YouSaid · the spoken record

Ryan Schreiber

lines on the record: 101
first: 2022-06-06
most recent: 2022-06-06
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“Yeah, that's certainly one of my favorite albums. Talking Heads Remain in Light is a record by a UK duo called The KLF. It's a record called Chill Out. Oh my god, why did you even have to ask me? Purple rain is my favorite album of all time. Prince is my number one of all time.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Impossible. It's an impossible question. I mean, think of all the music that you've listened to in your life. Can you say at any given day?”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Its own decision. It's an adult now, and you kind of like, you know, you can't, you no longer have the input that you used to have. It's going to go out and make its own mistakes. And, you know, you'll just idly stand by. You go, I might disagree with that. But you know what? I'm really proud of you anyway.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“I think I would have been elated. I would have been thrilled just to the very To see everything that pitchfork has been able to accomplish, not quite beyond my wildest dreams because I absolutely dreamt that something like that could happen with it. And I tried every day to make it be that. I mean, considering how most people interact with and engage with new music discovery now through algorithms primarily, that it still has significant influence in the world of music journalism and music listeners. It's incredible. Yes, it is wild that we all, and I say we because I naturally, I mean, there's many more people who are just as crucial and pivotal to this story as me and just as responsible for its success, but it's, you know, and now it's kind of like a kid that, you know, you have a kid and it grows up and goes away to school and then it starts making.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“It's hard not to miss, you know, like all the activity and excitement of a newsroom. Yeah. I mean, it's the most thrilling for me, sort of like it's the most thrilling thing in the world. At the same time, you know, kind of like having this sort of more isolated, like for one thing, I stopped writing in 2004, just mostly stopped doing it publicly and stopped doing it almost period. So it took a while to kind of get back into the swaying when I started kind of writing kind of mapping out like if I was to write a book, what would it look like? And writing is something that I've just recently realized as kind of, it's totally my calling. But also, you know, the idea of running businesses that are innovative, that do help kind of change the landscape. I mean, is just as much a part of who I am and what my interests are as it's been since the beginning of the web.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, these were both things that Conde decided weren't worth, you know, the ROI basically. When we got to Conde Nast, they were very much like, oh, yeah, this is a niche, you know, business. For very complicated reasons, and machinations behind how Conde operates, even though you would think a print publication would be something they would embrace with arms wide open. Not exactly so, yeah, these were things that were on their way up. They were, you know, I mean, had really good reputations, had really had a strong readership, but were not able to be nurtured to the degree that we wanted to nurture them, especially at that point.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“But, you know, at the same time, it was also kind of like this crazy media college campus. There were so many amazing journalists, amazing and amazing business minds there as well that you could kind of go to and tap whenever you needed to. And like that was all open. And that was another big reason why this made sense to do. It's like if we all kind of bring our knowledge together, you know, moving forward together is going to be a lot easier. But, you know, at the same time, obviously, when we got to Condainas, Cond ⁇ started to make decisions as to what should, you know, what we should continue to focus on and what we shouldn't.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Editor of The New Yorker and Anna Winture, who is the creative director of Kan ⁇ Nass. So who you interface with regularly about your business. You know, and among numerous other legends like W magazine Vanity Fair, GQ, Jim Nelson at GQ. I mean, these are genius, genius people. And not to denigrate, you know, myself, but like, you know, yes, it was deeply intimidating going into, especially with my general social awkwardness that I already innately have when I'm nervous and nervous situations. So that didn't help.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, I mean, on one hand, it was intimidating to be, you know, like having come from the background that I came from where I've never gone to school for, you know, for journalism or editorial.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“My God, by that time we had 50 some employees Also, kind of a, I don't know, superstitious in ways, like things in my life have tended to happen at the right time for certain reasons. And that just seemed to be one of those moments where like, this wouldn't have fallen out of the sky if it wasn't the path I was supposed to take.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Know that's that's going to become harder and harder to do. We're going to have to start making difficult decisions. We're going to have to probably downsize a little bit. Or there's this offer on the table that I'm not likely to ever see anything like this again if we do follow that road. And at the same time being met with the promises that Kande offered of, you know, investing in the business and helping to grow it and at the same time being able to tap into their huge network of like luxury brand advertisers and things of that nature. So it was kind of like, well, okay, they've been doing this forever. There's 32 brands like where not only is this something that like kind of elevates as further escalates pitchfork and is more of like a success story kind of approach. It feels like we're going to need to ban these publications are going to need to band together in order to make this work going forward.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Yes. Yeah. I mean, again, we could see very clearly what was coming down the path. And, you know, seeing where we are today, where if you don't have a paywall, you're struggling. It was clear that the whole model was going to change or was already changing. On one hand, I was like, look at how the business is going here and the future of this business and how difficult it's going to be to continue to adapt with what is still ultimately a niche publication, you know, a well-read, but ultimately still very niche.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“The revenue is growing year over year, but our expenses, you know, varied. I think it really wasn't until probably, yeah, something like 2013, 2014 that we started to kind of feel the effects of what would become kind of the influencer model of Marketing and that kind of shifting the entire landscape from, you know, a banner ad driven economy to a totally social media focused marketing economy.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“They we didn't really have enough resources by ourselves to put into all of the things that we wanted to do. Frankly, it was just a little bit too, I don't know, it was kind of like at that point in the, you know, the band's been together for 15 years and everybody sort of wants to start their own side projects. You know, there was a little bit of that to it So it wasn't our strategy wasn't the best. But at the same time, because we were trying to do too many things at once without any help.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, I mean, we were cognizant of that. We were very cognizant of that. I mean, Chris was stressed out all the time. You know, we did start to see the writing on the wall a little bit. We did kind of like as not necessarily as a direct result, but sort of we did try to kind of like branch out into other directions and attempt, you know, a couple of other sort of arms of the company. One was, of course, was like pitchfork TV, the video arm, which. It quite well. We also tried to put a movie site together and a couple other things”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“There's just so many moving parts. If one of those things doesn't come together, if you have inclement weather all weekend because it's an outdoor festival, I mean, these things can really crash the festival enterprise altogether, like kill the business. So it's a very, very high risk business and one that we fortunately by staying mid-sized and not trying to scale up and not trying to compete with the Lollapaloooooooooozas and Coachellas and Bonarooz, we were able to manage to make it profitable, break even. So no, it wasn't a big. It was probably, it might have been 10% of our overall revenue.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“You know, we found out kind of the hard way pretty early on that first year. I mean, Mike already had understood like, you know, the finances of it the first year and kind of had explained it to us and walked us through P&L for that. So we were always kind of like, okay, this is clearly not going to be the major revenue driver that you would think it would be. There is so much overhead that it's also like kind of a delicate dance where all of these things have to just happen just right. You know, you have to have a reasonable artist budget with which you can attract talent that's not going to the competing festival, say Lollapalooza, Riot Fest, et cetera. You've got to, you know, make sure that the ticket sales are like fair, reasonable, that you can attract a big enough crowd. You've got security concerns.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Essentially, the festival director, whose name is Mike Reed, was a really, I mean, just incredible promoter, producer. And we worked with him every step of the way on putting this thing together. But I mean, he was really leading that side of it. And then Mike actually ended up leaving parting ways with the company that founded Intonation because essentially we just wanted to do that together. We were like, this is great. We love working with you. We don't know about these other guys. You're having problems with them. Like, let's just go in on this. And work together on building this as the pitchfork music festival from here on.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, we were very fortunate that Intonation kind of came to us, that we were, I mean, again, this was an advantage of being in Chicago. This would never happen if I had moved there. So they asked us to join up and just ask us if we wanted to choose the bands. We were like, yeah, that sounds amazing, obviously. Yeah, let's do that. You guys run it and we'll just choose the artist and promote it. That sounds like a good deal, sir. Let's do that. We ended up selling that first year, I think, something like 12,000 tickets for two days or something, maybe 13,000, 14,000. It was a lot, a lot, a lot of tickets. And so fortunately,”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“And I remember getting a copy of Vice that was still in newsprint and thought it was the funniest thing I'd ever seen in my life and then just didn't see another issue again for a while. But like then they started to kind of like once again like the web came along they started to have like a really strong presence. And they like, I mean, they just skyrocketed. Like they had so much investment. They were so good at raising capital that like it was almost insane to watch. But at the same time, like pitchwork was growing so well. Like we didn't really have that many aspirations beyond being the music publication, right? That's what I really wanted because I didn't have a lot of.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, you know, at a certain point, we started to see people who had kind of come up alongside us start to do that. I remember when I was in Minneapolis, you know, Vice started out as a Montreal operation.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“It was a stroke of luck to a large degree. I mean, there was a, I could have, you know, if I had kept searching if Chris hadn't come along, if I kept searching, I'd like, because I already had, like, we're already kind of on a roll at that point. I think it would have been able to become, you know, a much bigger business, but it would not be anything like what we know pitchfork as today.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“He was. Yeah. I mean, he was, I mean, from the time that he joined the org chart of the company was me and Chris side by side and everybody else.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, I mean, people were, like everybody was there, was really on board. It didn't require, like, I wasn't having to breathe down anyone's neck about anything. Yeah. But leadership was definitely not at that point at all a natural skill. I mean, you know, when you think about my background and like the kind of my social ineptitude from, you know, from the earliest days, not like that ever went away. That was a big, that's always was a huge learning curve for me. But I did end up learning so much about leadership from watching Chris. Chris had an innate ability to lead.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, it would have been something like that because by 2005, yeah, we probably had something like six employees at that point.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“So, yeah, and his name was Chris Kasky, and he went on to basically become like he ran the entire business of pitchfork from that point on. And so once he came on board, he was so good at what he did, and he was able to branch out beyond, you know, indie record labels, which had been our primary target before, to get like, I mean, you know, American apparel started advertising. And, you know, like. Huge companies with real marketing budget started advertising.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Yes, started to become quite profitable, quite profitable. So, you know, I was like, okay, well, I can afford to hire the right person for this job now. And once again, I just went the same route that I always did, which is putting out, you know, a call on the site saying, hey, we're looking for a person who's an ad salesperson and let us know, you know, apply here and send your resume. And then I found the very last application that came in was from a salesperson at the onion. And he had in his resume all these like benchmarks and like I took sales revenue from, I increased it like 25% in this way and I did this and that and there. And like he actually could, he quantified his results in the resume, which I was like, oh, this is it. This is the guy. I like don't even need an interview. Like, this is him.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“75,000 readers a day or something. Like it started to get enormous. And I mean, probably around 2001 was when it started to just skyrocket, just completely boom.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“So, what happened was in early 2004, Eric Carr, who had been selling ads, was like, I actually hate doing this. I don't think I can do this anymore But Eric had managed to expand it even a little bit more like the base, right? So I was kind of comfortable. I was like, okay, if I actually hire a person who's really good at this, we'll really be set. We can really grow from there because at this point, the readership is. I mean, 30,000 readers a day or something. You know, I mean,”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“In the bad way, I was like That really gave me pause because the reaction to that, I did not, I mean, I didn't expect it to end his career for God's sake. You know what I mean? So, when that happened, we took a beat, you know, and we're like, okay, we need to reevaluate how we're using this authority that we managed to accumulate. And we've got to be a little more responsible with this because that doesn't feel right.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“I do. I mean, I actually kind of remember very early on trying to write reviews of artists that were not in the press at all. Like sorting through the stack of promos that we would get to find something deeply obscure but that looked interesting and I would pull out and just listen to these CDs like really pour through the stack, try to find something nobody else was covering. But we're also still kind of tied up with this kind of, you know, super irreverenty goofy publication at the same time. And so we like to do things that would, you know, get attention or be outrageous in a way. And that was one of those moments. I was like, you know, I was like, we haven't given a 0.0. Like, have we ever done it? We should do it, you know. And unfortunately, that was also the point at which I realized when I realized that pitchfork could break careers, could like break artists.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“They sort of seeded it. I mean, it's not like they weren't covering this music. They were, but I think they were covering such a wider array of music. But also, most of them didn't have websites still. Yeah. And also, just like we're younger and kids like reading stuff by kids their own age and also being able to put a lot of those bands forward to a larger audience was one of the single most rewarding things. The thing that I loved about running pitchfork the most, it's not that these artists wouldn't have been heard or discovered. It's that if you're kind of able to provide more broader coverage or maybe help it happen faster than it might have happened, but also just to be able to champion artists who deserve it, artists who are doing things that are progressive.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Oh my God, life was good. I mean, like the point that I was at with pitchfork, like being able, like I can support. I'm like working with somebody. We have like a real office, like we get to go to concerts every night, like we have artists will stop by our office and like hang out. We'll interview them.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Well, by the end of 2001, I had a very healthy network of advertisers. And so I started to be able to put some of that money back into the business. But the first thing I wanted off my plate was the thing that I liked doing the least, which is the ad sales. And once we already had a client roster sort of, you know, we had a lot of people in rotation, I was kind of like, okay, I think I could afford to pay one person a salary. I actually offered one of my brighter friends from Philadelphia who had wanted to move to Chicago. I like offered it to him because I was like, he would be fun to work with. Not because I thought he would necessarily be great at selling ads. I was like, oh, it would be fun to work with him. So he came out of Chicago. I got us in office. I gave him a little salary. We did that for, I guess, almost a year.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“You know, I don't have a firm recollection of exactly how much I was bringing in at that point. It was probably a thousand to twelve or twelve hundred, something like that.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“I start to work as much on the ad sales as I did on the copy so that I could just reach that next step. And so that's how I spent that summer, like really just doubling down on like actually getting a stable of regular advertisers and rotation.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“No, no, no. I spent the summer there because the place wasn't winterized. So I actually only had from April to October at latest to get out of there. And I was like determined, dead set to go back to Chicago. I was like, I'm going to make this work.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“To pay the rent and for me to eat, for example. So I was something like four months behind in rent Just like I had to go home. I called my folks and. They fortunately had like a lake cabin way rural Minnesota. I mean, an hour and a half, two hours outside the city, like a little 600 square foot thing. And basically I got to go up there for six months and kind of get my grounding again. Wow.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Well, I mean, what I couldn't make my rents because even though I gave myself no alternative but to turn pitchfork into a successful business, I couldn't do it that quickly. And even though I was like calling record labels and trying to get them to advertise, like not everyone was biting. It wasn't enough to sustain, you know.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, I mean, I was the everything guy, like everything. I mean, I just worked on pitchfork like nonstop. But by that point, I had gone through this period where I had, you know, failed Chicago my first year and I had to move back to this cabin my parents had in rural Minnesota”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Brought in a staggering amount of traffic. We handily broke that 5,000 mark in the day that review came out. But yeah, and for so many people, that is their very first impression of what pitchfork is. Yeah. And because it reads nothing like anything else in the music writing space. No. People are like, what is this? This is so hyperbolic. It's so purple. And it's so unrestrained. Like, wow, that's so uncool. You know what I mean? Like just to rein it in, you know. If that had just been, you know, a pretty straight faced, you know, if it had read like it, any other music journalism, I don't think people would have even really necessarily noticed us.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“But I was like really gunning for that. You know, it was kind of like it was weird how analytics at that time, it was sort of like gamifying it for me. I'm like, okay, I got to push this number higher and higher. How can I do that? What can we write? What can we say that's outrageous? And how can we grow in a way that lends further authority, but also grows the readership? And that record was, I actually, for that, I went out and I sent a bunch of emails to all the radio head fans, which I knew also had huge readership. And so I was like, hey, we're going to be running this review tomorrow. Just FYI heads up. If you want to link it, that'd be awesome, whatever. Just so you know.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, I mean, really, thank you, Brent, because that review totally, I mean, like pitchwork was growing really quickly at that point. We had probably something like an average 3,000, maybe 3,500 readers a day, a day. Wow.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Probably one of the most over the top reviews I've ever read in my life. And at the same time, this is how we both felt about this record. We were both like, I mean, we were awestruck. This record was transcendent.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“It did. I mean, it's funny now when I look back on that review, there was a time, I think, for a little while there where I was kind of like, oh my gosh, because the review spawned such polarizing. Right,”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, and also, I mean, Pitchfork had, even from the late 90s on, Pitchfork had, you know, among those, whatever, 1500 people who read it every day, you know, had quite a lot of credibility in the music space, even though a lot of our reviews were so not review-like. Some of them were. I mean, especially what a lot of these other writers started, the writing got a lot better, a lot more quickly. But because we're turning out such massive quantities, review is kind of like the review factory, you know, it was something that people who were really true music heads and were online, and especially if they were, you know, interested in independent music followed pretty closely. So it had a certain cachet, even maybe that some of the other publications might not have, even though certainly you'd get paid at those.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“No, it was actually dirt cheap. It was crazy. There was like no overhead whatsoever. So, you know, it was all upside, which was very fortunate because I wouldn't have been, you know, if it hadn't been, I wouldn't have been able to make it work any other way.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, I mean, there's touch and go out of there, Drag City was out of there. And so, you know, it was an extremely fertile.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“Was like, oh my God, that'll pay almost. That'll almost pay my rent each month. Yes, I mean, because they're at the top of every single page of the website, you know, everybody who comes up. And I mean, 1500 readers a day.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT
“They asked me to name a price. And so I went, oh my God, I wonder how much. So I just pulled out the biggest number that I could think of, which was $500 a month.”
2022-06-06 · How I Built This with Guy Raz · Pitchfork: Ryan Schreiber · IDENTIFIED FROM THE TRANSCRIPT