Podcasts about Arista Records

In this episode of the Mixing Music Podcast, Dee Kei and Lu break down one of the simplest but most powerful tools in every engineer's arsenal: high-pass and low-pass filters. From functional cleanup and frequency management to shaping emotion, depth, and energy, filters are far more than just technical necessities — they're creative tools that shape the feel of a track. The guys discuss where filters should be used, where they're often abused, and how they use them to sculpt tone, add movement, and guide listener focus. Whether you're cleaning up mud or automating your way to a more emotional mix, this episode will leave you hearing HPFs and LPFs in a whole new way.SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the Mixing Music Podcast, Dee Kei and Lu dive deep into the relationship between self-esteem, insecurity, and communication in the studio. Beyond gear and plugin chains, your ability to collaborate, accept feedback, and maintain emotional stability may be the real secret to becoming a trusted professional. We explore how low self-esteem can lead to defensiveness, people-pleasing, or creative burnout — and how building authentic confidence can improve client relationships, reduce revision stress, and elevate the quality of your work. Whether you're just starting out or trying to level up your freelance career, this conversation is packed with insight, vulnerability, and practical advice.SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the Mixing Music Podcast, Dee Kei and Lu dive into the tricky subject of saying no to bad recordings. Whether it's a poorly tracked vocal, clashing client expectations, or an unrealistic request to “fix it in the mix,” this conversation is all about navigating those uncomfortable but necessary boundaries. We discuss how to communicate limitations without burning bridges, how to balance personal taste with professional responsibility, and when it's smarter to offer creative solutions rather than force a mix that just isn't working. If you've ever struggled with people-pleasing, underpricing, or working on tracks that don't meet your standards, this episode is for you.SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the Mixing Music Podcast, Dee Kei and Lu get candid about the mistakes they still make — even after years of mixing, mastering, and working with big-name artists. From rushing decisions and second-guessing revisions, to over-processing vocals and letting imposter syndrome creep in, they share the real lessons behind the errors that never quite go away. This episode is a reminder that growth doesn't mean perfection — it means awareness, adaptability, and learning faster each time you fall into familiar traps.SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's Private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

CHECK OUT OLLO X1 HEADPHONES: https://mixingmusicpodcast.com/olloSUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's Private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the Mixing Music Podcast, Dee Kei and Lu debate whether mid/side EQ and compression is secret sauce or just overhyped gimmick. From subtle mastering moves to totally wrecking your stereo image, we break down the good, the bad, and the reckless uses of mid/side processing. We talk real-world use cases, the plugins we trust (and the ones we've overused), and why blindly boosting the sides might be killing your mix. If you've ever used mid/side EQ just because you could — this one's for you.SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's Private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the Mixing Music Podcast, Dee Kei and Lu explore the hidden impact of certainty, doubt, and perception on creative careers and communication in the music industry. From the subjectivity of art to the way we interpret feedback, we break down how overconfidence or insecurity can sabotage collaboration, client relationships, and personal growth. We also dive into reframing feedback as a collaborative tool, navigating client expectations with emotional intelligence, and the role of fairness, ambition, and responsibility in long-term success. Whether you're battling imposter syndrome or struggling to manage boundaries with high-maintenance clients, this episode unpacks how self-awareness and reflection can unlock better communication, creativity, and career sustainability.SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's Private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the Mixing Music Podcast, Dee Kei and Lu dive into the ongoing resurgence of analog emulation plugins and why these classic tones still matter in today's digital landscape. They break down the technological leaps in digital plugin development, the shift in modern musical trends, and what “warmth” really means when it comes to sound. From the nostalgic vibe of tape saturation to the precision of modern analog-modeled tools, they explore the strengths and quirks of both analog and digital workflows. Plus, Dee Kei and Lu share some of their favorite go-to plugins that bring character and vibe to every mix.SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's Private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the Mixing Music Podcast, Dee Kei and Lu explore the art and challenge of mixing across different genres while preserving the emotional feel of a track. They dive into how an emotional and intuitive approach complements technical skill, and why flexibility is key when switching between genre conventions. From balancing creative instincts with technical demands to understanding why the human touch still matters in a world of AI-assisted tools, this episode is a deep dive into the mindset and methods that help mixers stay versatile and connected to the music, no matter the style.SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's Private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the Mixing Music Podcast, Dee Kei and Lu talk about self-serving bias and fundamental attribution error. They discuss about the cross point where preparation meets luck and the idea of opening up for success.SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's Private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

CNN, HBO MaxLegendary US singer Dionne Warwick 2025 Inductee Class in the Rock & Roll Hall of FameThe news came shortly after the 82-year-old star became one of the latest recipients of a Kennedy Center Honor, alongside comedian Billy Crystal and actor Queen Latifah.The Don't Make Me Over tour will begin its UK leg at Gateshead's The Glasshouse on Sunday 5 May, 2024, with tickets going on sale via Ticketmaster.  In 2023, we saw the debut of her Documentary that aired on CNN New Year's Day featuring Legendary Music Icons like the late Burt Bachrach, Jerry Blavat, Chuck Jackson, as well as Berry Gordy, Quincy Jones, & Smokey Robinson. She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS © 2025 Building Abundant Success!!2025  All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASAmazon ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

In this episode of the Mixing Music Podcast, Lu goes solo and talks about some of the basics.SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's Private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the Mixing Music Podcast, Dee Kei and James talk about what you can do with your time when things are slow and how to handle the inconsistent nature of freelance work.SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!⁠HIRE DEE KEI⁠⁠HIRE JAMES⁠Find Dee Kei and James on Social Media:Instagram: ⁠@DeeKeiMixes⁠  ⁠@JamesDeanMixes⁠Twitter: ⁠@DeeKeiMixes⁠ The Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's Private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In a special interview, Will speaks with Laurie Miller, who along with Sandra Casañas and Alé Lorenzo were the founding members of Exposé. Together, they toured the country performing the future hit tracks that earned them contract with Arista Records. Now, Laurie is performing once again with O-Baby, another vocal group from Exposé's hit-making producer DJ Martinee.0:00 - Introduction3:58 - Interview with Laurie MillerFollow us on Facebook: https://www.facebook.com/1980snow.Subscribe to our YouTube channel: https://www.youtube.com/@1980snowLearn more about O-Baby on Instagram at https://www.instagram.com/djm_obabyFollow O-Baby on Facbook at https://www.facebook.com/FormerlyTheOriginalExpose.

In this episode of the Mixing Music Podcast, Dee Kei and Lu talk about top-down mixing and maintaining the proper perspective needed to stay emotionally connected to the songs we work on.SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's Private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the Mixing Music Podcast, Dee Kei and Lu dive into the concept of declinism—the cognitive bias that makes us believe things are getting worse, even when they aren't. They explore how this mindset manifests in the music industry, from nostalgia-driven skepticism to resisting new trends and technologies. More importantly, they break down practical ways to stay open-minded, adapt to industry shifts, and ensure long-term creative and professional growth. Tune in to learn how to fight the illusion of decline and keep evolving!SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's Private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the Mixing Music Podcast, Dee Kei and Lu answer some questions from the audience!SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's Private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the Mixing Music Podcast, Dee Kei and Lu talk about Mixerman's 10 steps to better mixing.SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's Private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the Mixing Music Podcast, Dee Kei and James talk about what the art of mixing is and isn't. They also talk about the different goals and stages of both a mix and a mixer.SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!⁠HIRE DEE KEI⁠⁠HIRE JAMES⁠Find Dee Kei and James on Social Media:Instagram: ⁠@DeeKeiMixes⁠  ⁠@JamesDeanMixes⁠Twitter: ⁠@DeeKeiMixes⁠ The Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's Private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Postpartum Talks is a podcast that shares tips,ideas,and personal experiences of the host about postpartum care. Postpartum Talks is for informational purposes only This is an earlier non published 2019 recording. See correct contact info to reach us for more on postpartum doula care. please note: website: www.AhmaDoulaServices.com Email: AhmaServices@gmail.com . Postpartum Talks does not offer medical counsel . If you are in need of emergency care call 911 for help. Postpartum Talks and Ahma Doula Services does not claim any ownership of music I am Every woman sung by Whitney Houston. The copyrights for Whitney Houston's "I'm Every Woman" are held by Arista Records, Inc. and Nippy, Inc.

Label: Arista 0200Year: 1976Condition: M-Last Price: $15.00. Not currently available for sale.This is simply one of Carmen's very best singles outside of his work with the Raspberries: So tuneful, with such a propulsive beat it's gotta rate 2 stars! The only fault I can find is that the song should have been a much bigger hit than it was. And don't neglect the B side... it's another melt-in-your-mouth rocker from Carmen's debut album you must make part of your Carmen/Raspberries collection. By the way, the A side is an edited version of the 5:21 album track. Note: This beautiful copy comes in a vintage Arista Records factory sleeve. It has Near Mint labels and vinyl, and pritine Mint audio.

This week on Diving In Deep, Sara is joined by Season 5 American Idol winner, Taylor Hicks! Taylor and Sara talk in depth about Sara's new land that she bought and what it's like to get away from the busy life as a musician. They also discuss Taylor's exciting music career from winning American Idol to doing 576 shows on Broadway. They reflect on their long friendship, their vocal capabilities, and what life is like as an entertainer. Join in on this week's conversation to hear more about Taylor's exciting journey through life and music. Listen to Unbroke: (https://ffm.to/seunbroke) About Taylor Hicks: Taylor Hicks is a talented singer-songwriter from Birmingham, Alabama, who burst into the spotlight after winning the fifth season of American Idol in May 2006. He began his professional music journey in his late teens, performing across the American Southeast for over a decade and releasing two independent albums along the way. Following his Idol victory, Hicks signed with Arista Records and has been sharing his music driven by his passion for creativity ever since. With a captivating stage presence and a sound that blends classic rock, blues, and R&B, he has garnered a devoted fanbase known as the "Soul Patrol.” Hicks remains a vibrant force in the music scene, constantly evolving while staying true to his soulful roots.LET'S BE SOCIAL: Follow Taylor Hicks: Instagram – (@taylorhicksofficial)Tiktok – (@taylorhicks) Twitter/X – (@TaylorHicks) YouTube – (@TaylorHicksTV) Facebook – (@TaylorRHick)Website – taylorhicks.com Follow Diving in Deep Podcast:Instagram –(@divingindeeppod)TikTok – (@divingindeeppod)Twitter – (@divingindeeppod)Facebook – (@divingindeeppod)Follow Sara Evans: Instagram – (@saraevansmusic) TikTok – (@saraevansmusic) Twitter – (@saraevansmusic)Facebook – (@saraevansmusic)Produced and Edited by: The Cast Collective (Nashville, TN)YouTube – ( @TheCastCollective )Instagram – (@TheCastCollective)Twitter – (@TheCastCollective)Directed by: Erin DuganEdited By: Sean Dugan, Corey Williams, & Michaela Dolphhttps://www.thecastcollective.com

Photo: Wikipedia Public DomainStory by: Gail NoblesLet's talk about a lovely song called "We'll Never Have to Say Goodbye Again," written by Jeffrey Comanor. This song came out in September 1976 as part of an album called "A Rumor in His Own Time." It's all about a sweet couple who have an amazing night together, and the singer wishes it would just go on forever—no goodbyes, just happiness. While Jeffrey's original version didn't get much attention, a big change happened when Clive Davis, the president of Arista Records, stumbled upon it just a few months later. He saw potential in it, and it was soon covered by a duo called Deardorff & Joseph in their first album with Arista.After Deardorff & Joseph went their separate ways, interestingly, the people managing them found new opportunities—you see, Marcia Day started managing Deardorff, while Susan Joseph took charge of Joseph.Fast forward to February 1978, and we have more covers of this enchanting tune! Maureen McGovern and the duo England Dan & John Ford Coley each released their versions. McGovern's cover didn't quite catch on, but England Dan & John Ford Coley hit the jackpot! Their rendition spent six weeks at the top of the Billboard US Easy Listening chart and made waves in Canada, too.I'm Gail Nobles. You're listening to Sound Flave.

Label: Arista 0139 djYear: 1975Condition: MPrice: $18.00Stereo/Mono promo copy. This is one seriously great dance number, with a powerful sense of menace that you don't normally find in Disco music... Which is why I've decided to put it in the Philly Soul genre instead. No matter... it's a must-have 1975 rarity. Group is New York duo Mike Felder (guitar) and Bill Daniels (piano). They didn't make an album, just a couple of singles, which is why you won't find this tune in Apple Music, Spotify, or other primarily-album-based services. This promo has a somewhat shorter version than on the retail release. Note: This beautiful copy comes in a vintage Arista Records factory sleeve. It has no notable flaws, grading Mint across the board (Labels, Vinyl, Audio). (This scan is a representative image from our archives.)

Colt and David sit down with artist manager Kerri Edwards.  As the founder and president of management firm KP Entertainment, Kerri Edwards is a key figure in the careers of country stars Luke Bryan, Cole Swindell, Dylan Scott, Chayce Beckham and others.The West Virginia native started her career as an intern while studying at David Lipscomb University in Nashville. Edwards interned at Arista Records, and was eventually brought on to the staff who helped guide the careers of Alan Jackson, Brooks & Dunn, Pam Tillis, Diamond Rio and other '90s country greats.Edwards later joined EMI Music Publishing, followed by the High Five video production house, and then took a job with producer Mark Bright, before landing at Murrah Music. That's where she met Luke Bryan, a staff writer at the time, and would start working with him to help further his career.Now over a decade into management, Edwards is the ultimate insider, involved in the touring, publishing, branding and business decisions for some of the genre's most-sought-after performers. Website: www.kpentertainment.co Facebook: www.facebook.com/kpentertainment.co Instagram: www.instagram.com/thekpentertainmentTwitter (X): www.twitter.com/kpentertain Send us a textSupport the showCheck out our socials and follow us!Facebook: www.facebook.com/TwangTownPodcastInstagram: www.instagram.com/TwangTownPodTwitter: www.twitter.com/TwangTownPodWe would love your support to continue to bring listeners amazing content!Cash App: www.cash.app/$TwangTownPodBuzzsprout: https://www.buzzsprout.com/2232176/support

Heavy metal rock legend, Carl Canedy, and writer Phillip “Doc” Harrington, recently published Carl's autobiography, Tales of a Wild Dog, Memoirs of a Rock Warrior. Since the age of 5, after observing a striking red drum set at a wedding reception, Carl was determined to play the drums. He received his first drum set in his early teens, immediately immersed himself in practice, and eventually developed his now-famous signature style. He also taught himself how to play guitar and piano, which would later come in handy in his role as a songwriter. After spending his formative years touring with the band Kelakos, in 1979, Carl joined forces with David “Rock” Feinstein to start the legendary Upstate, NY power trio, The Rods. The band quickly became a sensation in the northeast, landing a major recording contract with Arista Records. The Rods toured and played shows with the likes of no less than: Judas Priest, Ozzy, Motörhead, Metallica, Richie Blackmore, Blue Oyster Cult, and many others. In the late 1980's, Carl produced of some of heavy metal's most iconic bands, including: Anthrax, Overkill, Exciter, Possessed, Helstar and many others. He also coached, developed, and mentored bands such as Roxx Gang and Young Turk. The Rods had a resurgence in 2010 with their comeback album; Vengeance., which was followed by Brotherhood of Metal and the highly acclaimed Rattle the Cage. The Rods continue to tour and are currently putting the final touches on their 11th studio album. Carl has also released 2 albums under the moniker of Canedy.Doc is a devoted culinarian and a dedicated heavy metal fan. A graduate of the esteemed Culinary Institute of America, he has spent the past 2 decades writing and arranging technical manuals for the baking industry. Doc views the 80's heavy metal scene as monumentally historic and highly impactful. He seeks to chronicle as much of its stories, triumphs, and challenges as time permits.  A massive Rods fan, Doc encouraged Carl to write his memoirs.I've read Tales of a Wild Dog and can tell you it's an intense, personal look at working within the gritty, full force world of Heavy Metal.  If you're a fan of the genre and want to know more about its origins and the people in it, be sure to check out Tales of a Wild Dog. www.canedyband.com

Pat welcomes podcaster and friend Mario del Barrio to the "Rock Room" to check out the NEW 2024 Remasters of The Kinks' albums "Sleepwalker" & "Misfits"See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Wow! What a special episode with a brilliant being, Rob's son! We speak of him often with love so overjoyed to have JP Saxe on the show! JP is a musician with over a billion streams on his music, toured w John Mayer and signed to Arista Records. Coming from Toronto, conquering L.A and now living in NYC, JP exists with a present focus that can only be described as extremely self aware. We get the opportunity to hear his journey from his lips and maybe we even get a tiny little jam at the end w Ellevan. Gratitude! Tune in and love every second of it, as we did. Thank you so much for watching/listening to our podcast. We are here to learn and offer valuable information about the cannabis and wellness space!  Please like this video and subscribe for weekly podcasts, meditations, and affirmations.   Follow us on Instagram:  Disciplined Stoners: https://www.instagram.com/disciplinedstoners Winny Clarke: https://www.instagram.com/winnyclarke Ellevan: https://www.instagram.com/ellevanmusic Sign up for Winny's Mailing List here: http://eepurl.com/gCIZg1 Get Ellevan's book: STFU: Thoughts and Feelings shorturl.at/pIS08   Follow us on Spotify: https://open.spotify.com/show/1XDoMv08pT9EfyBaCXNnaj?si=7a557f0e0bf14d4d  Follow and Listen to Ellevan on Spotify: https://open.spotify.com/artist/0G1sZ8clT2oSvzQ3IL2ZRd?si=vJVw9FLyS6GtF453Ny21kQ  Every episode we travel deeper into unfolding who we believe we are. Through these conversations of self reflection, often comedic, often topical, always grounded, we try to uncover a deeper meaning to this life. Thank you for joining us on this special discovery and we hope to continue to inspire you and the choices you make to better your life. You are loved. You are well. We are growing. Love n Light #podcast #mindfulness #mindfulpodcast #podcasting #comedy #fun #podcasting #wellness #meditation #disciplines #entrepreneur

In this commentary episode of the Patrick coffin show, Patrick does a review of the players and principles surrounding the bull's eye of the target known as Sean “Diddy” Combs, arrested last month by Damian Williams, the United States Attorney for the Southern District of New York, and William S. Walker, the Acting Special Agent in Charge of the New York Field Office of Homeland Security Investigations.   Diddy was charged with a three-count indictment for racketeering conspiracy, sex trafficking, and transportation to engage in prostitution.     But this case is not about celebrity gossip or the downfall of one or two bad apples.    It is a revelation of the depth of depravity and denial that has always characterized the entertainment industry. The Diddy indictment alleges that between 2008 and 2024, he abused, threatened, and coerced women and others, and led a racketeering conspiracy that engaged in sex trafficking, forced labor, kidnapping, arson, bribery, and obstruction of justice, among other crimes.   In the Hollyweird orbit of Epsteins and Weinsteins, why would a Combs indictment for similar behavior shock us? There are more questions to be asked.   Topics covered in this episode:   Why is no one talking about the “family tree” of mentorship and manipulation by the man who discovered Diddy, R&B producer Andre Harrell, and the man who discover Harrell—the creepy self-described bisexual Clive Davis, founder of Arista Records. How did Diddy's career really start? The litany of people connected to Diddy who showed up dead or seriously ill, like ex-girlfriend Kim Porter, JayZ's pregnant mistress Cathy White, singer Aaliyah, and radio host Wendy Williams. Former insiders to follow: R&B singer Jaguar Wright, comedian Katt Williams, and former Diddy bodyguard Gene Deal. Troubled rappers connected to Diddy: JayZ, Drake, Usher, 50 cent, Tupac Shakur, Biggie Smalls (aka the Notorious BIG), R. Kelly   Rappers are black proxies for largely non-black owners, who seem always to escape justice   Puff Combs' Bay Boy Records (owned by BMG, sold to Sony in 2008, CEO Rob Stringer; Travis Scott's Cactus Jack Records, distributed by Epic Records, owned by Sony Music Entertainment, CEO Rob Stringer; Drake's OVO Sound, an imprint of Warner Records from its formation until 2022, CEO Aaron Bay-Schuck; Tyler, The Creator, Odd Future Records, parent company, Sony Music Entertainmen, CEO Rob Stringer; Legendary DEF JAM records, parent company Universal Music Group, CEO Sir Lucian Grainge; Jay Z's Rock a Fella Records, owned by Universal Music Group, CEO is Sir Lucian Grainge; 50 Cent's G-Unit Records, owned by Universal Music Group, CEO Sir Lucian Grainge; Usher and Justin Bieber's RBMG Island Def Jam Music Group, run by Tunji Balogun, but the parent company is Universal Music Group, CEO Sir Lucian Grainge; Yo Gotti's Collective Music Group CMG, owned by parent company, Universal Music Group, CEO Lucian Grainge; Dr. Dre's Aftermath Records, a subsidiary of Universal Music Group, and distributed through Interscope Records, CEO Sir Sir Lucian Grainge (Dickon Stainer in the UK)   The grandaddy of all the non black music executives is Clive Davis, the main puppet master of Diddy, and the man who launched careers dating back to the 60s, from Tony Orlando, the Bay City Rollers, Aretyha Franklin, Whitney Houston and many others up to: Justin Bieber, perhaps the highest profile troubled artist in this toxic space.

“Turmeric & Tequila isn't just a podcast—it's a movement. I'm answering the call to build a choir that brings people together sparking tangible positive energy.” -Kristen Olson Welcome to Turmeric & Tequila with your host, Kristen Olson. In this impromptu episode, I dive into a creative calling that's been tugging at my heart: building a choir. Join me as I unravel my lifelong love for music, from childhood talent shows to using music as a constant companion through my athletic and entrepreneurial journey. Today, I'm voicing my ambition to create a unique choir performance that transcends barriers and unites a community. Tune in to hear how I plan to take this dream from vision to reality, and how you can follow your own passions, no matter how unconventional they seem. Plus, enjoy inspiring transformation stories from our sponsor Lux Neuro and stylish updates from Declan James Watches. Ready to chase dreams and build a choir? Let's go. Cheers! Time Stamps: 00:00 Welcome to Turmeric and Tequila with Kristen Olson. 06:02 Music was my emotional outlet and support. 08:44 Music industry changes; reminiscing about Arista Records. 10:42 Longstanding passion and plan for music career. 13:14 Unexpected calling feels compelling yet induces doubt. 16:26 Inspiring unity, purpose, and hope through musical talent. 20:20 Trust universe, pursue vision, let go, show up. 22:51 Join us next time on Turmeric and Tequila.   Kristen M. Olson: Leader, entrepreneur, coach, athlete, pup mom. Kristen Olson is the dynamic host of the podcast "Turmeric and Tequila," where she delves into thought-provoking conversations that challenge conventional wisdom. She approaches her discussions with a blend of grace and disruptive curiosity, aiming to find better ways to navigate life. Kristen's podcast is supported by Lux Neuro, a title sponsor that specializes in neurofeedback and counseling. Lux Neuro aids in treating a range of issues from insomnia and anxiety to depression and ADHD, helping individuals optimize their brains and align their heart and mind. Kristen's engaging approach and commitment to uncovering transformative stories make her a compelling voice in the podcasting world. @madonnashero Connect with T&T: IG: @TurmericTequila Facebook: @TurmericAndTequila Website: www.TurmericAndTequila.com Host: Kristen Olson IG: @Madonnashero Tik Tok: @Madonnashero Website: www.KOAlliance.com WATCH HERE   MORE LIKE THIS: https://youtu.be/ZCFQSpFoAgI?si=Erg8_2eH8uyEgYZF   https://youtu.be/piCU9JboWuY?si=qLdhFKCGdBzuAeuI https://youtu.be/9Vs2JDzJJXk?si=dpjV31GDqTroUKWH    

By the end of the 1970s, Rick Danko found himself in an unexpected place. After the release of his first solo album on Arista Records didn't sell well, and with management in flux, Arista dropped him. Despite this, Danko continued to tour, collaborate, and perform in smaller, more intimate venues, showcasing his character and musicianship. Collaborations with former Beach Boy Blondie Chaplin, Richard Manuel, Paul Butterfield, and even actor Gary Busey highlighted his versatility. Woodstock ‘79, a smaller and less impactful event than the original, featured Danko performing with Butterfield. This era also saw Danko contributing to Joe Cocker's chaotic version of “I Heard It Through The Grapevine” and Larry Lee's album “Marooned.” This period of triumph and tribulation is a testament to Danko's enduring spirit and love for music. Learn more about your ad choices. Visit megaphone.fm/adchoices

A flashback to the "wilderness years" between the end of Extreme Ghostbusters and the "Answer the Call" reboot - 2012 marked the year host of the prolific and informative pop culture podcast "The Chronic Rift" John S. Drew talked to Jay and "Mr. Sci-Fi" Marc Scott Zicree (author of some of the best episodes of The Real Ghostbusters) about the legacy of the franchise and why the animated series was so important to the enduring appeal of the original concept developed by Ivan Reitman, Dan Aykroyd, and Harold Ramis.  Zicree talks about the process of writing stories for The Real Ghostbusters back in the 1990s as one of the key writers under J. Michael Straczynski while Jay manages to hold back most of his fanboy glee talking about what the series meant to him growing up. Fortunately, no hosts or screenwriters were roasted in the depths of the Sloar that day. Thanks to John Drew for allowing RFG to use this interesting conversation.  Content of the original episode was altered slightly from the original release. This Creative Commons Licensed episode is repurposed for Radio Free Gozeria with permission from John S. Drew. Fair use is exercised in the use of illustrative clips from various Ghostbusters sources owned by Sony Pictures, DIC Entertainment, and Arista Records, used for non-commercial and transformative purposes throughout with no claim to rights or ownership of the material.  A.I. was used for parody purposes to create the episode theme song courtesy of Udio.com and will likely never be used ever again. 

Send us a Text Message.Born and bred in Buffalo New York and a later transplant that calls Manhattan home, Willie Nile is the epitome of an urban warrior, a no-nonsense rock and roll loyalist whose urban sensibility evokes the fierce spirit of the city's punk scene and its insurgent sensibility. Over the course of 14 studio albums and a near brush with widespread fame and notoriety that came courtesy of an early association with Arista Records, Nile admittedly had his share of setbacks, but his devotion to the relentless spirit of pure rock and roll has never wavered.Nile's latest offering, Live at Daryl's House Club remains true to that tack, spotlighting him in the environment that suits him best — that is, in front of an appreciative audience, one that allows him to let his free-spirited attitude run wild. In fact, there's not a single song among this baker's dozen that fails to reflect his workingman-like regimen, all of which are amplified in this stirring concert setting.Those that have followed Nile since his seminal beginnings in the early ‘80s ought to appreciate Live at Daryl's House Club for its unabashed energy, while those who, until now, have somehow remained unknowing and unawares could consider this an ample introduction. In short, Nile's never sounded so energized or inspired. His new interview with My Backstage Pass affirms the obvious. Learn more about Willie Nile at https://www.willienile.comHost Lee Zimmerman is a freelance music writer whose articles have appeared in several leading music industry publications. Lee is a former promotions representative for ABC and Capital Records and director of communications for various CBS affiliated television stations. Lee recently authored the book "Thirty Years Behind The Glass" about legendary producer and engineer Jim Gains.Podcast producer/cohost Billy Hubbard is an Americana Singer/Songwriter and former Regional Director of A&R for a Grammy winning company. Billy is a signed artist with Spectra Music Group  and co-founder of the iconic venue "The Station" in East TN. Billy's new album was released on Spectra Records 10/2023 on all major outlets! Learn more about Billy at http://www.BillyHubbard.comMy Backstage Pass intro & outro music credit: Intro - Billy Hubbard "Waitin' on The Wind"Outro - Billy Hubbard "Lonesome When I'm With You" My Backstage Pass is sponsored by The Alternate Root Magazine! Be sure to subscribe to their newsletter, read the latest music reviews and check out their weekly Top Ten songs at this link http://www.thealternateroot.com

Scott Phares in conversation with David Eastaugh https://www.hollywoodstarsband.com/ https://thehollywoodstars.bandcamp.com/track/cant-do-it-right American rock band formed in Los Angeles, California in late 1973 by manager/impresario Kim Fowley. The band was created as a West Coast answer to the New York Dolls during the height of the popularity of the glam rock genre. The band signed with Columbia Records in 1974 and with Arista Records in 1976, releasing one self-titled LP with the latter label in 1977 and opening for The Kinks on their Sleepwalker tour the same year. The band's song "Escape" was recorded by Alice Cooper and released on the album Welcome to my Nightmare (1975), while their song "King of the Night Time World" was recorded by Kiss and released on the album Destroyer (1976). Two archive albums recorded in 1974 and 1976 were released in 2013 and 2019 to critical acclaim, prompting the band to reform in 2018.

As you likely recall, in Season 5, we moved to posting new episodes of Fostering Change bi-weekly. Well, we've just met so many amazing humans that we thought we'd make an exception during National Foster Care Awareness Month, so we have four episodes running this month! Before we get on to today's show with the amazing Benjy Grinberg, just a suggestion to visit the Comfort Cases website - www.comfortcases.org, and see all of the programs we are working on this month, with some genuinely unique organizations. Thanks.And now, as they say… “On with the Show!”On today's episode, Rob Scheer speaks with Benjy Grinberg - yes, a GOOD HUMAN.Benjy is the Founder and CEO of Rostrum Records, an independent record label known mainly for developing artists early in their careers and championing their vision. Grinberg started in the music industry at Arista Records as an assistant to record executive Antonio “L.A.” Reid. A career-long champion of the indie community, he leads the labels' well-recognized, innovative, artist-centric approach driven by his commitment to ensuring the long-term success of his artists. Over the course of two decades, the label has had a diverse roster of chart-topping artists, including Mac Miller, Wiz Khalifa, DC The Don, The Bird and The Bee, 24hrs, Mod Sun, Rockie Fresh, Problem, KT Tunstall, and more. How does this relate to Foster Care? Well, Benjy recently became a CASA (Court Appointed Special Advocate)! CASAs are everyday community members appointed by a judge to advocate for children in need of care. On today's show, Benjy speaks with Rob about why he chose to become a CASA and what it means to him.Definitely an inspirational conversation.To learn more about becoming a CASA, please visit https://nationalcasagal.org/To learn more about Benjy:Instagramhttps://www.instagram.com/benjybenjyLinkedInhttps://www.linkedin.com/in/benjy-grinberg-ba85653/Our next episode will air on May 21. You can also catch up on previous episodes of Fostering Change by visiting www.comfortcases.org/podcast or your favorite podcast outlets.If you have any comments, questions, or guest suggestions, we'd love to hear from you! Please write to us at info@comfortcases.org.As always, thank you for listening! Hosted on Acast. See acast.com/privacy for more information.

The Interview Discusses:Bill Wilson's rise from a data-driven marketer at Arista Records to helming a digital-first local media empire.The extraordinary experience of working with Clive Davis. How he utilized traditional radio as a “trojan horse” to build a digital media company.The competitive advantage of  operating in smaller markets.Why a local content strategy is so differentiated in today's environment.Bill's thoughts on capital allocation.His views on running a publicly traded company.Why he believes Townsquare's stock is intrinsically undervalued.How he intends to unlock shareholder value if the stock price languishes.And much more…Biography:Mr. Wilson joined Townsquare in September 2010 and previously served as Co-Chief Executive Officer and Executive Vice President and Chief Content & Digital Officer of the Company. Prior to joining Townsquare, Mr. Wilson was President of AOL Media from 2006 to May 2010 where he had overall responsibility for AOL's global content strategy. In his nine years at AOL, he also served in a number of roles including President, AOL Programming & Studios and Executive Vice President; and under his leadership, AOL's content sites grew to reach more than 75 million monthly unique visitors domestically and over 150 million worldwide.Prior to joining AOL in 2001, Mr. Wilson served as Senior Vice President for Worldwide Marketing at Bertelsmann Music Group (BMG), which he joined in 1992, and was responsible for worldwide marketing including artist, digital and non-traditional marketing across more than 50 countries for the world's biggest artists including Dave Matthews Band, OutKast, Foo Fighters, Whitney Houston, Annie Lennox, Santana and numerous major recording artists over his tenure at BMG.  Mr. Wilson started his career at BMG subsidiary Arista Records under the guidance of Clive Davis and Richard Sanders, where he was a product manager working with artists across numerous genres including Notorious B.I.G., TLC,  Sarah McLachlan, Kenny G and Spiritualized.Mr. Wilson won an Emmy Award in 2006 for the record setting Live 8 program and was named to the Hollywood Reporter's “Digital Power List” in 2008, which profiles the 50 people who most influence the creation and distribution of content online. In addition, he was profiled in Crain's New York Business' “40 under Forty” and Billboard's “Power Players” in Digital Entertainment in 2005, as well as Hollywood Reporter's “Next Generation” in 2003, and Radio Ink's “Most Powerful in Radio” in 2018 - 2023. Mr. Wilson was voted the Radio Board Chair of the National Association of Broadcasters (“NAB”) in June 2021, after serving on the Executive Board of the NAB since 2020 and previously serving as a NAB Board Member. Mr. Wilson was also recently recognized as 2021 “Executive of The Year” by Radio Ink.Mr. Wilson graduated summa cum laude from the State University of New York at Stony Brook with a B.A. in economics and a B.S. in business management and earned a M.B.A. with honors in finance and marketing from Rutgers University's Graduate School of Management.Unlocking Investment Opportunities Since 1975 At the Boyar Value Group, we've dedicated nearly five decades to the pursuit of value on behalf of our clients. Founded in 1975, our firm has earned a reputation as a trusted source for uncovering undervalued opportunities in the stock market. To find out more about the Boyar Value Group, please visit www.boyarvaluegroup.com

The Outlaws had a long history as a band prior to the release of this debut album.  Formed originally in 1967 in Tampa, Florida, the original name for the group was "The Four Letter Words."  They toured off and on through the early 70's, and made an aborted attempt at an album the late 60's.  Finally, they were signed by Clive Davis and Arista Records while opening for Lynyrd Skynyrd.  Ronnie Van Zant told Davis and future Outlaws manager Charlie Brusco, "If you don't sign Outlaws, you're the dumbest music person I've ever met - and I know you're not."The debut and eponymously named album Outlaws would blend Southern rock with Country and hard rock, and would create a great concert draw for the band.  Their use of three guitars would come to be known as "the Florida Guitar Army."  Hughie Thomasson and Billy Jones both provided lead guitar and vocals, and Henry Paul would provide further electric and acoustic guitar as well as vocals.  Monte Yoho on drums and Frank O'Keefe on bass would round out the group.While there's definitely a Southern Rock feel to the Outlaws, there is also a lot of Country and even bluegrass mixed in.  The technical chops are impressive, and there is a lot of harmony employed in the group as well.  The album would peak at number 13 on the Billboard Top LP's & Tape chart.Wayne takes us through this guitar-driven Southern Rock album for this week's podcast. WaterholeThis instrumental song leads off side two of the album, and has a bluegrass feel.   It is the opening track to side two of the album.There Goes Another Love SongThe hit single on the album also is the leading track.  It peaked at number 34 on the Billboard Hot 100, and features Hughie Thomasson on lead vocals.  The lyrics depict a guy on the road who is missing his faraway love, and seems to encounter love songs one after another.Song for YouThis may appear to be an instrumental at first because of the long intro before the vocals come in.  The lyrics reflect a guy who is breaking a girl's heart, but can't seem to avoid doing so.  There are some great harmonies in this track.Green Grass and High TidesThe last song on the album is a true epic.  The album version is almost 10 minutes long, but has been stretched to 30-minute versions in concert jams.  Hughie Thomasson conceived the album while at a beach cookout and imagining all the rock greats who had passed on rising from the grave to play a show.  The name comes from a Rolling Stones' "Best of" album title.   ENTERTAINMENT TRACK:Main theme from the motion picture “The Apple Dumpling Gang”Walt Disney Productions put out this comedy western about a gambler tricked into taking care of a group of orphans.  Bill Bixby, Don Knotts, and Tim Conway star in this movie.  STAFF PICKS:One of These Nights by the EaglesLynch starts off the staff picks with a song penned by the duo of Glenn Frey and Don Henley.  It became the second number 1 single for the group in the US, behind "Best of My Love."  This track takes inspiration from soul music like Al Green and B.B. King, and has been described as an anthem for procrastinators and dreamers.  Blue Sky by Joan BaezRob profiles a cover song originally performed by the Allman Brothers on their 1972 album, "Eat a Peach."  Originally written by Dickey Betts about his girlfriend Sandy "Bluesky" Wabegijig, Baez covers this on her 1975 album "Diamonds & Rust."  If it sounds familiar to you, Baez is actually backed up by the Allman Brothers Band for this single.Landslide by Fleetwood MacBruce features a song written by Stevie Nicks at a time when she was considering whether to continue to pursue life as a musician or give up her dream and go back to school.  Despite its popularity today, the song was not originally released as a single until the live version from "The Dance" in 1997.Motorhead by HawkwindWayne closes out the staff picks  with a B-side from the prog rock group Hawkwind written by bassist Ian "Lemmy" Kilmister while he was with the group.  Lemmy was fired from the band one day before the album's release, but would go on to fame in the band Motorhead. INSTRUMENTAL TRACK:Journey of the Sorcerer by the EaglesA rare instrumental from the Eagles takes us out this week. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Born in Brooklyn and raised in Massapequa, New York, Phantom grew up listening to his parents' jazz records and began playing drums by the age of ten. He took lessons with Mousie Alexander, who played with Benny Goodman, studying jazz and working through books by Jim Chapin and Ted Reed. By the late 1970s, he was playing in bands with his childhood friend, bassist Lee Rocker. They soon joined forces with guitarist Brian Setzer to form Stray Cats.[ When performing with Stray Cats, Phantom did not sit behind a standard drum kit like most drummers, but instead opted to play in a standing position with a minimalist set-up of bass drum, snare drum, hi-hat, and crash cymbal. During downtime from Stray Cats, Phantom played in swing, rockabilly, and jump blues combo The Swing Cats with Rocker and ex-Polecats guitarist Danny B. Harvey,[6] as well as rockabilly and glam rock project Phantom, Rocker & Slick with Rocker and guitarist Earl Slick.  In 1985, he appeared with Carl Perkins and a host of other musicians including Eric Clapton, George Harrison, Ringo Starr, Dave Edmunds and Rosanne Cash for Blue Suede Shoes: A Rockabilly Session in London, England. Phantom also played with Jerry Lee Lewis. He later formed Col. Parker with former Guns N' Roses guitarist Gilby Clarke, releasing the album Rock n Roll Music in 2001.[ Most recently, he has been involved in the eponymous roots-rock band Slim Jim's Phantom Trio; rock-and-roll supergroup Dead Men Walking with Kirk Brandon and Mike Peters, and Captain Sensible;[ and rockabilly supergroup The Head Cat with Danny B. Harvey and the late Motörhead vocalist and bassist Lemmy.  He also hosts the Rockabilly Raveup show on Little Steven's Underground Garage. In March 2023, Barnes announced the supergroup The Barnestormers, featuring Barnes, Cheney, Phantom with Jools Holland and Kevin Shirley. A self-titled album was released on 26 May 2023.     Some Things That Came Up:   -2:35 45 Years of The Stay Cats -3:30 Studying with Mousey Alexander  -3:50 Ted Reed and Jim Chapin books  -8:30 Carl Perkins, Bo Diddley, Eddie Cochran, Muddy Waters, Howlin' Wolf, Luis Jordan are           the roots -10:12 Origins of The Stray Cats  -14:00 Moving to London at 19 years old -16:00 Lemmy, Joe Strummer, and Chrissy Hyndes   were early believers -17:30 Ray Davies  -17:50 The Rolling Stones front row at a show helped the Stray Cats make national news -18:40 Arista Records and Dave Edmunds -19:00 A Top 10 hit!  -22:20 5 nights at The Roxy -25:45 Opened for The Stones in 1981, for FREE!  -29:20 Always creating with longtime friends  -32:00 Working with Harry Dean Stanton and Jules Holland -37:45 Getting the job on Little Steven's Underground on Sirius XM, every Sunday at 5 pm  -44:00 Climbing Mt. Everest and Mt. Kilimanjaro -54:00 One Man Show  -56:20 Jennie Vie with Courtney Love and Eagles of Death Metal -56:45 New drummer is Leah Bluestein    Follow:  www.slimjimphantom.com IG: @officialslimjimphantom       The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits!   Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:   https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com

CNN, HBO MaxLegendary US singer Dionne Warwick has announced she will perform at eight special shows in the UK.The news came shortly after the 82-year-old star became one of the latest recipients of a Kennedy Center Honor, alongside comedian Billy Crystal and actor Queen Latifah.The Don't Make Me Over tour will begin its UK leg at Gateshead's The Glasshouse on Sunday 5 May, 2024, with tickets going on sale via Ticketmaster.  In 2023, we saw the debut of her Documentary that aired on CNN New Year's Day featuring Legendary Music Icons like the late Burt Bachrach, Jerry Blavat, Chuck Jackson, as well as Berry Gordy, Quincy Jones, & Smokey Robinson. She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS © 2024 Building Abundant Success!!2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASAmazon ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Zoe talks to Arista Records band, Rec Hall (John, Ben, Lance) about their upcoming North America tour with Beach Weather. They talk about the skate surf culture in California, how their music has grown over time and how they are preparing to brave the midwest winter. Tour Dates Here! Social Media: Music Mukbang- @musicmukbang Rec Hall- @rechallmusic

In episode 22, Johnny talks to music supervisor, movie producer and music manager Tarquin Gotch. Tarquin's career saw him rise to Head of A&R at Arista Records in the 1980s - overseeing acts like The Thompson Twins, Simple Minds, The Stray Cats, and The Beat. He then moved to Warners, transitioning Prince, Madonna and many other American acts into the UK. Moving into music management he oversaw The Beat, Stephen Duffy, The Dream Academy, Hugh Harris, General Public, XTC, Roger McGuinn from the Byrds and Jon Lord from Deep Purple. In a chance encounter in 1984, through his actress and model friend Kelly LeBrock, Tarquin met writer-director John Hughes on the set of Weird Science. He went on to become music supervisor on the John Hughes films Ferris Bueller's Day Off, Some Kind of Wonderful, Planes, Trains and Automobiles, She's Having A Baby, The Great Outdoors and Uncle Buck.  Running John Hughes' film company in the 1990s, Tarquin executive produced the films Curly Sue, Dutch, Only The Lonely, and Home Alone.  He has since produced both film and TV including the 1998 film Still Crazy, the TV series Crocodile Shoes with Jimmy Nail, the documentary series Cars That Rock with Brian Johnson, and the return of prison sitcom Porridge for the BBC. Tarquin currently manages Brian Johnson of AC/DC, and founding members of the Police, Andy Summers and Stewart Copeland.  Johnny's talk with Tarquin covers his work curating Life Moves Pretty Fast, a boxset celebrating the music of John Hughes soundtracks, released on Demon Records in 2022.  They discuss Tarquin's time working alongside John Hughes and John Candy, his process of putting songs in front of John Hughes for consideration, and which composer he believes revolutionised the art of film scoring. This conversation was recorded online at the beginning of February 2024. Thanks to James Van As who wrote and performed the brilliant music (check out James' ⁠⁠⁠⁠⁠Loco Looper⁠⁠⁠⁠⁠ game) and to Willow Van As who designed the amazing artwork and provided general podcast support.   You can contact My Movie DNA on Twitter/X @mymovieDNA or email mymovieDNA@gmail.com.

Harvey Brownstone conducts an in-depth Interview with Taylor Hicks, Winner, “American Idol”, Singer/Songwriter About Harvey's guests: Today's guest, Taylor Hicks, is an immensely popular singer who became a global sensation in 2006 when he won Season 5 of “American Idol”, beating out Katharine McPhee, Chris Daughtry, and Kellie Pickler.   Since then, he's gone on to make history.  His first album with Arista Records went platinum, he's the first male American Idol winner to be featured on a Grammy-winning record, and he's the first American Idol winner to land a prestigious Las Vegas residency.  And get this: he made the cover of People Magazine when they named him the Hottest Bachelor of 2006.   His energetic stage performances and unique blend of classic rock, soul, blues, country and R&B, have earned him a HUGE and very enthusiastic following of devoted fans known as the "Soul Patrol".   His versatility as an entertainer has given him a multi-faceted career, not only in music, but in theatre, television and movies.    He starred on Broadway as the “Teen Angel” in “Grease.  He appeared as himself and performed his hit song “Porch Swing” in the 2021 movie “Stars Fell on Alabama.”  On television, he appeared on “Law & Order: SVU”, and he hosted the popular show, “State Plate” for 3 seasons, which won the Synopsis TV Award for Best Reality Series in the Travel category.  He's currently on a North American tour called “Night Moves”, playing to sell-out audiences, performing his hits, as well as many Bob Seger classics.   And if all of that weren't enough, he's also a co-owner of Saw's Juke Joint, in his hometown of Birmingham, Alabama.  His restaurant was named one of the “25 Best Barbecue Spots in America” by Men's Journal.   For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Taylor Hicks, go to:http://www.taylorhicks.com/https://www.facebook.com/TaylorRHicks/https://www.instagram.com/taylorhicksofficialhttps://twitter.com/TaylorHickshttps://www.youtube.com/user/TaylorHicksTV/videoshttps://open.spotify.com/artist/3E3tW69eMfAffLGgsmP3GG?si=33EIXILpShSd6sZWsn6oTghttps://itunes.apple.com/us/artist/taylor-hicks/154185360 #TaylorHicks   #harveybrownstoneinterviews

We had the pleasure of interviewing Jonah Kagenr over Zoom video!Jonah Kagen recently released his sophomore EP, 'The Roads,' on Arista Records. The 6-track EP includes recent hit singles like “The Roads,” “Pollution,” “Made Up My Mind (ft. Lily Meola),” and “18,” as well as two brand new songs, “This Life Ain't Easy” and “Save My Soul.” The EP's title track, “The Roads,” has had recent momentum climbing at US Triple-A radio, with support across 15+ stations and counting, and received a stamp of approval from Zach Bryan.We want to hear from you! Please email Hello@BringinitBackwards.comwww.BringinitBackwards.com#podcast #interview #bringinbackpod #JonahKagen #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/followFollow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

Cassie vs. Puffy..   Need we say anymore?  This week has been crazy with Puffy aka Brother Love settling this lawsuit in about 24 years.   Do we ban Puffy like R. Kelly? 

We had the pleasure of interviewing Elliot Greer over Zoom video!Elliot has pulled us in again with another beautiful story. "I Bought A Honda" is about getting memorabilia of a love you once had. Elliot's posts teasing “I Bought A Honda” across IG have already garnered 1 millions since January 5th of this year.“I Bought A Honda”, Elliot comments:“ ,”Like many of my songs, “I Bought A Honda” is a fictional story derived from glimpses of personal experience. Fleeting feelings that led my spiraling mind into some other walk of life; in this case, a man romanticizing his past so much that he buys an entire car just to feel connected to it. It's silly when you say the name or try to summarize the concept, but the actual lyrics and melody will try their best to break your heart. You do have to listen carefully, but it's worth it for the punchline I think.”Watch the music video here: https://www.youtube.com/watch?v=_V2t7F9hLdMAbout Elliot Greer:Whether scrawled in a handwritten diary, committed to the pages of a book, or posted online, an authentic story will resonate. From a stark and stripped-down perspective, Elliot Greer delivers unfiltered truth with grizzled, yet warm intonation accompanied by acoustic guitar. For as much as he harks back to an old school troubadour tradition, his appeal transcends eras. As such, he asserts himself as the rare singer-songwriter who can cut through the noise on social media with tens of millions of views or pack a residency gig on a weekly basis. Growing up in Scotland, he attended the American Musical and Dramatic Academy in New York city and later landed a part in Glen Hansard's Once in upstate New York —only for COVID to shut down the production before it got off the ground. Armed with a basic $100 microphone purchased by his girlfriend, he wrote, produced, recorded, mixed, and mastered his independent debut, Handcrafted, in the bathroom of his apartment. Simultaneously, he gigged nonstop, busking 357 days in Central Park, performing anywhere around town with a stage, and joining Ashley McBryde and John Osborne for a performance on The Tonight Show at Jimmy Fallon.In 2022, he launched a TikTok account and broke through with the single “Bleed.” A video of Elliot with an acoustic guitar singing his soul out caught fire, reeling in 8 million views on Instagram and 5 million on TikTok. Now, the Scotland-born and New York-based artist forges a lasting connection on a series of 2023 singles for Arista Records and much more to come, including the captivating and cinematic “I Bought A Honda.”We want to hear from you! Please email Hello@BringinitBackwards.comwww.BringinitBackwards.com#podcast #interview #bringinbackpod #ElliotGreer #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/followFollow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpodThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4972373/advertisement

We can't tell the story of hip-hop without mentioning Diddy and the record label he started. Bad Boy took off in 1993 after Puff was fired from Uptown Records. He brought TheNotorious B.I.G. with him from Uptown Record, and signed a 50-50 deal with Clive Davis's Arista Records, and it was off to the races.Bad Boy survived the tragic fallout of the East Coast vs. West Coast rivalry, and reached even bigger heights after Biggie's death. Puff began to rise as a solo artist, but did the rest of the artists suffer as a result?Friend of the pod, Zack O'Malley Greenburg, joins me on this episode to cover 30 years of Bad Boy Entertainment. Here's what we hit on:0:35 Sean Combs come-up story5:16 Diddy breaks in with Uptown Records8:22 Starting Bad Boy Records14:11 What sets Diddy apart21:04 How Diddy controlled the narrative23:58 Bad Boy's formula for success 29:00 East Coast vs. West Coast rivalry30:39 Bad Boy's historic 1997-98 run45:42 Bad Boy curse?48:44 Diddy's reputation compared to Cash Money54:50 Best signing? 55:19 Best business move?57:19 Best dark horse move?1:00:19 Missed opportunity?1:08:52 Possibility of biopic?Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Zack O'Malley Greenburg, @zogblogThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Zack Greenburg: Diddy's ability to sort of walk the line and step back, you know, I think that's what ultimately kept Bad Boy in the position that, you know, that stayed and kept him in the position that he continued to be in.[00:00:09] Dan Runcie Outro Audio: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:35] Dan Runcie Guest Intro: Today's episode is another case study style breakdown, and this time we chose to dive deep on the one, the only Bad Boy Entertainment when it comes to branding and when it comes to marketing. I don't know if there's another record label that has as identifiable as a sound of vibe as bad Boy, you knew what that vibe was.Puff said it himself, they take hits from the eighties, but do it sound so crazy? And that was the formula, and it worked time and time again. What Puff did was smart, it was a modern approach to how Berry Gordy approached the record business with Motown. But then he put his own spin on it, interning with Andre Harrell at Uptown Records, learning from him and then putting his own spin on it even more, making it relevant for the 90s and truly becoming the icon that was synonymous with shiny suits with that Bad Boy flavor.And so much of the success of one of the best MCs ever, the Notorious BIG, some of the most iconic R&B groups at the time, and singers such as Faith Evans, 112 and many more. And plenty of artists that unfortunately also had plenty of challenges and issues when it came to payment, drama, legal disputes and more.And we dive into all of that. I'm joined again by Zack O'Malley Greenburg. He wrote a book called Three Kings, where he dived deep into Diddy, as well as Dr. Dre and Jay-Z in this book, so he's well-versed and shared a bunch of great stories in this one. So let's dive in, really excited for this one. Hope you enjoy it.[00:02:06] Dan Runcie: We are back to talk about the wondrous world that Sean Combs built himself Bad Boy entertainment and joined by the one and only Zach Greenburg. Welcome back[00:02:15] Zack Greenburg: Oh, thanks for having me, Dan.[00:02:17] Dan Runcie: Bad Boy is so fascinating because Puff is someone who has in many ways been this larger than life character even before people knew him externally as that.And he has really stayed true with that throughout his time in hip hop and even before then. And most people know the origin story starting back in his days at Howard. But I think based on the research you've done, I know you have some backstory with some of the lessons and some of the things he did even before that.So walk us back. Who was puff in the early days before the world? Got to know him.[00:02:52] Zack Greenburg: Yeah, I mean, you know, I think the funny part is that, that puffy was always puffy and, you know, it just took a while for a little while for the world to kind of figure it out. But you know, there are these kind of consistent themes when you go back through his youth and you, kind of get a sense of who he was.And, you know, I remember writing my book Three Kings, you know, Diddy being one of these kings, talking to people who grew up around him. He really was that same guy from the very beginning. So even when he was a kid, you know, he spent his very earliest years in Harlem, but then moved to Mount Vernon, kind of a suburban neighborhood.you know, just north of the city limits. And you know, he had not just one paper route, he had multiple paper routes and on every, you know, every route. He had this philosophy of like, he wasn't just gonna take the paper and fling it into the family's yard. He was gonna get up and he was gonna go, you know, open the screen door and put the paper in between the screen door and the main door so that people didn't have to go up and do so like he was, you know, that dedicated, that hardworking from the very beginning. you know, I think another story I learned from his youth, Puffy was like, there was some, Some debate, you know, some kid had a pool party and, Puffy wasn't invited. there may have been some racism at play, we don't know. But anyway, Puffy's solution was to convince his mom to build a pool in their backyard and then start his own pool parties and, you know, I mean, it's like the most puffy move ever, right? So he just ended up finding, you know, wealthier and wealthier backers to build the proverbial pool as the years went on.[00:04:23] Dan Runcie: That is the perfect story to encapsulate him because I feel like I could imagine other people having white parties. He doesn't get invited to the white party, so he's like, all right, bet I'm gonna go start my own white party. And now it's this annual thing, however many years running.[00:04:37] Zack Greenburg: Exactly. I mean, and you know, you know, as you kind of trace his evolution, you know, in between it was the same thing. So, you know, we all know the Howard Days, he was taking the Amtrak up, sometimes hiding in the bathroom, so they didn't have to pay for the tickets. He didn't have any money but, you know, he would go up back up to New York on the weekends, he would plan these parties.He started to build a name for himself. and it was exactly that, you know, so from the pool parties, in Mount Vernon to the parties that he was throwing, you know, his colleges to the White party, you get that through line of Puffy that, you know, kind of continues all the way through, through the Ciroc era, you know, I think, which really makes this sort of art celebration, ethos, you know, all the more credible, right.[00:05:16] Dan Runcie: Right, and you mentioning him taking Amtrak. Of course, that's him going from DC to New York to go to Uptown Records where he pushes and fights to get his unpaid internship. Working with Andre Harrell, who was on the Ascension himself. He had started that record label in the mid to late eighties. He then sees the rise.He's early on, new Jack Swing has so many of the early folks making that sound there. And then Puff comes in, he sees a opportunity to elevate and position that brand because the whole thing that Uptown was about, they were trying to push Ghetto Fabulous. They wanted to show that there was a opportunity for people who grew up with nothing to feel like they had that release.And Andre Harrell, he since passed away a few years ago, but he spoken about this a few times and you can see how Puff at the time adapted a lot of that. He worked with Jodeci. He was so integral with how he styled them and making sure they had the right jackets. And at the time, Jodeci was very much seen as this alternative to Boys to Men, Boys to Men was a bit more buttoned up.They made music that was G-rated that you could play everywhere. And Jodeci definitely leaned into the sex appeal, which is something that we saw continue play through with. Bad Boy records of Bad Boy Entertainment in the future. He did similar with Mary J. Blige, taking her from just being a R&B singer to giving her more of a hip hop Ben, and doing a bit more of that crossover vibe, which is something that we saw again with Bad Boy too.And as Puff continued to show his influence, things started to clash because the intern then becomes VP of A and R, and that VP in A and R starts to butt heads and really challenge Andre Harrell on a number of things.[00:07:06] Zack Greenburg: Yeah. And, you know, I think, you know, like you said, Puff really had an idea of what Uptown could be that was, you know, a little bit different from Andre. But it really worked, right? It was the idea that it was, it had a little bit more of an edge to it. you know, like Jodeci had a little more edge than boys to men.you know, that every artist that was gonna be out on Bad Boy would have like, you know, would have that level of class, but also would have kind of like, you know, kind of like a street smart edge. And so, right, it was like the Tims and the backwards hat, but, you know, maybe you had like a nice jacket.It was that kind of mix. And it was very much like in line with Puffy himself. and I think, you know, it's a theme that you kind of started to see. as kind of, he moved on, you know, whether it was Bad Boy or Roc or whatever it was, the thing was synonymous with Puffy. Puffy was synonymous with the thing. But as he began to later on build these assets, you know, he could sell the businesses in a way that he couldn't sort of sell his own image and likeness necessarily. So, that started with, Uptown for sure, it was Andre's thing, but it started to feel like it was Puffy's thing.And I think there was some thought that, you know, that there sort of couldn't be two kings in the castle. And Andre eventually pushed him out and, you know, that kind of left it, the Diddy, you know, in his early twenties kind of figuring out like, Hey, you know, what am I gonna do next? How am I gonna really start my own thing here?[00:08:22] Dan Runcie: And I have this quote from Andre. This was from a documentary a few years later. He says, when Puff got fired, he was on payroll and his artists were on payroll. He's still recording his artists, but he was able to find the best deal, so we never fired him to hurt him. But he fired him to basically make him rich.I will say that quote is much nicer than certain things that Andre said immediately after that firing, especially in the 90s. But it was cool to see the two of them find opportunities to continue to work together after that. But I think the key thing from his time in Uptown is that he was able to find and work with art is that eventually he started working with on Bad Boy.That's when he first works and discovers Big. That's when he first works and really begins to hone in on that sound. And then he officially launched Bad Boy in 1991, but it really wasn't until 1993. He starts working with Big, he starts working with Craig Mack and then it all leads up to this deal that he ends up signing with Arista records to officially do this joint venture with Arista.Arista, of course, was run by Clive Owen, legendary music executive, and they do their 50 50 split. And as the story goes, Clive was on the fence. At first he wanted to hear more, but then Puff Plays flavor in your ear. Craig Max first single, and he was like, all right, I need to be part of this, whatever it is.So that was the song that took things off and made it happen.[00:09:50] Zack Greenburg: Yeah, I mean, Clive Davis, of course, you know, legendary, record men, you know, discovered Janice Joplin, Whitney Houston, Puffy, like you could say, he discovered all these people. they were, they were kind of there already, and, I sort of suspect they would've had their success even if it were not for Clive Davis.But, you know, that, we could debate that. But, know, Clive Davis certainly had an eye for talent, one way or the other. So, I mean, I think what's really fascinating too is, you know, you got think where Puffy was at that point in his life before he got that deal. He was shopping Bad Boy around right?To a bunch of different labels and it says so much about him and his whole ethos, the way he approached it, and this was another anecdote that I found in my reporting, by one of the founders of The Fader who happened to work at EMI at the time. He was in the room when Puffy brought the Bad Boy deal, to the folks at e Emmi and, you know, so like, just to refresh, here's Puff early twenties, just been fired.Just had his first kid, I think. And also, you know, he'd been a part of, this charity basketball tournament at City College where a bunch of people got, crushed in a stampede. He was ultimately found, you know, not guilty of any kind of criminal charges or anything, but his name was all over the papers.Like there's a lot of negative press around him. He was kind of, you know, almost radioactive at this point, or at least one might have thought that turned out he wasn't. But, so anyway, he goes into this meeting with e Emmi and, you know, Their big thing was, Vanilla Ice. And he sort of goes into this meeting and he's like, that dude's corny.Like, I have no interest in anything having to do with Vanilla Ice. Let me tell you how to run your business. And, you know, so he proceeds to like, give them this vision. And then at the end of it, I mean, and I'll read the quote cause it's just so good. he says, when you guys get in a room with all them suits and you're gonna decide what you're gonna pay Puff, just when you get to a number that you think is gonna make Puff happy, I love how he was referring to himself the third person, right?He says, get crazy on top of that. And then when you're there, I want whipped cream and a cherry on top. and this is the best part, he goes, I don't even want to think about the money. That shouldn't even be an issue. Don't be coming at me with no n-word money. Goodbye. And like that was vintage puff.Like that was billionaire Puffy. Before he was billionaire, before he even had. Like before we had a company. So, you know, I think there's just such a great lesson in there, which is kind of like, you know, the sort of, if you can pull off the, fake it till you make it, if you can have that kind of swagger. And to be fair, not available to everybody and like, you know, don't try this at home, kind of if you don't have it.But man, if you can pull that off, if you have that kind of confidence in yourself, you can accomplish some pretty incredible things. He didn't even, you know, end up going with EMI but I think he made a similar pitch at Arista and, you know, and that ultimately got him the deal, that created Bad Boy and, you know, that was really the engine for so much of, what he ended up achieving as the years went on.[00:12:46] Dan Runcie: That story is one of the reasons why he has lived on to become meed and in many ways become a bit of a gift himself. Whether you look at the Chappelle Show skit where, Dave Chappelle is making fun of making the band, and he has that whole sketch about, I want you to get me some Cambodian milk from a goat, or whatever it is.And it's something that sounds completely absurd, but one, it sounded like a lot of the shit that he would say in that MTV show make in the band. And it sounds exactly like that quote that you just shared from that story. The difference is he did this, whether it was for pure entertainment on a show like making the band or when there was really things at stake, like he was at this point when there wasn't a deal in place, he was recently fired.But regardless of whether he's up or down, trying to get it still the same guy.[00:13:39] Zack Greenburg: Absolutely. You know, and I think it just kind of goes to the point like, did he creates brands. He is the brand. He imbued the brand with his essence. And then the brand becomes that much more valuable, whether it's a brand that he can sell, you know, for some huge gain, or whether it's a brand that is compensating him, you know, handsomely for his association or in some cases both. That's kind of the formula and, you know, not everybody can pull it off because not everybody has a brand that is that clear.[00:14:11] Dan Runcie: And let's dig into this because I think this is one of the things that does set him apart. Denny used to be a club promoter as well. And this is a persona that we've seen oftentimes in music where the club promoter or the party promoter works their way up to then become the executive. You see it now with Scooter Braun, someone who's a billionaire now, or close to it in his own right.And he was a party promoter in Atlanta. You saw with Desiree Perez who now runs Roc Nation. She was a party and a club promoter before as well. And you've seen it plenty of times before and I think there's a few things there. There's a hustle and a relentlessness that you need to have to make that work.You need to create momentum around some of that isn't there. You need to understand and be tapped into what people want to hear and what people wanna do and how people wanna feel entertained and how they wanna leave from something feeling like, damn, I had a good time. We need to go do that again. And that is a lifestyle and what Puff did was aligned himself by building businesses that allowed him to do that. Some of those businesses worked better than others, but I think that is the key through line there. On the flip side, I do think that some of these operators and business leaders can often struggle with the bigger picture because there's so many more elements to building companies outside of the marketing brand promotion and those things, and I think we can get into some of that here because I think we saw some of those dynamics play out with Bad Boy as well.[00:15:39] Zack Greenburg: Yeah, for sure. And you know, I mean, I think one of the things about Bad Boy is it wasn't like this was the first record label to develop an ethos and kind of build a lifestyle around it. And, almost like, assembly line, right? I mean, Puffy was doing that himself at Uptown before he just took that same idea and, Pufified it even more.But, you know, I would kind of almost liken it to Motown. I mean, if you look at, Berry Gordy's role, I mean, you see Berry Gordy, credited as a producer on so many, of those songs and, you know, he wasn't like the only person in the room, producing right? he was putting together the right songwriters, the right musicians, everybody to be in the same place. And he was tying it all together with this kind of Motown ethos. And when, you know, when you had a Motown record coming out, you knew what it was. And I think that's why people in the old days used to be fan people would be fans of like, specific labels, right? They're like, I like the stuff that this label puts out, you know, I trust them. It's almost like, you know, I don't know, you know, Coachella sells out, even before the artists are announced because you know what you're gonna get if you like Coachella and you just trust that that's what's gonna happen. That's what it was like, Motown, that's what it's like with Bad Boy.So I think Diddy really followed that model that he was going to be the person, you know, sort of putting things together, you know, maybe he was going to, do a guest verse here and there. Maybe he was gonna be more involved in the production of this play of this song or another song. but it was really more in the vision and the ethos of the brand, the Bad Boy brand, what that looked like, what success looked like, you know, the Diddy version of success looked like maybe a little different from the Uptown Andre Herrell version. And, you know, it was like, like a little more swagger, like, you know, like a little more edge to it. And he was really able to kind of like, make that tangible. So, you know, I would keep going back to that as like something that sets him apart, you know, following the footsteps of the likes of Berry Gordy and[00:17:34] Dan Runcie: The Motown example is good because they also were able to maximize the most from the broader roster they had from the hits that they had Berry Gordy, of course, was famous for one artist on his record, has a huge deal. Okay, we're gonna get another artist on that record on that label to then do it again.You saw that with Aint' No Mountain High Enough. Marvin Gaye has his version that goes through the roof. Okay, let's get Diana Ross to do her own version, her own spin on it. That becomes a song in its own right. And you saw, did he do this to some extent with remixes? How one artist had the remix that worked out well.Okay, or one artist had the original song that worked out well, okay, let's get the remix now. Let's get the whole Bad Boy crew on this remix to go do their own verse and do this thing. They did that time and time again, and then in the early two thousands he had that album. We invented the remix, and there's plenty of debate on whether or not they actually did invent the remix, but that remix that they did of Flava in Ya Ear with, Craig Mack, and they had Biggie on that one as well. That is one of the more classic iconic remixes that people do go back to. And I think the other way that they're , similar too is some of the disputes that artists have had about pavements and things like that, which we can get into eventually.But that's always been the model. I think there in many ways, you're right, it's more like Motown than it is like uptown.[00:18:58] Zack Greenburg: for sure. And you know, on the Biggie point, I mean, people forget sometimes, but Biggie was originally signed to Uptown and Puffy had to go and get him back, and I think they were able to negotiate his release or his transfer of his deal from Uptown to Bad Boy for something like half a million dollars, which, you know, turned out to be, a pretty good deal all the way around.So, you know, he knew that sometimes he would have to shell out and, you know, he did from time to time. That certainly didn't stop there from being disputes, as time went on. But, you know, I think one of the other fascinating things is sort of this interplay, you know, he really walked this line, of sort of like, you know, the corner in the corner office, right?you know, the boardroom, and the street, and, he played up this sort of like lineage that he had of the Harlem gangster world like his dad, Melvin was an associate of Frank Lucas from, you know, the subject of American gangster. And you know, like his dad was known in Harlem. I think they called him, pretty Melvin.Like he was very flashy, you know, he always had the best suits and, you know, and all that kind of thing. But, you know, he definitely came from that sort of like grand gangster era. you know, Frank Lucas and Nick Barnes and all those guys. I mean, that was sort of Puffs lineage.And he definitely played up and he certainly played up, you know, sort of different sort of, street edge, you know, when things got heated in the Bad Boy Death Row situation. But at the same time, he never really wanted to go too deep into it.And I talked to somebody who sort of grew up around him, and he called him Jimmy Clean Hands, you know, because he didn't really want to get like, like he used the association. When it was sort of convenient, but also he didn't want to get too deeply associated, with that side of things.So, to me it's, a really fascinating tightrope walk, how he pulled it off. And, if he'd gone further, toward that side of things, I don't think that would've ended well for him. And if he hadn't gone quite as far as he might not have had, you know, a certain credibility or an edge that, you know, that contributed to so much of the success of Bad Boy, especially in those days.[00:21:04] Dan Runcie: And he did it at a time in the 90s when it was easier for hip hop stars to be able to control the narrative and push what they wanna push and not have other things cover or not have other things be uncovered, or all these internet rabbit holes. I could imagine him trying to do this 10, 15 years later, and it could be a situation like Rick Ross where all of a sudden there's photos of you as a correctional officer popping up on the internet and people are like, bro, what the hell's going on here?I thought every day you were hustling. I could have seen something like that happening the same way that Diddy, but by the time that plenty of people have had those debates about, oh, well, you know, Diddy was actually a kid that grew up in the suburbs and went to college and X, Y, Z, and there's plenty of ways that you could flip that story, but by the time that even became a discussion point, at least in circles where I heard him growing up, he was already an established star.So there was really nothing else that you could do at that point.[00:21:58] Zack Greenburg: yeah. And I guess he could walk that line because he really did kind of embody both, right? Like he was the son of a, you know, a Harlem gangster. he was born in Harlem. His dad was killed, you know, on I think Central Park West and 108th Street or something, you know, in a dispute a case of I think mistaken identity.I mean, so there were real, you know, tough things that, he was born into. And at the same time, he was also, you know, like the college dropout. Like you know, he went to school, he did his thing like, you know, you could say he was like a proto backpack rapper in some ways, like if you wanted to spin it that way.And he kind of embodied both of these worlds, but I think that really, if he hadn't actually lived both those lives, it would've been harder to sort of embody them simultaneously as he did.[00:22:47] Dan Runcie: And even in him, in his own right, there were many incidents that he had that people felt could have supported this narrative that he wanted to, for better or worse, whether it was the 1990 Club nightclub, the 1999 nightclub shooting after the Nas Hate Me Now Music video, him and his team going into Steve Stout's office and then, you know, assaulting him.And then everything that came up after that, or even as recently as within the past 10 years, the incident at UCLA with the coach yelling at his son. There's been plenty of things that have came up that show, you know, that the relentless, the temperament that could often work against his advantage as well.[00:23:26] Zack Greenburg: Yeah. I mean, you know, didn't he bash Steve Stout over the head with a champagne bottle or something? I mean, you know, but what's that line? We back friends like Puffy and Steve Stout, you know, like it, 50 cent had that line. I think he has a remarkable ability to, you know, to end up being sort of friendly with, people who he had these disputes with in the past.So, you know, whether, Steve Stout or, Shine or whoever, like, he finds, various ways to, sort of bridge divides in the end. I don't know how it turned out with the coach from, was it UCLA, or USC. But I suspect that's fine too. but yeah, he does find a way of patching things up.[00:23:59] Dan Runcie: No, he definitely has and we could talk a little bit more about some of the disputes that came with some of the artists, but I do wanna talk a bit about the business of Bad Boy itself and how it went about things. And one of the things that we saw from successful record labels, of course, Zach and I have done past conversations on Cash money, and Roc-A-Fella, and they'll always find innovative ways to work within their constraints or find ways to make things work even when you don't have all of the resources in the world.And one of the things that Bad Boy did was they really leaned into sampling and sampling hits from the eighties and making them the most successful things they could be. What's that line from that May song Making, taking hits from the eighties make 'em soundso Make it sound so crazy. Yeah.so they have their in-house production as well with hit men who then do most of the production, and they give you that Bad Boy sound that you can identify when you hear it immediately on a song, whether it's a total song or it's a one 12 song.And they were able to do that and that formula worked so well because you had this generation that grew up listening to those songs because their parents heard all those songs as well. These are black music classics and then they were able to repurpose them and because of the time and things weren't quite as oversaturated, it sounded quite authentic in a way where I think even some samples now can feel almost a bit forced because you can be like, okay, they're really trying to work that artist.And who knows? I might be also looking at this now, someone in my thirties as opposed to in the 90s, looking at it as someone that's growing up experiencing this. But still, I do think that there was a bit of like a authenticity and a vibe that they were able to create with each of those sample tracks.And plenty people tried to do it. Of course they didn't invent it. I know that Death Row and NWA, Dr. Dre had done it successfully before Diddy, but Diddy and Bad Boy were definitely able to put their own unique spin on making that as effective as it was.[00:25:57] Zack Greenburg: Yeah, definitely. I think, you know, I mean, I think to your point, but it, like it really opened up this sort of aspect of mainstream hip hop when, you know, maybe there were some radio stations that weren't gonna play some of these songs, but, you know, like a puffy song or a biggie song ordinarily, but, you know, if you have like, Oh, that's David Bowie in the background.Like I'm familiar with this. then, you might be sort of like more inclined to put it on the radio if you were a certain kind of dj, which then might reach a certain kind of listener who didn't, you know, ordinarily listen in hip hop and, you know, and you kind of have this, kind of snowball effect.you know, sure.[00:26:32] Dan Runcie: And then from a personal perspective, I'll be the first to admit the amount of songs that I had heard the first time as Bad Boy Version. And then growing up, you then later hear the original one that they sampled from the eighties or seventies, whatever Disco tracker, soul Tracker was, and you're like, oh, that's what that song was from.It's happened endless times and it continues to still happen.[00:26:54] Zack Greenburg: Yeah. I must confess, I heard I'll be missing you before, I heard I'll be watching you, so, yeah, yeah, yeah, yeah. you know, so yeah, and I think a lot of that narrative around the sort of peak Bad Boy sampling era, you know, I think it gets unfairly criticized as sort of being uncreative and like, you know, essentially just being cover and, not adding much to it.But, I disagree entirely, and I think that in addition to creating a different song with a different vibe and everything, you know, th those songs did introduce a whole generation of people, to eighties music that, you know, they may not have been alive to have heard, you know, from, you know, let's say I was born 85, some of these songs came out before I was born.So, yeah, I think that does get missed sometimes.[00:27:35] Dan Runcie: Yeah, and I'm in the same boat. I knew Juicy before. I knew the original Juicy Fruit. I knew Mase Bad Boy before I knew Hollywood Swinging, and I could go on and on with all the songs that they were able to help in introduce and connect the dots there. Another thing that I think Bad Boy did at this time that was a continuation of Uptown was how intentional and borderline maniacal Puff was about continuing that image.So, they had the Can't Stop Boat Stop documentary that came out a couple years ago. And the artist from one 12, which was the main male R&B group that Puff had signed to the record label at the time, they said that they were styled, dressed and personified to be an image of Puff themselves, to essentially be Puff as R&B singers, which was really interesting.And then on the more controversial side, which I don't think would ever fly in the same way today, Faith Evans, who was married to Biggie at the time, she was sent by Puff to go to tanning salons cuz she a light-skinned black woman. They sent her to tanning salons so that her skin can be darker because he wanted to be able to sell her as a certain image that would never fly again the same way today.But that's how Puff was. He was so maniacal, even things down to the nail color and things like that for women. He wanted to make sure that people looked a certain way.[00:29:01] Zack Greenburg: Yeah, and I think what's, you know, especially interesting when you, kind of zoom back on the 90s and that, that era of Bad Boys, you know, given the level of control he had over, you know, that level of detail, you know, the whole east coast, west coast thing, the whole Bad Boy Death Row thing obviously got way out of control.and, you know, culminating in, the desert of big and pop and you know, obviously we don't know exactly who was behind each of those things, but it's, you know, still kind of debate to this day. But, the fact is that, you know, got kind of wrapped up in this kind of, know, sort of thing, like the fact that Puffy could bring Bad Boy back from that, and kind of like continue to have the same brand, you know, after everything that went down, you know, I think is another testament to like the identity of the brand, right? I mean, you know, cuz I remember in that period of time hip hop was really under fire from, you know, so, you know, like the Tipper Gores of the world and the parental advisories and all that, and there was this narrative of like, oh, this music is dangerous.And there was a whole period of time, you know, after everything that went down, in the mid to late 90s, like there were questions like, is hip hop? You know, really a viable commercial genre? Are brands really gonna want to be attached to this? you know, because of the violence that happened, you know, really publicly there.And I think, you know, whether you love him or hate him, like, I think he deserves some credit for pulling things back from the brink. you know, regardless of whatever role he played in getting them, to the brink, but he really did kind of pull things back from the brink and show that hip hop could be this, you know, commercial force.you know, that would be like a mainstream success sort of thing. And really pretty quickly, after all this went down,[00:30:39] Dan Runcie: If you go back to winter 96, the height of this beef, you have that infamous vibe cover with Tupac, Dr. Dre Snoop, and Suge Knight. They're there, the Beef and Bad Boy and, Biggie as well. Were on respective vibe covers as well. If you asked people, okay, five, 10 years from now, which of these two record labels will be in the stronger position, you probably would've put your money on Death Row.To be frank, they had the better artists just from like a roster perspective. With those four, the leadership seemed in many ways quite as strong and there were similarities there as well. You had these two relentless, large and life figures. Granted, Suge and Puff are very different in a lot of ways, but that's where you would've taken things.But then two years later, it's a completely different story. Death Row is imploding and bad Boy had the biggest year that any record label has ever had. If you look back at that 1997 to 1998 stretch, and this is after the death of the biggest rapper as well, they end up releasing Biggie's second album, Life After Death, ironically, 16 days after he passed away.And then Puff himself becomes this larger than life icon. He releases his own album, Puffy, P uff Daddy, the Family, No Way Out. And they continue to go on this run. And in many ways, as other heads and other figures in hip hop have faded and necessarily taken their own path, he continued to stay on that.It really is a remarkable journey when you look at each of those steps in it, because I probably would've put my money on Death Row if I didn't know better.[00:32:21] Zack Greenburg: Yeah, Yeah, I mean, it sure felt that way, right? I mean, but if you kinda, if you compare the leadership, if you compare Puffy to Suge, you know, I think that so much of, you know, the back and forth between Bad Boy and Death Row, you know, it was a case of like, these guys were playing a role, right?I mean, they were, it is funny in some of my reporting, people say like, both Puffy and Suge, especially Suge, were sort of, it was like they were acting in their own bad gangster movie. And I think the main difference was, you know, Suge really came to believe it and live it in a way, that Diddy, didn't quite do it you know, as we were saying before, Diddy kind of walked that line.but Suge just kind of got deeper and deeper into it, and that was kind of who he was, you know, all the time. So, you know, that there's not really like, kind of like a way to, back out, you know, to kind of come up for air when you, when you've kind of like gotten that deep into it like Suge did. I think that was the main difference, you know? I mean, I think he became just completely, you know, is like possessed by this image that he created for himself. And he started to live it, you know, all the time and Diddy's ability to sort of walk the line and step back, you know, I think that's what ultimately kept Bad Boy in the position that, you know, that stayed and kept him in the position that he continued to be in.in[00:33:42] Dan Runcie: And everything that went down to that 1995 Source Awards is a perfect example about how they dealt with this whole thing. Suge and Death Row, famously win Best soundtrack for Above the Rim. He goes up, accepts the award, and he makes the infamous line. If you wanna sign with the label, you don't wanna have your executive producer all on the record, all on the video dancing come to Death Row, and then you see.Puff is there just looking, not saying anything, but everyone knows who he's talking about. But then later on the night Puff goes and is on the mic, he doesn't go necessarily take a shot back at Suge, but he just makes some type of more global statement, Hey, we're all in this together. I forget Puff's exact quote, but that's a perfect example of this, right?Of knowing that line cuz as we know, puff had a temper. Puff wasn't afraid to throw down in the moments, right? But he knew that in that stage, in that setting, especially even on his home turf, this was all the West Coast guys coming there because, you know, there was that famous scene of Snoop Dogg standing up being like, East Coast ain't got no love for Dr. Dre and Snoop.That's my horrible Snoop dog voice there. But Puff was cool, calm, collected during all of that, and as you put it, the difference behind the difference between the two of them is more than puff deciding to be all the video and should not be in, the video. The same way it was everything that you explained it more.And that is one of the biggest reasons, I think for that difference. And what helped Bad Boys essentially be even stronger, unfortunately. So after Big's death,[00:35:21] Zack Greenburg: yeah, totally. And you know, I think with Puff, he ultimately. He had that calm, cool, collected side to him that came out, you know, I think at, helpful points, but he was ultimately about, you know, protecting the bag, right? Like Diddy is a business, he is the business. And he, knows that he has to kind of keep that in mind.And I think, you know, Suge on the other hand just kind of like got too deep in his own narrative and couldn't kind of like poke his head up over the clouds and see the view from, you know, 35,000 feet or whatever. So, I think Diddy's business sense, you know, I think ultimately helped keep him, keep him, you know, just above the fray.So, still super remarkable when you look at it. He threw that first white party in 1998. That was really, that was what, like a year, a year after Biggie was killed. And, you know, just to give you an idea of the kind of stuff that was going down. I mean, he bought this house in East Hampton, and he decided that he was gonna throw the most exclusive party people just to give the background.I did some reporting on this too, but like, it apparently if you got invited to the white party and Puffy's White party, you could not get in If you wore like a cream suit, they'd throw you out. If you had, like a blue stripe on your white shirt, they would throw you out.So you had like grown men running home to get like an all white proper shirt to go to these parties. And you know, like pretty quickly you had Martha Stewart and Howard Stern and Donna Koran and like, Donald Trump used to go to these parties, you know, with his daughter everything. So, it was kind of like a who's who of like a certain type of celebrity in the late 90s.And to go from, you know, from the depths of the East coast, West coast thing to that, in like a year. I think it just shows how Puffy's able to kind of flip things around and that's what he was able to do with Bad Boy. He pivoted the whole narrative and suddenly it was about Puff Daddy, the family.It was about, you know, Godzilla soundtrack and, you know, doing the thing with an orchestra and Jimmy Page and whatever. And, you know, singing, he's able to like recreate himself and also these brands like Bad Boy that's created in his image. you know, like in a remarkably quick timeframe, I think.[00:37:38] Dan Runcie: And to share some numbers on this era. This is peak Bad Boy. I would say this whole 97 to 1999 stretch. 1999, they sold 130 million worth of records. And for some context there, that was more than Madonna's Maverick label had that year. And this was, or Madonna, during that whole Ray of Light era, if I'm remembering the timeline, and Beautiful Stranger, if I remember the timeline correctly and more than Def Jam had at its peak that year, and this was, we did the Def Jam pod recently.This was around the same time that Lyor was trying to get X and Jay-Z to release those albums in the same year, and Bad Boy was still doing its thing then they're Puff Daddy and the Family Tour. They went on their own arena tour, they made 15 million that year, and Puff was starting to extend himself in the same way that we saw other moguls do the same.We talked in the Roc-A-Fella episode about, this was the time that Dame Dash had started to have different partnerships in film and district and sports and things like that. We saw Master P as well in the late 90s get his hand involved with a number of things. And one of the things that stuck out from this era is that Sean, is that, did he actually made a partnership with Johnny Cochran at the time, who was his attorney during all of the drama that he had in the late 90s after that nightclub shooting. And they started a management business that was gonna be focused on NBA players. And this just gives you an idea of all of the things that he was interested at the time.So it really is remarkable. And a lot of it came because Diddy himself was putting himself out there. He became the brand, it was him putting it on, and he really became the most successful artist on this label. But around this time, if you start talking to some of the other artists on the label, they start to get a bit frustrated because they feel it's no longer about their development.It is now about Puff building and doing everything for himself.[00:39:36] Zack Greenburg: Yeah, and I think that's when you know, he really starts to have all these brand extensions and, you know, you can see there's actually, I think the first Forbes cover on a hip hop artist was Puffy in 1999. And, it was a celebrity issue. And they had, Puffy and Jerry Seinfeld on the cover together, which always cracks me up.But, you know, Seinfeld's wearing this suit and Puffy's got this like Sean John denim t-shirt on. you know, just like a walking advertisement on the front of this magazine, which is just brilliant. And, you know, so he is got that going. He's like opening restaurants, you know, and like really kind of like realizing that, he could be not only the sort of the straw that stirs the drink and like the producer and whoever behind the scenes, but also the, you know, the main artist.And you know, I can imagine that being another artist on Bad Boy at this point, could start to get a little frustrating.[00:40:28] Dan Runcie: Right. And I think he had a quote around the time he wanted to be David Geffen. He wanted to be bigger than David Geffen. And of course this was Pete Geffen making moves with Dreamworks and everything else. Still being, in many ways, music's prominent mogul. That was due his thing there. And this was around the same time that we have another quote from, Andre Harrell.And I remember if you mentioned earlier, or if I mentioned earlier, there were some other quotes at the time that were less favorable than Diddy, than the ones that Harrell ended up having later. This was one of them. He said, and this was in a New York Times 1999 interview. He, Puff, gotta separate the young man thing from the business thing.If there's an incident where the situation is going in a way that he feels slighted or disrespected, the only way for him to handle it is as if he was a 45 year old IBM, CEO, which is a very interesting way. But he's essentially saying, Hey, you gotta change your act based on where you're going and where things are.And this is, that trending the line that we're talking about that I think that Diddy was eventually able to get to. But there was still some question marks about that and the trajectory in 1999. But to some extent, I think that kind of played to as factor. There was something about, especially some of those celebrities you mentioned, these are some more buttoned up, you know, white celebrities that never really did much on a, anything that was risky.So someone that has the image of Puff at that time, it's like, Ooh, I'm doing this risky thing. It's almost like the person in high school that wants to date the Bad Boy literally called his label bad voice. So they're leading into that whole persona, and I think it worked a bit to his advantage there as well.[00:42:07] Zack Greenburg: Yeah, totally. And you know, another thing people talk about, you know, I think that this time, and a lot of times I think there's a lot of jealousy going around and, you know, Puffy does this, puffy does that. But, know, one of the things that I, that I've always heard is that, Like, yeah, he's the last one at the club and you know, he's always out and, doing whatever, but he's also the, first one in, like, he outworks everybody and you know, he's somehow manages on, you know, like a couple hours of sleep at night or something.I mean, this is another thing you sometimes hear about fantastically successful people. I hear about this, about like Richard Branson and other people too, that they just can operate on four hours of sleep or something like that. And man, you know, I mean, if you think about it, if you have that much confidence and you're that brilliant, and then also you get an extra four hours a day, you know, you get another, was it, 28 hours a week, you get like an extra day every week basically to just like do shit.that's pretty hard to, contend with. I mean, like an extra day, like two extra waking days, to get things done. I mean, that, that's a pretty big advantage.[00:43:13] Dan Runcie: That was a whole 90s mentality from, overall, from people that were successful. Now that I'm thinking about it, cuz of course Richard Branson, that the 90s was a transformational decade for him. You are Bill Clinton, especially when he was president, talk about getting four or five hours of sleep at night, still being able to operate and do his thing.Even folks like Madeline Albright, who worked for him and in his cabinet were doing the same thing. And even someone like Kobe Bryant, there's that memorable. A piece of the Redeem Team documentary that came out on Netflix last year, where the younger guys at the time, LeBron, Bosh, Wade, were all going out to the club.Were all gonna go out for the night because that Olympics was in Beijing and they're coming back from the club and Kobe's on his way to the gym in the morning. And then Kobe spoke about this himself as well. He is like, no, I'm gonna do another practice to wake up earlier than everyone else. So you think about how this compounds over time, and that's what you're saying about how that essentially gives you two, three extra days a week.You do that time and time again, and just how much better you get. Granted the fact that those people can still do that while not requiring that much sleep. I know. I mean, I couldn't do that myself. I need those hours of sleep, but I commend those people that can.[00:44:25] Zack Greenburg: Yeah. I mean, and who knows, you know, from a health perspective, how it affects you, you know, sort of like later in life and whatever. And, you know, do you lose more years of your life on the tail end because you didn't sleep more earlier? I mean, I guess we'll never really know, and it's hard to kind of pull out the factors and really test that. But in any case, you know, it does give a decided advantage, at least in the, present tense. And, he really kind of like worked with that. but you know, I mean, and then just when you thought that he was kind of out of the woods, with the specter of violence, you know, again, 1999, there's the whole thing in the club, a gun goes off, you know, there's this whole like, situation, Diddy and Shine are in the club. There's this dispute, whatever, and you know, who knows what really happened, but at the end of it, Shine went off to go to jail. And, you know, and Diddy ended up, you know, without really any kind of anything other than like, a little bit of reputational hit.So, I think that, you know, he continued to walk that line, right? And there were just these instances kept popping up. But once again, he always managed to sort of, you know, avoid any really serious repercussions and then, you know, go on to some even bigger and better commercial thing, shortly thereafter, you know, which he did eventually with Ciroc and, what have you.But, you know, it didn't really seem to hurt anything with Bad Boy. Although I think around that time, you know, his career as a solo artist started faltering a little bit to be sure[00:45:42] Dan Runcie: And I think this is a good time to talk about the proverbial Bad Boy curse that's been discussed. There are a number of artists that have had their issues with Bad Boys, specifically with Diddy in terms of whether they feel like they were fairly compensated for things. And it's artists like Faith Evans 112, Mark Curry, and the Locks as well as most recently as a couple years ago, Mase famously people that have publicly claimed to try to get what's theirs called out Diddy for not doing certain things.And then on the flip side, you have people that surrounded themselves with Diddy, and Diddy was the one that came out, scott free, and they were the ones that ended up in challenges and some of that Diddy benefited from by associating himself with them, but they didn't necessarily work outta that same way.You of course mentioned Shine, who, his career never really took off after he had that brief moment where that Bad Boy song came out. I think that was in 2000. They had sampled that, the Barrington Levee reggae song and then had him on that. But you had a few instances like that. I look back on one of my favorite songs from The Bad Boy era.let's Get It with G. Dep and Black Rob. And the sad part about that song is that you have G. Dep, the first person that was. Or essentially his lead single, he's saying that he's saying, or he did special delivery as well. G. Dep eventually ended up being locked up for a murder that he had done in the 90s, but then it had some run-ins after that Black Rob unfortunately passed away a few years ago, and I don't think was ever really able to capture that momentum after Whoa. And a few of the other songs he had with Bad Boy had come out. And then of course you had Diddy who, you know, is still thriving doing his thing.And I think that's true as well. You look at an artist like Lone who l kind of had his moment where they were trying to make lone really be a thing, especially with the, I need a girl, part one and part two, but then Loon as well, ends up getting locked up. I think there was a heroin charge or something like that.So all of these folks that were around Diddy in some way ended up having their challenges. Not all of them, but some of them.[00:47:50] Zack Greenburg: For sure. And I think, you know, probably around this time, you know, the sort of like the turn of the millennium was, you know, the moment, when did he kind of realize that he had to, he did have to start figuring out his next step. And if it wasn't gonna be him, as an artist, you know, and it wasn't gonna be somebody else on his roster, it was gonna have to be something else. And so I think this is sort of like when you think about the Bad Boy era, you know, I don't know, I think about it as sort of like early 90s to late to, you know, to really the end of the decade. And although, you know, of course it went on and it continues to stay at different, you know, sort of capacities.It's like that was sort of the prime era. And, I think once the fortunes of the label became too closely intertwined with Diddy's as a solo artist, then when he stopped being such a big deal as a solo artist, the prospects of the of Bad Boy itself were a little bit more limited.[00:48:45] Dan Runcie: Agreed. Question for you. Do you think that, well, lemme take a step back. In the Cash Money episode that we talked about not just the disputes people have had with Birdman and Slim over the years, over disputes, but also the notorious reputation that they've built up. Do you feel like the reputation with Puff is similar in that way?And if it's different, why do you think so?[00:49:09] Zack Greenburg: So you mean Puff like the Cash Money sort of similarly having trouble paying people?[00:49:13] Dan Runcie: Yeah, Yeah, and whether that reputation has stuck with Puff the same way that it's clearly stuck with Bert and Slim.[00:49:21] Zack Greenburg: I think they both have, you know, or rather the three of them, I think it does follow them around, but in different ways. I mean, I think, I think with cash money, there's some element of it that's like, well, you know, I think their response to a lot of it is this stuff began when, you know, the things weren't properly papered up and, you know, nobody really knew how these things worked and blah, blah, blah.And you know, you can sort of agree with that or not, right? Or maybe you could say it is to some extent your responsibility to make sure things are paid up, you know, once you become that successful. but, you know, I think that Puff was sort of like, you know, Bad Boy was, done through Clive through real estate.It was done through a major label, sort of from the beginning. And, you know, I think you could argue actually that that's why Cash Money was ultimately worth more, like, was like a bigger source of the Williams Brothers wealth than Bad Boy ever was, for Diddy. And he had to go, you know, do these other things. But you know, like it wasn't as though there were no lawyers involved. It wasn't as though there wasn't some big record label apparatus. There absolutely was. And you know, so I, think that excuse sort of like, doesn't fly quite as much. it's probably not leveled quite as much with him either, but, you know, but it's definitely there and, it's sort of like, it's hard to look past it in some regards.[00:50:41] Dan Runcie: Yeah. I think that one of the reasons why I think the public image of it is different is because of the businesses that the two are involved in. Bird man's a music man almost in the same way that Clive Davis is a music man. That's what we know him as even in the conversation you had shared last time where you were doing this extensive feature profile with them on Forbes and you were gonna have another follow-up conversation with him that night, and he's like, no, no.Bird Man's still in the studio. He's doing his thing like that's what he wants to do versus Puff has his interest in all these other areas, beverages, spirits, sports, entertainment, now with Revolt or Sean John, or whatever it is. So there's so many more things we know him as, or he's running the New York City marathon, he's trying to launch this thing, and all of those things can broaden your image of him.So if you hear a complaint about the one particular aspect of this business, that's one area of what he's doing, as opposed to us knowing Bird and Slim as. The owners of this record label, and now there's a dispute with the one thing that we know them for.[00:51:49] Zack Greenburg: Yeah. Okay. I see what you mean. So it's sort of like, in a way it's less central like the music is less central to his identity, therefore we hear less about the disputes because we just hear less about the music side overall.[00:52:01] Dan Runcie: Right.[00:52:02] Zack Greenburg: Yeah, that makes a lot of sense. I mean, and then, when you look at what happened to Bad Boy, you know, even just from a corporate perspective, it was a 2005, he sold 50% of it to Warner for 30 million bucks, something like that.So, obviously that, means, you know, by those numbers it was worth 60 million. At the time there was probably just the recorded music side and there was publishing as well, which is separate. I think you did some other publishing deals too, but you know, that number in 2005, I mean, I'm sure that's lower than.Cash money was valued at in 2005. But, you know, he just kind of made the decision to pull some money off the table, right? And I think that says some, something about his priorities too, that he wasn't that focused on the music side of things. So, you know, like, let's make this deal and then move on, to the next thing.And I think a couple years after that was when he launched Ciroc or, you know, came on with Ciroc and launched his Ciroc campaign presence, whatever you wanna call it. you know, partnership thing. So, I think ultimately for Bad Boy, you know, I think it had a peak that was as high as really, you know, any label, in hip hop did.But its fortunes became so wrapped up with Puffy that once, once he moved away from music, it's like, how are you ever really gonna come back from that?[00:53:15] Dan Runcie: Right. It really wasn't a business it was a business, but almost in the same way that a lot of people that are creators now and trying to do things, there's this ongoing discussion or debate they have about whether are you trying to build a business with a roster around you, or is this more so a soul entity?And I think Bad Boy definitely saw both of those things, but you normally seen in the flip side where you start with the lead person being known as the thing, and then they add the roster around them. But Bad Boy was kind of the opposite, where you had this roster and then it becomes the lead person becoming more known for the thing.[00:53:48] Zack Greenburg: And I think it moved away from that assembly line idea, you know, the Motown thing, the Coachella thing, whatever, you know, you're gonna, buy the tickets for, you know, who's there. It just became all about Puff and, you know, I think in a way he realized it was more lucrative that way, right? N o matter how involved he was in however many different pro projects as sort of the, the Berry Gordy, he could make more, you know, for himself being Puff. And in a way, when you look at Ciroc, it's like, you know, it's the same thing, right? Like he's selling the Art of celebration. He's selling his brand of success. He just doesn't have to sign other artists to it, you know? So I see has Ciroc Boys, you know, that's, I mean, it is almost like a record label to some extent, you know, if you like an extension of, Bad Boy. If you think about, you know, the different artists who are kind of like involved on some level, you know, over the years with that brand, it just, you don't have to get involved in like publishing and, you know, licensing and mechanical royalties and all of that fun stuff.[00:54:50] Dan Runcie: Right. And I think with that it's a good chance to talk about some of these categories we have here. So what do you think is the best signing that Bad Boy did?[00:54:59] Zack Greenburg: I think a hundred percent, you gotta go with Biggie, no doubt. I mean, you know, if you're calling the signing $500,000 to get him over from uptown, you know, plus whatever they ended up paying him. I mean, you think about the success of Life after Death and all the other albums and, you know, the albums that, were sort of in the hopper after he died.I mean, I think hard to top that.[00:55:19] Dan Runcie: Agreed. Yeah, No debates there. That was the same one. What do you think is the best business move to come from Bad Boy?[00:55:26] Zack Greenburg: I would, I would argue that, I would argue Sean John because, you know, in creating the Bad Boy image, that was, you know, really bankrolled like all those videos, obviously Bankrolled by Arista, bankrolled by, you know, the, parent company, you know, Puffy created this aura around himself, which was very fashion oriented.And then he was able to parlay that into creating, you know, an actual fashion brand that he owned, or at least, you know, partially owned and himself, which then generated hundreds of billions of dollars. And then he sold and got, you know, whatever it was, a hundred million dollars and he bought it back.but anyway, he did really well for himself. I think with the help of this shine that was kind of like given or enabled at least, by a Bad Boy.[00:56:13] Dan Runcie: Yeah, I think that's a good one. The other thing that I wanna give some love to, that we haven't talked about much yet, but was the Bad Boy Street team and how they went about promoting and pushing their records all over the major cities. A lot of people may think that Bad Boy invented to the street team.I think I still do give loud of records credit for that, but Bad Boy did take things to another level, and this goes back to Puff and his strength as a promoter. This is what Club promoters do. This is how you push and get the word out there. So he's able to replicate himself. He's able to empower the people to feel like they're part of Bad Boy himself and making sure that they're styled in the same way, to be able to help sell that same image that Puff wants to sell himself.And you saw him replicate this as well with Ciroc Boys and things like that. And shout out to Sean Perez, who worked with Puff at Bad Boy and on Ciroc on this same strategy.[00:57:07] Zack Greenburg: Yeah. Although, you know, it was a great one, and a great strategy, but it didn't always work. What's the line? I felt like Bad Boys Street team, I couldn't work. the locks.True.[00:57:19] Dan Runcie: Yeah. Usually worked. But yeah, they just needed to see the vision as they said. what's the best dark horse move? You have a good one for this.[00:57:27] Zack Greenburg: Yeah. Yeah, yeah. Okay. maybe a little controversial. I don't know. I'm gonna go shine. Because if Paul hadn't signed Shine, I mean, I don't know, you know, I'm not a lawyer or anything, but, all I know is that something went down in that

We had the pleasure of interviewing ROSIE over Zoom video!Singer-songwriter, ROSIE, recently released her new single “Someone You Once Had”. This will be off her upcoming sophomore EP “5 Songs for Healing”. ROSIE shares on “Someone You Once Had” that “Someone you once had is about finding self love in the face of heartbreak and loss. It's easy to search for self worth in someone else, but this song is about finding it within oneself." In addition, she notes on the writing process “The process of creating “Someone You Once Had” was both painful and cathartic at the same time, because it's about learning to love myself in the face of heartbreak, hardship and loss! It's easy to search for self-worth in someone else, but this song is about me finding it within myself for the first time, and finally feeling confident in who I am”.In other news, ROSIE will be starting her headlining tour called “The Healing Tour” starting this June. ABOUT ROSIE:What you see is what you get with 23-year-old singer-songwriter ROSIE— no filters, no Facetune, no VSCO, no makeup, no bullshit. In late 2021, after capturing the hearts of millions with her clever, heart-wrenching songwriting, ROSIE released her much-anticipated debut EP, ‘20mg of Happiness,' on Arista Records.Seeking a safe place online and through her music, ROSIE's willingness to get real has struck a chord with millions. She has a stunning ability to turn negative experiences like loss, betrayal, and criticism into incredible songwriting and steadfast determination. A philanthropist, environmentalist, mental health advocate, classical violinist, guitarist, vocal producer, songwriter, and now major label recording artist, her achievements come from her undaunted resilience against life's harder realities.We want to hear from you! Please email Hello@BringinitBackwards.com. www.BringinitBackwards.com#podcast #interview #bringinbackpod #ROSIE #SomeoneYouOnceHad #5SongsForHealing #FiveSongsForHealing #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpodThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4972373/advertisement

We had the pleasure of interviewing Devon Cole Zoom video!Toronto-based alt-pop singer and songwriter Devon Cole is back with her new single, “Call U After Rehab,” out now on Arista Records.Following her hit singles like “W.I.T.C.H.” and “Hey Cowboy,” “Call U After Rehab” exemplifies Devon's softer side. “'Call U After Rehab' is my most vulnerable release yet,” says Devon. “It's a love song about pausing a relationship in order to take care of myself. I was putting off my issues for a while and finding any way to justify my bad habits. Deciding to say goodbye to my closest comforts, to give myself the space and time to heal, felt like ripping off a bandaid that had been there for ages. And this release kind of feels the same, in some ways. I hope people can relate by interpreting the rehab idea however they want to."Catchily packaging social truths in repeat worthy pop bops, 24-year-old Devon Cole has quietly emerged as an enigmatic and engaging force to be reckoned with over the past year. Her buzzing smash “W.I.T.C.H.” (Woman in Total Control of Herself) has eclipsed 70 million streams and counting. Following this success, she maintained her momentum with the endlessly catchy sex-positive anthem “Hey Cowboy.” Since signing to Arista Records in 2022, Devon has reached the precipice of a major breakthrough. She's already amassed millions of streams across her repertoire, received critical acclaim from tastemakers Billboard, BUSTLE and EARMILK, and recently nabbed a 2023 Juno Award nomination for ‘Breakthrough Artist of the Year' and a 2023 Nickelodeon's Kids' Choice Award nomination for Favorite Breakout Artist. Devon Cole 2023 Tour DatesMarch 17 - Austin, TX @ Mohawk (Indoors) @ 1PMMarch 17 - Austin, TX @ Carpenter Hotel @ 9:30PMApril 13 - Montreal, QC @ Petit Campus*April 14 - Ottawa, ON @ Bronson Centre*April 15 - Toronto, ON @ The Danforth Music Hall*May 23 - Vancouver, BC @ Hollywood Theatre**supporting ValleyWe want to hear from you! Please email Hello@BringinitBackwards.com. www.BringinitBackwards.com#podcast #interview #bringinbackpod #DevonCole #WITCH #WomanInTotalControlOfHerself #CallUAfterRehab #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

Rapper, Lola Brooke joins the ladies of Lip Service to promote her smash hit 'Don't Play With It' featuring Billy B, as well as to celebrate her latest signing to Arista Records. Lola opens up about why she chose to go celibate, what type of guy would be perfect for her, and much more. Lola even admits to using foods and snacks in the bedroom. Enjoy!See omnystudio.com/listener for privacy information.