WEBVTT 00:00:00.000 --> 00:00:02.839 Welcome and thank you for joining us for another 00:00:02.839 --> 00:00:05.440 deep dive. We are pulling our source material 00:00:05.440 --> 00:00:08.259 straight from the Wikipedia archives today to 00:00:08.259 --> 00:00:11.279 explore the life and the career of Natalie Alvarado. 00:00:11.380 --> 00:00:13.419 Right, who's mostly known in the music industry 00:00:13.419 --> 00:00:16.339 simply as Natalie. Exactly, just Natalie. And 00:00:16.339 --> 00:00:19.480 looking at these notes, we have a, well, it's 00:00:19.480 --> 00:00:22.019 a highly unusual and multi -layered trajectory 00:00:22.019 --> 00:00:24.199 laid out in front of us today. We really do. 00:00:24.339 --> 00:00:27.460 It's definitely not your standard music industry 00:00:27.460 --> 00:00:30.429 story. No, it is far from a standard musician's 00:00:30.429 --> 00:00:32.450 biography. And I want to set the stage for you 00:00:32.450 --> 00:00:34.229 listening right now, because this is really a 00:00:34.229 --> 00:00:37.009 masterclass in career reinvention. It's about 00:00:37.009 --> 00:00:40.810 hustle and honestly, the art of the pivot. Yeah, 00:00:40.850 --> 00:00:43.270 the pivot is huge here. Huge. We are tracking 00:00:43.270 --> 00:00:45.409 a journey that starts in criminal justice studies, 00:00:45.590 --> 00:00:48.450 moves to the center court of the NBA, scales 00:00:48.450 --> 00:00:51.289 the upper tiers of the Billboard charts, shifts 00:00:51.289 --> 00:00:53.530 directly into the executive boardroom, and then 00:00:53.530 --> 00:00:55.530 eventually finds its way right back to independent 00:00:55.530 --> 00:00:59.320 stages. Okay. Let's unpack this. Where does this 00:00:59.320 --> 00:01:01.960 unconventional story actually begin? The origin 00:01:01.960 --> 00:01:06.060 point is Clear Lake City, Texas. And as you mentioned, 00:01:06.120 --> 00:01:08.700 after high school, her initial choice of study 00:01:08.700 --> 00:01:11.560 was actually criminal justice. Which is so unexpected. 00:01:11.739 --> 00:01:15.079 It is. It's a detail that grounds her story in 00:01:15.079 --> 00:01:18.540 a very practical reality long before the entertainment 00:01:18.540 --> 00:01:20.739 industry ever really entered the picture. It 00:01:20.739 --> 00:01:23.040 shows how unpredictable career paths can be. 00:01:23.420 --> 00:01:25.980 Right, because I am curious about how that practical 00:01:25.980 --> 00:01:28.340 reality transitions into the Texas entertainment 00:01:28.340 --> 00:01:31.430 scene. The notes indicate she became a cheerleader 00:01:31.430 --> 00:01:34.689 for the Houston Rockets NBA team while simultaneously 00:01:34.689 --> 00:01:38.390 working as a backup dancer for local R &B and 00:01:38.390 --> 00:01:40.870 rap artists around Houston. I mean, the physical 00:01:40.870 --> 00:01:43.069 and logistical demands of that dual schedule 00:01:43.069 --> 00:01:46.370 would be intense. Houston in the late 90s and 00:01:46.370 --> 00:01:49.230 early 2000s had a notoriously dynamic music scene. 00:01:49.349 --> 00:01:51.310 Heavily anchored in hip hop. Heavily anchored 00:01:51.310 --> 00:01:54.250 in hip hop and R &B. Exactly. Operating as a 00:01:54.250 --> 00:01:56.230 backup dancer in that specific environment means 00:01:56.230 --> 00:01:57.950 operating in the trenches. You're learning the 00:01:57.950 --> 00:02:00.730 mechanics of crowd control, stage presence, and 00:02:00.730 --> 00:02:03.150 just the raw energy required to backup artists 00:02:03.150 --> 00:02:04.549 who are trying to break out of that regional 00:02:04.549 --> 00:02:07.290 market. But it seems like she treated that background 00:02:07.290 --> 00:02:09.849 role differently than most people would. The 00:02:09.849 --> 00:02:12.050 source mentions she was actively workshopping 00:02:12.050 --> 00:02:14.629 her lyrical skills, even adding rapping to her 00:02:14.629 --> 00:02:17.789 dance performances. Is it common to use a cheerleading 00:02:17.789 --> 00:02:20.689 or backup dancing platform to test out rap lyrics? 00:02:20.990 --> 00:02:23.930 No, not at all. What's fascinating here is how 00:02:23.930 --> 00:02:26.990 deliberate that crossover was. Most performers 00:02:26.990 --> 00:02:29.310 compartmentalize their skills. Like you just 00:02:29.310 --> 00:02:31.710 stay in your lane. Right. You are hired to hit 00:02:31.710 --> 00:02:34.669 your marks as a dancer, so you dance. But injecting 00:02:34.669 --> 00:02:37.030 vocal talent into a purely physical performance 00:02:37.030 --> 00:02:39.810 illustrates the concept of using your current 00:02:39.810 --> 00:02:42.650 platform as a laboratory for your next big move. 00:02:42.990 --> 00:02:46.150 Wow. A laboratory. Yeah. She was testing her 00:02:46.150 --> 00:02:49.210 vocal rhythm against live crowd reactions while 00:02:49.210 --> 00:02:51.409 technically on the clock for something else entirely. 00:02:51.930 --> 00:02:53.969 Well, someone clearly noticed the results of 00:02:53.969 --> 00:02:56.310 that laboratory. The notes introduced Charles 00:02:56.310 --> 00:02:59.110 Chavez as a major catalyst. He was the founder 00:02:59.110 --> 00:03:01.569 of Ladium Entertainment. Chavez was a critical 00:03:01.569 --> 00:03:04.449 bridge in the Texas music ecosystem. He had this 00:03:04.449 --> 00:03:06.849 proven track record of taking regional Texas 00:03:06.849 --> 00:03:09.650 talent and translating it for the national market. 00:03:09.830 --> 00:03:11.770 He had already produced artists who achieved 00:03:11.770 --> 00:03:15.310 massive commercial success, right? Names like 00:03:15.310 --> 00:03:19.050 Baby Bash, Frankie J, Shamillionaire. Exactly. 00:03:19.250 --> 00:03:22.129 He understood the intersection of pop, R &B, 00:03:22.210 --> 00:03:24.750 and Texas hip -hop better than almost anyone 00:03:24.750 --> 00:03:27.710 at that time. So when Chavez spots Natalie's 00:03:27.710 --> 00:03:29.889 potential and connects her with producers like 00:03:29.889 --> 00:03:33.490 Happy Perez and Playin' Skills, he isn't just 00:03:33.490 --> 00:03:36.349 taking a wild guess. He is placing her within 00:03:36.349 --> 00:03:39.389 a proven hit -making machinery. He saw a standalone 00:03:39.389 --> 00:03:42.750 musical artist. The backing she received from 00:03:42.750 --> 00:03:45.050 Latium Entertainment gave her immediate credibility 00:03:45.050 --> 00:03:47.509 in that space. Here's where it gets really interesting. 00:03:47.710 --> 00:03:49.669 What? When she was initially signed to Latium 00:03:49.669 --> 00:03:52.110 Entertainment, the paperwork had her down as 00:03:52.110 --> 00:03:54.689 a rapper. Which perfectly aligns directly with 00:03:54.689 --> 00:03:56.830 the skills she had been actively showcasing during 00:03:56.830 --> 00:03:59.259 her dance routines? Right. The industry signed 00:03:59.259 --> 00:04:01.120 the talent they literally saw in front of them. 00:04:01.219 --> 00:04:03.560 But the studio environment changed that dynamic 00:04:03.560 --> 00:04:06.539 entirely. While recording, she frequently sang 00:04:06.539 --> 00:04:08.840 the hooks on the songs. And those hooks were 00:04:08.840 --> 00:04:11.159 so effective that she completely pivoted away 00:04:11.159 --> 00:04:14.039 from rapping to focus entirely on singing. We 00:04:14.039 --> 00:04:16.620 have to look at the landscape of mid -2000s hip 00:04:16.620 --> 00:04:19.000 -hop to understand the gravity of that pivot. 00:04:19.120 --> 00:04:21.860 The hook singer was the absolute currency of 00:04:21.860 --> 00:04:24.199 the era. Oh, for sure. You needed that melody. 00:04:24.300 --> 00:04:26.930 Right. A rapper could deliver incredible verses, 00:04:27.009 --> 00:04:30.209 but it was the melodic, R &B -infused chorus 00:04:30.209 --> 00:04:34.370 that got the song played on national radio. Recognizing 00:04:34.370 --> 00:04:36.550 that her singing voice was the element making 00:04:36.550 --> 00:04:39.029 the tracks memorable. That her hooks were the 00:04:39.029 --> 00:04:41.589 commercial anchor that required serious self 00:04:41.589 --> 00:04:44.209 -awareness. It's hard to let go of your original 00:04:44.209 --> 00:04:46.790 plan. It really is. You might enter the studio 00:04:46.790 --> 00:04:48.990 with a specific identity, but when the market 00:04:48.990 --> 00:04:50.930 signals that your secondary skill is actually 00:04:50.930 --> 00:04:53.449 your primary asset, you have to be willing to 00:04:53.449 --> 00:04:55.610 alter your trajectory. And that pivot yielded 00:04:55.610 --> 00:04:59.100 immediate tangible results. Fast forward to 2005, 00:04:59.300 --> 00:05:01.899 she releases her debut single, Going Crazy. This 00:05:01.899 --> 00:05:03.899 track shot to number 13 on the U .S. Billboard 00:05:03.899 --> 00:05:06.720 Hot 100 singles chart and even reached number 00:05:06.720 --> 00:05:09.699 75 internationally in Australia. That is massive. 00:05:09.939 --> 00:05:11.899 It is. And for you listening, if you follow the 00:05:11.899 --> 00:05:14.160 industry, we know breaking the top 20 is elite 00:05:14.160 --> 00:05:17.000 territory. But what did it actually take to push 00:05:17.000 --> 00:05:20.680 a debut single to number 13 back in 2005? It 00:05:20.680 --> 00:05:23.040 required a monumental physical and promotional 00:05:23.040 --> 00:05:26.139 grind. We're talking about an era long before 00:05:26.139 --> 00:05:29.160 streaming platforms, way before algorithmic discovery. 00:05:29.399 --> 00:05:31.800 No TikTok of virality back then. None at all. 00:05:31.899 --> 00:05:34.759 Hitting number 13 in 2005 meant relentless radio 00:05:34.759 --> 00:05:38.120 promo tours, literally convincing regional DJs 00:05:38.120 --> 00:05:40.740 to spin the record in clubs, relying on physical 00:05:40.740 --> 00:05:43.660 CD single sales at retail stores, and fighting 00:05:43.660 --> 00:05:46.540 for heavy rotation on video networks like MTV's 00:05:46.540 --> 00:05:49.459 TRL. Achieving that level of market penetration 00:05:49.459 --> 00:05:52.399 for a debut artist meant the song had to be requested 00:05:52.399 --> 00:05:55.160 organically by listeners across the entire country. 00:05:55.300 --> 00:05:57.459 And she capitalized on that momentum, too. In 00:05:57.459 --> 00:06:00.199 May of 2005, she releases her self -titled debut 00:06:00.199 --> 00:06:03.139 album, Natalie, under Universal. It peaked at 00:06:03.139 --> 00:06:05.579 number 16 on the Billboard 200 albums chart. 00:06:05.800 --> 00:06:08.079 A really strong showing for a debut. Definitely. 00:06:08.279 --> 00:06:10.220 The follow -up singles were Energy featuring 00:06:10.220 --> 00:06:13.079 Baby Bash, which hit number 66, and Where Are 00:06:13.079 --> 00:06:15.259 You featuring Justin Roman, which didn't chart. 00:06:15.480 --> 00:06:17.579 But I noticed an anomaly in... the notes regarding 00:06:17.579 --> 00:06:20.339 a fourth track called Emptiness, it charted on 00:06:20.339 --> 00:06:22.819 Billboard's R &B singles chart despite never 00:06:22.819 --> 00:06:25.779 being released as an official single. How does 00:06:25.779 --> 00:06:28.120 a non -single trigger the Billboard charts in 00:06:28.120 --> 00:06:31.459 that 2005 landscape? That is a fascinating metric 00:06:31.459 --> 00:06:34.839 of genuine fan engagement. In a pre -streaming 00:06:34.839 --> 00:06:37.720 world, if a non -single charted, it meant club 00:06:37.720 --> 00:06:40.120 DJs were independently choosing to play an album 00:06:40.120 --> 00:06:43.500 cut. Fans were actively calling their local radio 00:06:43.500 --> 00:06:46.339 stations to request a song that the label wasn't 00:06:46.339 --> 00:06:49.000 even spending a dime to promote. Oh, wow. It 00:06:49.000 --> 00:06:51.639 indicates that the album had real depth and that 00:06:51.639 --> 00:06:53.800 listeners were digging past the heavily marketed 00:06:53.800 --> 00:06:56.000 lead single to find their own favorites. And 00:06:56.000 --> 00:06:58.439 she was aggressively building her brand outside 00:06:58.439 --> 00:07:01.300 of the recording booth that year, too. She opened 00:07:01.300 --> 00:07:03.959 the Wango Tango Music Festival in Anaheim, California. 00:07:04.079 --> 00:07:07.480 That's a massive event hosted by Key ISFM, putting 00:07:07.480 --> 00:07:09.899 her in front of tens of thousands of pop -centric 00:07:09.899 --> 00:07:12.329 fans. fans. Huge stage. Yeah. And she also hit 00:07:12.329 --> 00:07:15.149 the road on the sold out 2005 Lady M tour alongside 00:07:15.149 --> 00:07:17.910 Baby Bash and Frankie J Plus. She modeled for 00:07:17.910 --> 00:07:20.189 Azalea Cosmetics and secured television spots 00:07:20.189 --> 00:07:22.310 like a performance on Live with Regis and Kelly. 00:07:22.910 --> 00:07:25.769 It's basically a textbook rollout for a mid -2000s 00:07:25.769 --> 00:07:29.230 pop and R &B crossover artist. She was hitting 00:07:29.230 --> 00:07:31.730 the pop demographics through Wango Tango and 00:07:31.730 --> 00:07:34.370 daytime television while maintaining her core 00:07:34.370 --> 00:07:36.430 base through the Ladym Tour. And she didn't lose 00:07:36.430 --> 00:07:38.569 her footing in the hip -hop scene either. The 00:07:38.569 --> 00:07:41.050 notes list a heavy rotation of collaborations. 00:07:41.569 --> 00:07:43.810 She was everywhere. She really was. She provided 00:07:43.810 --> 00:07:47.189 vocals for Baby Bash's 2005 super saucy album 00:07:47.189 --> 00:07:49.470 on Bubblicious and Throat Off, which featured 00:07:49.470 --> 00:08:00.480 Paul Wall. She appeared on Chameleon. By embedding 00:08:00.480 --> 00:08:03.000 herself as the go -to vocalist for established, 00:08:03.279 --> 00:08:06.500 heavyweight Texas rap artists, she made herself 00:08:06.500 --> 00:08:09.420 indispensable to the regional sound. It's a brilliant 00:08:09.420 --> 00:08:11.500 way to maintain visibility. Keep your name out 00:08:11.500 --> 00:08:13.899 there. Exactly. Even when she wasn't pushing 00:08:13.899 --> 00:08:16.300 her own solo singles, her voice was still dominating 00:08:16.300 --> 00:08:18.959 the airwaves on other people's hit records. Which 00:08:18.959 --> 00:08:23.300 sets up a major evolution in 2006. Natalie releases 00:08:23.300 --> 00:08:25.959 her second album, Everything New, this time under 00:08:25.959 --> 00:08:28.839 Universal Republic. And she makes a very conscious 00:08:28.839 --> 00:08:31.759 decision to shift her musicality toward a dance 00:08:31.759 --> 00:08:34.539 pop direction. The transition from R &B and hip 00:08:34.539 --> 00:08:37.759 hop features to dance pop carries a certain amount 00:08:37.759 --> 00:08:41.240 of risk after a successful debut. But it connects 00:08:41.240 --> 00:08:44.009 directly back to her foundational roots. The 00:08:44.009 --> 00:08:46.549 dancing. Yes, she started as a professional dancer. 00:08:46.850 --> 00:08:49.769 She intimately understands the BPMs, the rhythms, 00:08:49.850 --> 00:08:51.830 and the sonic structures that choreographers 00:08:51.830 --> 00:08:54.490 and club audiences respond to. She was translating 00:08:54.490 --> 00:08:56.830 her physical expertise into her audio production. 00:08:57.070 --> 00:08:59.470 She released several singles from that era, including 00:08:59.470 --> 00:09:02.289 What You Gonna Do featuring Bun B, Love You So, 00:09:02.590 --> 00:09:05.750 and Call Me Up. But while that sonic shift is 00:09:05.750 --> 00:09:08.049 happening publicly, there is a crucial business 00:09:08.049 --> 00:09:10.870 move happening behind the scenes. She signs a 00:09:10.870 --> 00:09:13.789 deal to become a songwriter for EMI. If we connect 00:09:13.789 --> 00:09:15.690 this to the bigger picture, this is where the 00:09:15.690 --> 00:09:18.230 business acumen really shows. If you are looking 00:09:18.230 --> 00:09:20.669 at your own career roadmap right now, understanding 00:09:20.669 --> 00:09:22.929 the difference between a record deal and a publishing 00:09:22.929 --> 00:09:25.350 deal is vital. Let's break that down for the 00:09:25.350 --> 00:09:28.269 listener. Sure. Her deal with Universal Republic 00:09:28.269 --> 00:09:31.179 was a performer's deal. That's tied to the master 00:09:31.179 --> 00:09:33.220 recordings and the physical sales of her voice. 00:09:33.679 --> 00:09:36.039 Signing a songwriting deal with a massive publishing 00:09:36.039 --> 00:09:38.659 house like EMI is about owning the underlying 00:09:38.659 --> 00:09:40.940 intellectual property. Right, the writing itself. 00:09:41.259 --> 00:09:43.120 It is the difference between earning a salary 00:09:43.120 --> 00:09:45.860 for a gig and acquiring equity in a business. 00:09:46.080 --> 00:09:48.720 It ensures long -term revenue streams through 00:09:48.720 --> 00:09:51.740 sync licensing, radio play, and other artists 00:09:51.740 --> 00:09:54.120 potentially recording her written material. It 00:09:54.120 --> 00:09:56.700 is a really mature pivot that suggests she was 00:09:56.700 --> 00:09:59.139 looking far beyond the immediate album cycle. 00:09:59.639 --> 00:10:02.080 Which brings us to a massive turning point in 00:10:02.080 --> 00:10:05.019 the source material. In 2012, Natalie retired 00:10:05.019 --> 00:10:07.679 from singing. A complete withdrawal from her 00:10:07.679 --> 00:10:10.299 solo recording career. So what does this all 00:10:10.299 --> 00:10:12.419 mean? Because she didn't fade out of the industry. 00:10:12.700 --> 00:10:14.799 Instead, she stepped straight into the executive 00:10:14.799 --> 00:10:17.440 boardroom. She became a coach, a choreographer, 00:10:17.580 --> 00:10:19.539 and a manager for Houston Rockets Entertainment, 00:10:19.940 --> 00:10:22.179 specifically taking on the role of directing 00:10:22.179 --> 00:10:24.840 the Clutch City Dancers. Let's just analyze the 00:10:24.840 --> 00:10:27.360 scale of that transition. She started her journey 00:10:27.360 --> 00:10:29.940 as a cheerleader for the Houston Rockets, grinding 00:10:29.940 --> 00:10:33.080 on the floor to get noticed. She goes out, conquers 00:10:33.080 --> 00:10:35.179 the Billboard charts, navigates international 00:10:35.179 --> 00:10:38.460 pop tours, signs major publishing deals, and 00:10:38.460 --> 00:10:40.779 then returns to the exact same organization. 00:10:41.200 --> 00:10:43.539 Talk about coming full circle. But she returns 00:10:43.539 --> 00:10:45.519 to command the entertainment division. I want 00:10:45.519 --> 00:10:47.899 to dig into what directing an NBA entertainment 00:10:47.899 --> 00:10:50.620 division actually entails because I imagine it 00:10:50.620 --> 00:10:53.100 is vastly different from performing a three -minute 00:10:53.100 --> 00:10:55.539 pop song. Oh, completely different. As an executive 00:10:55.539 --> 00:10:57.960 director, you are managing dozens of personalities, 00:10:58.299 --> 00:11:01.419 choreographing complex routines that have to 00:11:01.419 --> 00:11:04.159 hit precise timing marks during timeouts and 00:11:04.159 --> 00:11:06.740 halftimes. Plus, you have to understand the psychology 00:11:06.740 --> 00:11:09.899 of a stadium crowd over a 48 -minute game. It's 00:11:09.899 --> 00:11:13.179 basically nonstop logistics. Yes, she was taking 00:11:13.179 --> 00:11:15.399 the high -pressure, stadium -level production 00:11:15.399 --> 00:11:17.740 experience she gained as a touring pop artist 00:11:17.740 --> 00:11:20.779 and translating it into a corporate sports environment. 00:11:21.200 --> 00:11:24.080 She knew how to build a show, and more importantly, 00:11:24.200 --> 00:11:26.139 she knew what the performers under her management 00:11:26.139 --> 00:11:28.279 were physically going through because she had 00:11:28.279 --> 00:11:30.940 literally stood in their shoes. It is a phenomenal 00:11:30.940 --> 00:11:33.659 way to leverage every single piece of your resume, 00:11:33.840 --> 00:11:36.440 but the timeline doesn't stop in the executive 00:11:36.440 --> 00:11:39.080 suite. The source material notes that in the 00:11:39.080 --> 00:11:42.259 2020s, Natalie returned to the stage and to the 00:11:42.259 --> 00:11:44.740 recording booth under the label Maintain Entertainment. 00:11:45.440 --> 00:11:47.860 Returning to music after a decade long hiatus, 00:11:47.879 --> 00:11:50.799 specifically as an independent artist, completely 00:11:50.799 --> 00:11:53.600 changes the parameters of success. And she has 00:11:53.600 --> 00:11:56.480 been remarkably prolific since her return. She 00:11:56.480 --> 00:11:58.940 released a full album titled Winter in January 00:11:58.940 --> 00:12:01.700 of 2021 and followed it up with Purple Winter 00:12:01.700 --> 00:12:05.240 exactly one year later in January of 2022. Keeping 00:12:05.240 --> 00:12:07.899 up that momentum. Yeah. And she is actively hitting 00:12:07.899 --> 00:12:10.620 the road again, too. The notes mention a show 00:12:10.620 --> 00:12:13.360 at a venue called Cake in Albuquerque, New Mexico 00:12:13.360 --> 00:12:16.809 in late January of. 2023. The contrast between 00:12:16.809 --> 00:12:20.429 the 2005 major label push and a 2023 independent 00:12:20.429 --> 00:12:24.389 tour is stark. In 2005, there's an entire corporate 00:12:24.389 --> 00:12:27.090 machine pushing you to number 13 on the Hot 100. 00:12:27.450 --> 00:12:29.529 You've got the radio pluggers, the MTV spots. 00:12:29.950 --> 00:12:33.029 Exactly. But returning in the 2020s to release 00:12:33.029 --> 00:12:35.009 independent projects and play venues in places 00:12:35.009 --> 00:12:37.590 like Albuquerque requires a totally different 00:12:37.590 --> 00:12:40.129 type of endurance. It strips away the corporate 00:12:40.129 --> 00:12:42.509 pressure and reveals a foundational love for 00:12:42.509 --> 00:12:45.789 the craft itself. She is dictating her own terms, 00:12:46.009 --> 00:12:48.730 releasing music on her own schedule and connecting 00:12:48.730 --> 00:12:50.970 directly with audiences without the filter of 00:12:50.970 --> 00:12:53.549 a major label. To synthesize this multi -hyphenate 00:12:53.549 --> 00:12:55.429 journey for you listening, we are looking at 00:12:55.429 --> 00:12:57.250 a trajectory from a criminal justice student 00:12:57.250 --> 00:12:59.909 to an NBA cheerleader to a rapping backup dancer 00:12:59.909 --> 00:13:03.909 to a top 20 billboard R &B artist to an EMI songwriter 00:13:03.909 --> 00:13:06.269 to a sports entertainment executive and now a 00:13:06.269 --> 00:13:08.669 touring independent artist. If there's a central 00:13:08.669 --> 00:13:10.549 takeaway for you as you navigate your own professional 00:13:10.549 --> 00:13:13.549 landscape, it is the refusal to let a single 00:13:13.549 --> 00:13:15.929 label dictate your ceiling. I love that. She 00:13:15.929 --> 00:13:17.909 didn't let the title of dancer preclude her from 00:13:17.909 --> 00:13:20.269 becoming a lead vocalist, and she didn't let 00:13:20.269 --> 00:13:23.330 the identity of pop star prevent her from claiming 00:13:23.330 --> 00:13:26.750 the title of executive. She demonstrates the 00:13:26.750 --> 00:13:29.690 incredible power of recycling the specific technical 00:13:29.690 --> 00:13:32.590 skills from your current chapter into the fuel 00:13:32.590 --> 00:13:35.090 for your next one. Every single phase of her 00:13:35.090 --> 00:13:37.710 career funded the expertise needed for the next. 00:13:37.970 --> 00:13:40.269 This raises an important question. Think about 00:13:40.269 --> 00:13:42.669 Natalie seamlessly blending her cheerleading 00:13:42.669 --> 00:13:44.850 routines with her secret passion for rapping. 00:13:45.529 --> 00:13:47.970 If you were to take your current day job or your 00:13:47.970 --> 00:13:50.669 primary skill right now and forcefully collide 00:13:50.669 --> 00:13:52.950 it with your most hidden, unrelated passion, 00:13:53.289 --> 00:13:56.649 what completely new, previously uninvented opportunity 00:13:56.649 --> 00:13:59.309 could you create for yourself? That's something 00:13:59.309 --> 00:14:01.470 to think about as you look at the evolving landscape 00:14:01.470 --> 00:14:04.269 of your own industry. Thank you so much for joining 00:14:04.269 --> 00:14:07.149 us for this deep dive. Keep questioning the conventional 00:14:07.149 --> 00:14:09.830 paths and take care. Thank you for joining the 00:14:09.830 --> 00:14:10.769 discussion. Goodbye.