would have to happen in order for for that bold prediction to come true.
- [31:53]
A
We'll definitely have to tap back in and see what this looks like in a couple of years. But Jorge, this was fun. I appreciate you coming on and sharing this with us.
- [32:02]
C
I really appreciate it. Love what Trapital does. Can't wait for the summit once again.
- [32:06]
A
I know. See you soon. See in a couple weeks.
- [32:08]
C
Awesome.
- [32:11]
A
And that is a wrap. Thank you again to Justin and Jorge for joining us on this episode. Thank you again to G, Eric and Roana for everything you do to help make Traffital possible. And most importantly, thank you for listening. If there's one person you know that would really enjoy Trapital and get a lot out of it, send them a link to the show. Word of mouth is still the best way to grow and you can share any episode, whether it's this one or another episode that you think they would get a lot out of. And if you have a few minutes, if you haven't already, tap that follow button, tap that subscribe button. Make sure that you are tapped in so that you get the next Trapital episode once it drops. And if you have a few minutes as well, leave a comment, leave a review that helps the algorithm do its thing and make sure that Trapital reaches the right people. Thanks again. Talk to you next time.