Podcasts about brignac

PROOST! Jij hebt wat te vieren! Of heb je niks te vieren? Maakt niet uit. Want ook dan mag je champagne drinken. In deze nieuwe aflevering van 'Don't be a penguin' verzuipen we in de wereld van Champagne, een van 's werelds meest luxueuze merken. We kennen Champagne allemaal als een vorm van alcohol, maar dit Franse drankje is eigenlijk veel meer dan dat. Het is namelijk een internationaal mega merk. Wij bespreken in deze aflevering van 'Don't be a penguin' de positionering van het merk Champagne en een aantal grote Champagnemerken zoals Moët & Chandon, Ruinart, Armand de Brignac en nog veel meer. Onder het genot van een aantal glaasjes Champagne die Tal heeft meegenomen, bespreken we samen hoe Champagne heeft kunnen uitgroeien tot het merk dat het vandaag de dag is, maar ook hoe spelers op het hoofdtoneel en kleine Franse boertjes, werken aan hun gepercipieerde merkidentiteit. Wist je bijvoorbeeld dat er meer dan 15.000 boeren druiven en sap leveren aan slechts een paar honderd champagnehuizen? En dat er hele strenge regels verbonden zijn aan het dragen van de naam 'Champagne'? Nee? Wij ook niet. Nu wel. Schenk jezelf, net als wij, een glaasje in. Tal heeft namelijk een proeverij meegenomen voor Ties en Bob en is benieuwd of het hen lukt om de goedkope van de dure champagne te onderscheiden! Verder Heb je suggesties voor thema's of vragen voor Ties en Tal over marketing en positioneren? Stuur ze naar dontbeapenguin@merkelijkheid.com of laat een berichtje of comment achter waar je kijkt of luistert. Moet het korter maar ook leuk? Kijk op TIKTOK: @merkelijkheid Of check onze kanaalpagina voor de nieuwste shorts over de meest uiteenlopende merken! Dank voor het kijken en tot de volgende!

Enfant, il voulait être berger mais rattrapé par ses origines champenoises, il s' oriente finalement vers l'oenologie et une fois son diplôme en poche, Emilien Boutillat parcourt les deux hémisphères du globe. Il fait ensuite ses premières classes en Champagne dans la maison Cattier, où il participe à l'explosion de la marque Armand de Brignac.En 2018, à seulement 31 ans, Emilien succède à l'emblématique Régis Camus, comme Chef de Cave de Piper Heidsieck

Jaron Brignac shares his incredible stories behind bars where he fought to protect his rights and his fellow inmates...to his thoughts on criminal justice and his current work of over a decade helping enforce tenant rights. 

August 11, 2023 is the 50th anniversary of hip-hop. What started out mostly as a spoken word artform has become a worldwide juggernaut. Thanks to the moguls who pushed the genre forward, hip-hop went from 0 to 100.In this episode, we rank the 50 greatest moguls in hip-hop's history. We reached out to industry experts — from artists to execs to media personalities — to help us compile the list. Friend of the pod, Zack O'Malley Greenburg, joins me to count them down from No. 50 to No. 10:39 How do we define “mogul”7:06 Honorable mentions09:10 The “Don't overlook their influence” group (ranks 50-41)16:19 The “Playing chess not checkers” group (ranks 40-31)23:38 The “Our impact runs deep” group (ranks 30-21)33:47 No. 2035:37 No. 1937:56 No. 1841:32 No. 1744:27 No. 1647:21 No. 1551:22 No. 14 55:55 No. 1359:09 No. 121:00:46 No. 111:02:16 No. 101:04:39 No. 91:06:44 No. 81:10:20 No. 71:14:06 No. 61:15:37 No. 51:17:11 No. 41:20:53 No. 31:29:06 No. 21:30:34 No. 11:33:22 Who got snubbed?1:35:42 What trends stick out from the list?1:41:21 Who would you pick to run your empire?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: ownership. Was just such an important thing for Nipsey. Such an important thing for Berner. And, you know, interviewing the two of them, I would say, their mindset around ownership was the closest I've ever seen to Jay Z.[00:00:13] Dan Runcie Intro 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.[00:00:39] Dan Runcie Guest Intro: This episode is a celebration to hip hop's 50th anniversary. This is a countdown on the 50 greatest moguls ever in hip hop. I'm joined by Zack O'Malley Greenburg, friend of the pod, and we both reached out to. A bunch of label heads, executives, people in hip hop that would know best. And we put it together in an aggregate list.And we're here to break down that list today. We talk about what does it mean to be a mogul? What are some of the considerations we made when we were looking into this list ourselves, how the results looked, what surprised us? What were the snubs? What were the misses? And what can we learn from this overall?And if Zack and I were putting together our dream teams, what would that look like? This is a lot of fun. Really happy with how it turned out. So let's dive in.[00:01:25] Dan Runcie: All right, hip hop's 50th anniversary is right around the corner and we decided to celebrate it in the only way that we know best countdown hip hop's greatest moguls and I'm joined by Zack O'malley Greenburg, who reached out to me about this. I was really excited about it and we spent some time over the past couple of weeks, reaching out to people we know, making sure that we have the best insights looking through and making sure that we had all of the. Breakdowns to share. So Zack, I'm ready for this. How are you feeling?[00:01:55] Zack Greenburg: I am stoked. Yeah, I mean, you know, 50th anniversary of hip hop. We reached out to 50 different judges. amongst, you know, the sort of, the most respected folks from, you know, label heads to artists to entrepreneurs, you know, I think we've got half of them, roughly half of them replied since in their votes, we're going to keep their individual votes anonymous, but, you know, Dan could tell you about some of the judges.Yeah, and it was just really fun to kind of mix it up, you know, I think the thing about this list, a lot of these characters are just kind of an apples to oranges comparison as you'll see once we dive into it, but that's the beauty of it, right? I mean, how do you, you know, compare like a pioneering executive to like a modern day artist mogul? And we really kind of left it in the hands of the judges. And we just said, basically the only guidance was, this is a business focused list, but you know, you can rank artists, executives, people who are both. It just, whatever your definition of mogul is, that's how, you know, that's how you should rank them. And people submitted lists and obviously the higher they rank somebody, the more points we gave them and, you know, the lower they got, but, you know, so there's some people on there who are like accumulators. They ended up on everybody's list, but not so high, but, you know, as a result, they ended up on the top 50.And then there are some who were just like, not ranked at all by most people, but had a couple of really high ranks so that they made the list. So I think it's a pretty cool mix.[00:03:10] Dan Runcie: Right? It's kind of like how we look at artists. There's some artists that have just been consistent, steady through and through each year. You'll always get some reliable output from them, but then there are other artists too. They were the best for a certain amount of time. Maybe they cooled off for a bit.Maybe they came back and that's kind of the way music is too. One of the things that. I was asked whenever I was reaching out to people about this was the same thing that you posed earlier. People wanted to know, how are we defining mogul and we left it up to their interpretation. It is a term that means different things to different people, but maybe for the sake of this conversation, let's kick it off here.Zack, how do you define mogul? And how did you define it when creating your list?[00:03:51] Zack Greenburg: Yeah, I mean, to me a hip hop mogul, more general is just, you know, somebody who not only is a business person, but has some degree of ownership, in whatever it is that they're doing. that's not the only definition of it for me, but like, you know, when I was putting together my rankings, I thought, you know, who are the owners?the same time, you know, people who are executives who are in a decision making place. you know, that counts for something. And I think also, you know, if you're an artist, and you simply have some control over your own work, you maintain your copyrights, whatever, like that counts as being a mogul. So, you know, specifically when it comes to hip hop, you know, I'd say people who are, you know, definitely getting in charge of your own work, but also creating new lines of business, you know, influencing the culture. but you know, a way that they've got some skin in the game from a business perspective, you know, that, kind of thing.That's kind of how I looked at it. but you could see from the votes that, you know, everybody had a slightly different definition too.[00:04:47] Dan Runcie: Yeah, there was definitely a lot of correlation with the artists who tend to be the ones that are the wealthiest. They end up at the highest rankings in on some of those lists, too, but it wasn't exactly correlated because there's a difference. And these are some of the things I kept in mind, too, with the mogul definition, thinking specifically aboutinfluence and impact, were you having, or did you create opportunities for others around you? Were you able to be a bit of a kingmaker or queenmaker in your respective right? Was there a impact in terms of other generations that either looked and modeled how they're doing what they're doing and looking at you as some form of inspiration with that?So there's the indirect impact and influence, but also the, Indirect piece of it too. So there's the money piece as well, but then what do you do with that money? And then that's how I had went about it. And similarly, everyone had their own unique spin to it.[00:05:42] Zack Greenburg: Yeah, for sure. And, you know, and I think the definition changed over time, of what a mogul really is, but when I was putting my rankings together, I think the idea of starting something new, you know, that's also paramount, amongst all the criteria as well.[00:05:55] Dan Runcie: Right? So, of course, Zack and I had our list, but we reached out to a number of people and several other label heads, executives, and people that are in the game.So thank you all to your contributions. We couldn't have done this without you. And if anything, it helped add a variety beyond just you and I, getting and putting our list out there. It added a more full scope and like anything. Oh, this is how you look at it. Interesting and being able to pull unique insights there.[00:06:21] Zack Greenburg: Yeah, for sure. you know, one thing I think we probably ought to point out, on the list, you know, the list is, heavily male. but it's about only 20% women on the list. you know, we did everything we could obviously to make it more equitable, but, you know, the votes are the votes.And, you know, I think there is a bit of a reflection of sort of the state of affairs over the past half century, you know, unfortunately, like many parts of music business, hip hop has been, you know, heavily overindexing for males. So, you know, here's hoping that when 50 years to do a hundred years of hip hop, you know, we'll have even things out a bit or completely, let's say maybe even, you know, made up for lost time, but I think some of the spots on the list, you know, the rankings do kind of reflect an industry reality that we've seen, unfortunately for 50 years.[00:07:06] Dan Runcie: Right? And hopefully this gets better. We do feel and you'll see when we talk about some of the people here, glad about some of the names that got mentioned. Of course, there's always room to be able to have more and hopefully for hip hop's 100th anniversary. If when and people are breaking that down, there's hopefully even more representation there.So, with that, I think it's probably good for us to get started right before the list, but talk about some of the honorable mentions. So, there were people that didn't quite make the cut of 50, but we still wanted to highlight them and the work that they. Did here. So a few of those names here to give a shout out to.So we have Cindy Campbell, Jermaine Dupree, Audrey Harrell, Jay Cole, Damon John. What comes or what do you think about when you hear those names?[00:07:55] Zack Greenburg: Yeah, you know, I mean, Cindy Campbell, I think in many ways you could look at her as the first promoter in hip hop history, right? I mean, you know, we're talking about 50 years of hip hop. That's 50 years from that first party that. She and DJ Kool Herc through, you know, in the rec room on Cedric Avenue.And, I think the idea was that they were going to raise a little bit of cash so she could go get herself a new back to school wardrobe. Now, if that's not, you know, entrepreneurship and hip hop, you know, from the very beginning, I don't know what it is. And so I think Cindy deserves a ton of credit, for being there at the very beginning, you know, but I think on the honorable mentions to a lot of the folks that are on here, you know, or maybe like a little bit, you know, not exactly falling on the same radar, you know, for the list. So like, you know, Damon John, obviously he did with, you know, creating FUBU and, you know, everything he's done as an entrepreneur, it's incredible, but it, I think it's sort of like more of a national brand that is, you know, apart from hip hop and so is his personality, right? Like you see him on shark tank or, you know, whatever, like he sort of moved past, I wouldn't necessarily categorize him, as just hip hop, although he's had a tremendous impact on hip hop.So I think probably that's why, he wasn't on more lists. It's not to sort of ding him his impact, which is considerable.[00:09:10] Dan Runcie: Right, and I do think that of course, music is one element of hip hop. You do have fashion, you do have others. So music definitely got weighted heavily in this list, but Dave and John and his influence in fashion, and there's other people in fashion and we'll get into them in this list too, but we can't overlook everything he did there and some of the more unique and clever marketing tactics that came from food booth that other people did who will mention in this list as well. 1 person that I do want to highlight here from that list 2 people. So, Jermaine Dupri want to give him a shout out as well. Just everything he was able to do with.So, so Def records. He was part of that movement in the 90s, where you saw LaFace and then all these other groups in the South be able to come up, do their own. There was a so so deaf sound, a so so Def vibe and his ability to do it both in rap, but also have a bit of the soul there. Some of the epic production that he's been involved with, even outside of hip hop, thinking about albums like Mariah Carey's Emancipation of Mimi and others, even though he didn't always do everything in hip hop. I think that some of his influence can't go overstated there. And then the second person who's similar in that regard, I would say is Andre Harrell. We talked about him in past episodes, especially the bad boy one, but everything that he did from Uptown Records and then moving on to Motown Records and gave in many ways helped give Puff the blueprint for what he was able to do years later.[00:10:37] Zack Greenburg: Yeah, absolutely. And, you know, I think Andre had a lot of successes, also had a lot of failures, not necessarily, you know, through his own doing, the time, but definitely somebody who deserves, you know, a hat tip at the very least. And, you know, I'm sure Puff would agree about that too.[00:10:52] Dan Runcie: Agreed. Agreed. All right. We ready ready to get into it.[00:10:57] Zack Greenburg: Let's do it.[00:10:58] Dan Runcie: All right. So in the initial group here, which we're calling the don't overlook their influence group. This is people who are ranked 50 through 41. so in order we have Ethiopia have to Marion at 50. She was the former CEO of Motown. We have Top Dog, co founder and CEO of Top Dog Entertainment. We have Mona Scott Young from her work at Violators and more recently Love Hip Hop. And what she also has done with Hip Hop Homicides and some other multimedia projects. We have T.I. with everything he's done with Grand Hustle and Multimedia. We have Eazy E with Priority Records. Many ways pioneering so much of the stuff we saw.We have Todd Moskowitz, L. A. Reed, Craig Kalman, former CEO from Atlantic. We have Sylvia Roan and then tied for 40. We have Desiree Perez and Steve Stout. What are your thoughts on that group list?[00:11:55] Zack Greenburg: Oh, man, I don't know. Maybe we should just pick out a few here and there that we thought were particularly interesting. I mean, you know, I think Ethiopia is a good example of somebody who would be higher up if she were identified, you know, solely as a, you know, as a hip hop mogul, but she's had kind of like a pretty wide reach, you know, especially in R and B, and pop. I mean, some of the stuff she's done with Erykah Badu, NeYo, Stevie Wonder, you know, like over the years, you know, wouldn't be classified as hip hop, but it's worth it nonetheless. just think that, you know, being kind of like in between, in between genres, you know, resulted in her being down a little bit further on the list.But, you know, somebody who had a tremendous impact. you know, I would also, I would highlight TI here, you know, the self proclaimed King of the South, but, you know, in terms of, I remember the years when, you know, we were putting together the Forbes list and, you know, kind of looking at, you know, kind of regionally who is most important to me.Yeah, he was sort of like. The Jay Z of the South. And he was really, especially when he was having that moment, you know, getting a lot of songs on, you know, national radio and, kind of being in the public eye, I mean, had a tremendous business focus, you know, he was always interested in sort of like, what's the next thing that I can create?and you know, that kind of entrepreneurial energy, you know, I think, especially within the context of the South, like taking the blueprint, from guys like Jay Z, you know, I think he certainly deserves a mention. I kind of thought he'd end up higher here, but I guess he's been, not as, especially in the music front lately.and then I would definitely highlight, Desiree, you know, she's somebody who's been behind the scenes for a really long time, with Jay Z and rock nation, but like. she runs rock nation. And although Jay Z obviously has the final say in things, you know, a lot of things that you see, come out of that camp are, you know, her doing and have her fingerprints all over them.And I know some of y'all might have seen the Book of Hove exhibit at the Brooklyn Museum or the Brooklyn Public Library that was a Desiree Perez production and, you know, she said that it was like her emptying her 80, 000 square foot storage unit into the library, but, you know, but to have, you know, that kind of, impact at a place like Roc Nation and to help, you know, Jay Z do what he's done, you know, I think those are all worthy, of notation and, you know, I think she deserves her spot there for sure.[00:14:09] Dan Runcie: Yeah, Desiree is someone that has been working with Jay Z for a while now, and I feel like she deserved a shout out on Jay's verse in Pound Cake, the Drake song. You know where he's like, Dave made millions, Lyor made millions. I feel like Desiree should have gotten a shout out there too, but yeah.I'm glad that she got mentioned here. Two other names I'll run through quickly. Steve Stout, someone who I thought would have ended up higher, and I know that, you know, it was interesting to see how the results played out, but I do think that one of the best marketers that we've seen come through hip hop.He was ahead of the curve in a number of ways, dating back to the 90s with seeing the men in black sunglasses and everything that he's done there from his time working with Nas, everything that they've done, whether it was the firm or, him being a record executive himself and then showing as well, how he's able to do it in advertising and bringing a lot of these companies and brands that didn't necessarily align or think about being related with, you know, hip hop culture and those elements to be able to do it.You look at a company like State Farm and how we now look at what that company has done. And a lot of that is through his work and obviously with what he's done at United Masters. So shout out there and I also do want to give a shout out to Mona Scott Young mentioned her earlier, but she was a right hand to someone who will mention on the list as well coming up soon with everything she did in Violator, this is back when, you know, Q Tip and Busta Rhymes and that whole crew were doing their thing. And then later, I know people have a lot of polarizing opinions about love and hip hop, but if you look at the career opportunities that were created for people that have came through, and the longevity that she's granted, a lot of people that the record industry forgot about that she was able to continue to give opportunities for think about the trick daddies, Trina's and folks like that. I know people hate to see them arguing on camera, but would we have Cardi B where she is today? If it weren't for the platform of love and hip hop, and she's continued to do things with other vocals on the list that we'll get into. So I do want to give a shout out to her[00:16:08] Zack Greenburg: Yeah, definitely a worthy shout out. And we could probably go on and on about even just like the tent in this bracket here, but I suppose we ought to, we ought to move on to the next room before, before we run[00:16:19] Dan Runcie: indeed. Yep. So the next group is playing chest, not checkers. So at 39, we have Dave Mays, founder of the source 38. We have Irv Gotti, founder of Murder, Inc. 37, Cardi B 36, Lil Wayne 35, Nipsey Hussle, 34. Steve Rifkin, from Loud Records 33, Missy Elliot. 32 Birder from Cookies, 31 Kevin Lyles and 30 Chris Lighty.[00:16:47] Zack Greenburg: Oh man, this is a pretty stacked bracket, I must say. I think that, you know, there are a couple of names that stick out to me here. I'm going to go with Nipsey and Berner, because in a funny way, I think, they have like a sort of a similar, a sort of similar strategy, which is like, you have a very clear idea of what it is that you're going to do.You own it, and then you, you know, you continue to own it like ownership. Was just such an important thing for Nipsey. Such an important thing for Berner. And, you know, interviewing the two of them, I would say, their mindset around ownership was the closest I've ever seen to Jay Z. and they really understood from the beginning that they had to own all their music.Own all of their branding own, you know, the companies that create on the side and then they can monetize it later. And, you know, with Nipsey rest in peace. I mean, he was just on the cusp of, of kind of like becoming a mainstream superstar, you know, when, his life ended all too soon. So, I think what Berner is doing with cookies is really fascinating like Berner is, you know, you want to talk, lists. I mean, he's in the top five, probably the top four or three at this point, in terms of net worth for actual, hip hop artists. And that's because of the success of cookies and, you know, there's been, a lot of ups and downs in the cannabis business lately, but like the amount of ownership that he has, you know, I think it amounts to about one third still of cookies, which is, you know, a billion dollar brand. When we gets legalized, you know, like he's going to see the fruits of his labor and, that focus on ownership I think is really going to pay off on the longterm.So I would highlight those two guys, in this tier as the ones that, I think were the most impressive to me. That's not to shade anybody else, but,[00:18:25] Dan Runcie: Yeah, those two guys are also two of the few people who I see people still wearing their merchandise on a regular basis. Granted, I live in San Francisco. There's a cookie store here. So, I mean, I know there is a local connection for sure, but same with Nipsey Hussle. I mean, sadly, it's now been over 4 years since he passed away, and you still see Crenshaw shirts.He understood, Nipsey especially, understood exactly where everything's going. And it's just so sad that, you know, it was gone so soon. Two names, I'm going to shout out here. I'm going to shout. I'm going to shout out Cardi B and I want to shout out Chris Lighty. So Cardi B talked about her a little with the Mona Scott young piece, but she's entered and ran her rap career more uniquely than other artists that we've seen at her level have. And I think that speaks a lot to just where the game is now. It's been over six years since Bodak Yellow came out. And it's been over five years now since her debut album. This is someone who hasn't put out a studio album in over five years.And hasn't gone on tour in a traditional way, but it's still doing her thing. And I think this is one of the things that's unique. She finds interesting ways to monetize herself and to put herself on. She's like, Hey, I can do these private shows and they're going to pay me, you know, 1. 5 million or 3 million just to do a half an hour set.I'm going to do my thing. I'm going to be there at Super Bowl weekend. I may not be performing at the Super Bowl, but I'm going to go do these private shows for Bob craft or the fanatics event or all these things and collect the checks. it's very interesting to see younger artists to do that Lionel Richie playbook, but she is like, Hey, I don't necessarily have to do that. And even though people always do try to, you know, loop her into the Nicki Minaj versus Cardi B beef, she still has lended her hand and extended it to other young artists, especially women in the game, whether it's Ice Spice and others, whether she's doing it through her talents and others. So she's someone that I hope as she continues on, you know, into her thirties and into her forties can continue to rise up this list.And then Chris Lighty talked about a little bit with Mona Sky Young, co founder of Violator and everything they're able to do there. Sad that he was taken away so soon, but if you have not heard this yet and if you haven't listened to the podcast, I highly recommend the Mogul podcast series that was done several years ago on it.It was done by Reggie Yose, who is Combat Jack, who has since passed away as well, but I highly recommend that if you want a full breakdown on everything Chris Leite did. Violator and after that was truly one of the early ones looking at product partnerships and a lot of the things that we see now that are common in hip hop.[00:21:07] Zack Greenburg: And, you know, if we didn't have Chris Lighty, I don't think we would have had 50 Cent. I mean, at least not to the extent that we have him. you know, I mean, I remember writing my first story about 50 and like for Forbes, maybe 2008 and sitting down with Chris and just kind of like hearing him lay out the plan.And again, it's the emphasis on ownership, right? you know, Chris Leidy, I think was the one who really pushed, 50 to take the equity in vitamin water and his parent company, rather than just do an endorsement. And, you know, obviously that became a huge, deal and really like a model for so much, not only of hip hop, but like other parts of the entertainment industry, you know, I think Chris definitely deserves a spot, maybe even should be a little higher. and you know, probably also, there's, you know, again, all these folks deserve a shout out, but Kevin Lyles, I think is, got one of the most inspirational stories. you know, it's another person, I think we've both interviewed a bunch of times, but, you know, just his journey from intern to president of Def Jam and I think seven years. And he just did it by working harder than everybody else like he wasn't an artist that got put there because he had some hit, it wasn't some kind of like nepotism deal, you know, he just outworked everybody and, you know, he had the talent and, you know, the horsepower to just like get it done. And to make that journey within seven years. So I think it's, for people who are listening and, you know, want to do something like that with their own career, you know, study Kevin Miles because he was able to make it, without being, you know, some kind of like preternatural, singing talent or something like that he just did it on smarts and work ethic.[00:22:39] Dan Runcie: And one of the few people that co founded a record label and sold it a decade later for hundreds of millions of dollars, which is what he did 300 as well. Right? So of course, not 300 now underwater, but everything he did with Lyor and Todd, there, is impressive. There's not that many black founders in general. In tech, any sector that have built and exited companies for several hundred, a million dollars, the way that he was able to be a part of that. So, hats offhim.[00:23:09] Zack Greenburg: yeah, I think it takes a special kind of guts to be able to, you know, I mean, he was a well paid executive with a cushy music job, you know, to leave that world, start your own thing. I mean, I know they had, you know, big backers and everything, but like to take a risk once you've already experienced that level of success and to go out and start something, you know, as opposed to starting something from scratch when you have nothing anyway.I mean, it, takes a lot of gumption to do that. So, you know, again, yes, a pretty cool second act for Kevin miles.[00:23:38] Dan Runcie: Indeed, the next group here, our impact runs deep. It is Nicki Will Smith at 28, Swiss beats 27, LL Cool J, 26, Coach K and P, 25, Julie Greenwald, 24. The E40 23, Pharrell 22, and Rick Ross, 21.[00:24:01] Zack Greenburg: Yeah. I think, that's a pretty strong, deck there. And I think also, you know, here, you find some people who, you could argue should be higher or lower based on, you know, how much of their career was done in the hip hop music world, right? Like Queen Latifah, LL Cool J, Will Smith.Obviously those are huge crossover acts. but I think they all got a lot of points from some of the voters because, you know, that is in one way, the measure of a mogul, like you're diversifying your portfolio and whether that's by owning different things or, you know, by getting into, different types of performance, you know, on the silver screen, I think that's a viable path too.but just from like a purely musical entrepreneurial perspective, I would highlight, Swiss Beats and Pharrell, who I think, you know, the two of them are more influential than anybody in terms of like, I'd say Swizz in terms of art and Pharrell in terms of fashion. and you know, some of the things they've done around those two areas and, you know, Pharrell certainly, now with LVMH, but also before with Ice Cream, Billionaire Boys Club, you know, he was very active in starting his own things on the fashion side.And, you know, kind of inspiring artists to do that. you know, would we have had a Yeezy if we hadn't had Pharrell, you know, doing what he was doing and, you know, and even doing what he did with Adidas? you know, I don't know about that. And, Swiss beads certainly, you know, not only from the art side of things, but you know, it's a really impressive art collection.I did a story on him a few years ago and, you know, he's got like, Jeff Kuhn sculptures and Basquiat's and Warhol's and his, you know, like in his foyer. I mean, it's, pretty impressive stuff. but the way that he moves behind the scenes, as sort of like a corporate brand whisperer, at places, you know, like Bacardi, Lotus, you know, this goes on, you know, I think he, he's sort of like more quietlyinfluential than, some folks realize. And, you know, certainly has been earning, on par with, you know, with all the, you know, most of the names, if not higher than most of the names we've mentioned so far. and you know, what he's done on the, both of them, what they've done on the production side, also hard to top.So that must count for something as well. I kind of went more than one shout out there, didn't I? So[00:26:06] Dan Runcie: Yeah. No, that was good. That was good.I'm glad you mentioned the two of them though, because if you didn't, I probably would've called the other one out. The thing about Swiss as well, everything that he's done with versus specifically also embodies this idea and definition of a mogul because he was able to be.A kingmaker in the sense of creating opportunities for others. He did that through the equity that he was able to give all of those early participants in versus in trailer itself. And then additionally, with the careers that we're able to have a boost because of. everything that happened, with the matchups from versus specifically, you look at someone like Ashanti, who is now doing tours and pop it up every now and then she wasn't doing that before her versus and her battle versus Keisha Cole was one of the not, if not the most watched one that we've had.You look at Jadakiss and everything that he's been able to do since his epic showdown against, with Lox versus Dipset with that versus you look at Jeezy versus Gucci Mane. I know that versus definitely had its peak popularity during the pandemic, but that kind of stuff that he was able to do with Timbaland, I think also speaks so much to everything that he's been able to do there.And another person I want to mention to that was in this group as well that I think is similar is LL Cool J because I think similar to the way that. Swiss beets is Ella is also with someone that's been involved with multimedia with everything from the jump. He was the 1st artist to truly breakthrough from Def Jam and did it as a teenager.So, of course, he gets plenty of shout out for that, but he's also always been trying to find ways to look out for that next generation of artists. And he's been doing some of that more recently with rock the bells, and that's its own. Company and entity now where they have a festival coming up as well to celebrate things that are happening with hip hops anniversary.So it's been cool to see him do things as well. And I'll give a very brief shout out here to, coach K and P because they, similar to how I mentioned, Kevin Liles were able to build and grow a company and then sell it for, I believe, forget the exact sale price for, quality control. But they were able to do that thanks in part to a lot of the work that Ethiopia had done, helping to give quality control, the platform that it did, and especially in an era where I think it's harder for a record label to have a true brand, they were able to help give it a boost.[00:28:36] Zack Greenburg: That's true. And on that note of labels, I think Julie Greenwald, there's a mention, you know, she and Craig Kalman, who's mentioned, in an earlier grouping, you know, run Atlantic together. And there's a lot of, of music that we wouldn't have seen if it had been for the two of them, you know, running the show over there.So, shout out to Julie. I mean, the only one actually we haven't discussed here with E40 and Rick Ross. And I don't know, you know, probably get moving, but, do you think Rick Ross deserves to be number 21 on this entire list? Like ahead of Pharrell, ahead of, you know, some of the other names on here. I was surprised that he was ranked this high.[00:29:09] Dan Runcie: I love the spicy questions. Cause this is what people wanted to hear the podcast about, right? They wanted to hear one of us, you know, poke the bear a little bit.If Rick Ross was able to nail that dive in the pool, do you think you would have ranked him higher?[00:29:21] Zack Greenburg: Ha ha ha ha ha ha. No, no, I wouldn't. I mean, I still know. I mean, you know, like I get it, you know, he's called the boss that he must be a mogul, You know, and, some of the things he's done in terms of, you know, Bel Air and Maybach music and all that. Sure. But like, you know, when you put them up against like some of the other ones, did he really do something new or was he more just like following a, blueprint that had worked for others before and, you know, executing it to a degree success, but like, again, not, you know, not to the level of, let's say Pharrell.I think maybe I just, I'm salty that he ended up ahead of Pharrell. I think Pharrell is just way more influential and Mowgli, but, I don't know. What do you think?[00:29:59] Dan Runcie: So, I've read 2 of Ross's books and I interviewed him once on Trapital. I think that, to your point, he did follow the blueprint that we saw from others. I think he is smart about the types of partnerships he does, but it does feel like a ditty light. Type of playbook that he's been able to do and build.And I do think a lot of it makes sense. He may not necessarily have the large media entities the way that he does. Although I do think he's overdue for some type of comedy show or some type of reality show just following him around because I think he's hilarious. And anytime that he gets that, it could just generate something unique.And I'm sure he's been hit up about it. I do think that he's done well for himself. Just thinking about. Now, how his career is growing, I think it's been what, 16, 17 years since hustling 1st came out. I think in this range, there is some flexibility there in terms of like, where people are in certain ways.I get why he may not necessarily be as high. I'm sure if you looked at the net worth or the earnings, that some of the people that are lower than him may actually be higher. I think 1 of the knocks potentially is although Maybach music was cool. I wrote about this in Trapit as well. I think there was a missed opportunity.And part of that comes from, huh, did Ross do all the things that he probably could have done from a leadership perspective to especially like, when Meek Mill and Wally were beefing and stuff. And I think Ross had a bit more of a laissez faire approach to things, which in some ways is kind of the opposite of King making as we're talking about this, right?Can we really bring folks together and make something larger than it is. I think it was a bit tough in general for people to try to do everything themselves, try to be the boss of this label, which is signed to a different label because Rick Ross was signed to a different label than MNG was himself. And I think anytime you have that type of dynamic, it's just splitting the leadership interests. So I hear you.[00:32:00] Zack Greenburg: Yeah. So then how much of a mogul are you, if your label is really, you know, so I guess everybody's labels on somebody else's label and have you distributed by something, but you know, it's like when they're like multiple labels kind of, you know, intertwined with your label, it kind of causes the question.are you really the boss? If you have several bosses that you're answering to, but you know, I think actually though. in Rick Ross's defense, what he's done with Wingstop, I mean, that is pretty unique and, I don't know that anybody else on this list has something comparable in that space.So, you know, maybe that's why, I think, you know, by virtue of that, you could put them pretty high up. And maybe that's what some of the judges were thinking, you know, but he also ended up on a lot of lists, you know, so some of the judges just kind of like, maybe we're getting to some of the judges sent rank lists, and they're like, you know, this person is the top and they should get the most points and other people were like, here are my people.And you can just rank them evenly. and I think Rick Ross ended up on a lot of those lists. So, you know. I think again, maybe like I was alluding to earlier, he's a bit of a compiler, nothing wrong with that, you know, you can get into the hall of fame by compiling 3000 hits, but, it's interesting to see how, how the opinions differ. That's the whole fun of it.[00:33:06] Dan Runcie: He runs his business is almost like how a small business owner would in a number of ways where he has a bunch of car washes and, you know, his is 1 of the family members does that he has his wing stops, right? He has that. And it is a bit of this, like, mogul dumbness from that perspective in terms of like, okay, I have my hands in these things and I've hired people to have, you know, different roles within that that doesn't necessarily have things in aggregate. It's a bit more of the strip mall mentality as opposed to the, you know, building a skyscraper that could then build other skyscrapers, but it's something worth mentioning, but I hope we keep that up with a few of the other rankings we have coming up as we dig into the top 20, here.So, yeah, let's start with 20. So, 20, Queen Latifah, I think that she and, Ice Cube, who we'll get into in a minute, were one of the first that noticed, hey, I may not be able to do this rap thing forever, what are areas that I can expand this multimedia empire and everything I'm building.She was able to do this with Living Single, the show that was Friends before Friends was, and even the way that she was able to show young black people that were having, you know, highly sought after roles, but they still had their interpersonal dynamics. It was cool. It was refreshing. It was aspirational, which I do think that a lot of the black sitcoms were in the 90s.And she was able to do that, continue finding ways to put other people on as well through the work that she did. She was also willing to take risks. Like I remember when she was in set it off, people had a bunch of questions about, Oh, you're going to play a lesbian in this heist movie. What is this going to do for your career?And she was willing to do that. And I think she is always, you know, be willing to take risks. So, you know, shout out to her and I'm glad that several people have mentioned her[00:34:56] Zack Greenburg: Yeah. And I think she gets credit for, like you say, diversifying her portfolio. you know, into the acting world. it's worth noting, you know, she was barely ahead of Rick Ross. but you know, there is a big difference between 21 and 20. It's the top 20. So, again, I think, you know, she was a bit of a compiler, but there were a couple of people who ranked her in the top 10.and, you know, I think just like in terms of the breadth of her career, you know, the longevity, the diversity of the things that she's gotten into. you know, even if it's not as much ownership as somebody, even like a Rick Ross, it's just like, having your hands in a lot of pies and like that really counts for something as a mogul.So, I think it makes sense to see you there.[00:35:36] Dan Runcie: Agreed 19 is Eminem. So let's talk about it. How do we feel about Eminem in 19?[00:35:43] Zack Greenburg: You know, I think it's a weird one, honestly. you know, there's no doubting, his lyrical prowess and where, you know, where he kind of stacks up as part of like the pantheon of lyricists, like fine. But is he really a mogul? I mean, he's somebody who has been, you know, very reclusive at times. Who has, you know, kind of gotten in his own way at other times. I mean, I could see ranking him up here though, just by virtue of ownership of the music and sort of like the quality and quantity of his catalog. you know, what he did with D12, you know, he did have shady records and, you know, and all that.So again, you know, there, there is kind of a layer cake of a label situation, like some of the folks who mentioned earlier across, but, you know, that was at least important to him to set up, you know, as his continued ownership of, You know, his work and, you know, certainly when it comes to like raw commercial prowess, you know, Eminem, is one of the best selling hip hop artists of all time.If not the best, depending on how you look at it. And just, you know, simply by virtue of the amount of revenue he generated, you know, throughout the late 90s and early aughts at the peak of the sort of CD age there. you know, that deserves, some kind of something, even if he wasn't running around starting his own, you know, side businesses as much as some of these other folks[00:37:02] Dan Runcie: Best selling artist of the 2000s by a pretty strong amount, I believe, and has the most of any genre, right? And the most streamed song of the 2000s as well, at least on Spotify with Lose Yourself, and I'm pretty sure Till I Collapse and maybe a couple of others aren't too far. Behind as Will Page as Spotify's former chief economist said, anytime Eminem farts or burps or releases anything on a streaming service, it provides a huge bump to everything in this back catalog.So, I still laugh about that, but I do think that speaks to it there and. If, correct me if I'm wrong, but I think he was one of the first hip hop artists to have a Sirius XM channel himself.So that's something that's unique and obviously Sirius is still doing its thing. So, shout out to him there. A bit higher than I probably would have ranked him, but that's why it's interesting to get the group results here. Ah, this one's gonna be spicy. Number 18. Your boy, Suge Knight.[00:38:02] Zack Greenburg: Yeah, you know, I mean, I think this is one of the tougher ones on the entire list. You know, this is not like a list of, Ms. Congeniality or Mr. Congeniality, as you'll see, you know, some of the other names on here. Obviously, you know, Suge is in jail. he's been involved in the death of, you know, human beings that like that is, you know, not sort of like what you're after in a mogul here, but, enough people, you know, I guess felt that the business, if you just, you know, looking at it from a pure business perspective, was enough to put them up here. And, you know, there is no arguing that death row at its peak was one of the most influential record labels, you know, not just in hip hop, but of anything. I mean, any genre, when death row was at its hottest, I don't know any, kind of moment where any other, you know, you'd have to stack that up against peak Motown or, you know, Atlantic or something like that, but, you know, that was really like a, peak moment. So, you know, I think this is one of the things we run into on this list like if somebody exhibits, a level of, you know, sort of business ingenuity, you know, that counts for something and, you know, the other things that you do in your life and your career, you know, we'll detract from that, but, you know, what you did at your peak, I think will get you pretty far in a list like this when people kind of count, you know, we kind of count sort of like the ceiling as opposed to the average, in some cases. So, I don't know. What do you think?[00:39:27] Dan Runcie: These are the two most impressive business moves that Suge Knight has done. Number two is shaking down Vanilla Ice to get his points for everything that he did on the album that had Ice Ice Baby there. Because he was able to use that money to then start and co found Death Row with Dr. Dre. That's number two.Number one is at the 1995 Source Awards where he publicly makes his Call to attract Tupac to say, Hey, I know you're in jail, but we're riding with you. Tupac wasn't signed there at the time, but he knew that this was an opportunity. Tupac likely needed somewhere to call a home and he called his shot. He was able to make it happen.I know everyone talks about the diddy shot about, you know, being all in the video death row. And that, of course, is infamous in its own right. But I think the number one thing that should night did is that that said. those 2 things speak to what should night is, 1, it is that muscle and the prowess of being able to overpower a situation and then take advantage.And I think those were things that he was good at. That said, I don't think he was necessarily strong as a. Business leader, the company imploded in large part. And I don't think it imploded because of Dr. Dre, it imploded because of all of the things, all the shenanigans. And I think for what he was building, some of that just got a little too close to the sun, unfortunately. And, that's Chuck Knight[00:40:49] Zack Greenburg: And, I think that, you know, in some of the reporting I've done over the years, One of the things people say is that Shug and a lot of the guys around him, you know, it wasn't that they were necessarily like that. It's just they kind of had been watching too many bad gangster movies and the music business, didn't know what to do with somebody like Suge Knight.And so the more he kind of like played this role, the more he grew into it to where, to the point where he was actually living sort of a bad gangster movie. and sort of like created, turned himself into a monster. Yeah, so I think like the evolution. or the evolution, of somebody like Suge Knight is sort of fascinating in terms of like what you can, what sort of playing a role can do to you, over the course of time.[00:41:32] Dan Runcie: Agreed. And well said number 17 here is America's most wanted ice cube. I'll start here to kick things off. I think that Ice Cube, like Queen Latifah mentioned earlier, was one of the early ones who had said that he knew that living and doing everything off a raft wasn't gonna last forever. And I think a lot of it was because he experienced some of the brunt and ugliness of it.I mean, we've all seen the Straight Outta Compton movie. He goes into Jerry Heller's office. He starts smashing shit. He releases no Vaseline. There was definitely a no fucks given that carried through even after he was done with NWA, but he saw what this industry is like as well and then that's when he starts writing screenplays.And then that's how Friday because the thing becomes a thing. And then. His career just continues to take off after that he still dabbled in rap and did his thing, but he definitely became known early on for one of the people that took a risk with cube entertainment and everything that he was able to do there.And with any of the movies that he had, whether it was the movies with Mike Epps and plenty others, I do believe that most of these movies were pretty profitable. And he was able to. Do it work within the confines that he had and just continue to build everything he did from a career. We've seen him expand as well into everything that he's done with the big 3 specifically giving a home for basketball players that can still play, but maybe they can't make, you know, a 13 person NBA roster anymore.I do think that some of his more recent news highlights that are a bit more politically driven or him walking around with Tucker Carlson and probably take it away from some of the more prominent memories of Hugh Ice Cube is, but yeah, that's why I had had him or that's why he, I think deserves to be, you know, where he is, on the list.[00:43:27] Zack Greenburg: Yeah. And I think it's interesting, you know, you see, Eminem, Suge Knight, Ice Cube, all together, you know, they're all, inextricably connected to Dr. Dre. one way or the other. Right. and you know, would there, would Dre have been Dre without the three of them? you know, at different phases of his career, you know, I don't know, I mean, I think certainly what, Ice Cube did as part of NWA, you know, I wouldn't say that, that NWA was like.like a business first organization. But like that wasn't the point of NWA and if it hadn't been for NWA, I don't think you would have been able to have business first organizations come out of hip hop in the way that you did. and certainly, you know, somebody like Dr. Dre, so. I think he gets extra points for that.and, you know, this is probably why, you know, he was again, I don't know, was he compiler? He was, you know, he had like a lot of kind of middling, a lot of lists, a couple of top 10 votes, you know? So, you know, I think again, everybody has their favorite and he's up there for a lot of folks.[00:44:27] Dan Runcie: Agreed. Number 16 is Drake. Should we poke the bear again?[00:44:33] Zack Greenburg: Yeah. Does Drake deserve to be at number 16 on this list?[00:44:37] Dan Runcie: This one surprised me, I was very surprised at the number of people that had him on the list, because you can make a case for the opposite, right? It's similar to the M and M thing, but almost to the extreme because M and M, yes, most commercially successful artists, XYZ. There's other artists that are less commercially successful at M and M that did more in that mogul definition but for Drake, it's even bigger of a Delta between these two, because here you have the most streamed artists of all time. So clearly commercially successful on its own, but people believe that OVO. Records or OVO sound itself actually could hurt an artist's career. And when you think about that, you think about some of the other multimedia things that he's done.I know he's been active as an investor and I know that people like Nicki Minaj and others have said, Oh, you know, Drake's a low key billionaire. He just doesn't want you to know it personally. Again, he may be, I mean, I'm not sure what he may not disclose, but it isn't always just about wealth. It's like, what opportunities were you able to create for each other?I do think it's good. That drink has been able to have different people that have been working alongside that. I think did get a bit of that drink stimulus package. And I think that's something that is quite debated, but I do think that. I feel like 21 Savage has definitely benefited from it. I mean, he was already commercially successful, but for him and Drake to do a joint album together was huge.I think it was the same way that it was huge for Future and the same way that the Migos going on tour with Drake in 2018 was huge for them and anything else that Drake continues to do from that perspective. So I think it is, you know, debatable, but I mean, people do definitely add some weight to the artists themselves.[00:46:18] Zack Greenburg: Yeah. And, you know, I think he should be around Eminem and whether they're both too high is an open question, but, you know, there's no doubting the commercial viability of what he's done. He did start more side businesses in Eminem, right? With OVO, whether it's the label, the festival, the clothing line, you know, he started a whiskey brand called Virginia black, which I tried once.It tasted okay. but I don't think it's selling, you know, I don't know if he's even still doing it. yeah, he is definitely involved as a startup investor, so maybe, you know, we'll see some exits and we start to think of him differently at that point. But, yeah, you know, again, I think it's, some voters just kind of overweighted, you know, musical prowess and pop culture influence.And if you're talking about that, I, I don't know anybody who's been as influential in the past 15 years. I mean, he's, you know, he's the most streamed artist of all time and that's got to count for something.[00:47:08] Dan Runcie: Right. I know his cannabis line failed, but there's a lot of people, even people that we'll get to in this list that have also had failed or struggling cannabisbusinesses. And, there's a lot that we could discuss there, but moving on number 15 is Sylvia Robinson, the originator.[00:47:26] Zack Greenburg: I think she deserves to be in the top five, personally. because if there were no Sylvia Robinson, yeah, I mean, I don't know that we have hip hop and, you know, it's, you know, for those who don't know the story, she was running sugar hill records with her husband, Joe sylvia was actually a child star singer herself.And, you know, they kind of had this like middling existence with their label. And then all of a sudden she's at this birthday party that she didn't even want to go to in Harlem and she sees Lovebug Starsky up on the microphone. A hip hop hippie to the hippie to the hip hip hop. You know, this is early, early seventies.She's never heard anything like it. All the kids, you know, hands in the air, like you just don't care. And the whole thing. she tries to get Lovebug to sign. There's some kind of dispute, like with his management, never happens. And so she just goes to the pizzeria in New Jersey, finds three kids, get him, gets them to talk real fast over this record is how she described it.and that's, you know, that's Rapper's Delight. That's the first hip hop song on Wax. That's the first hit. you know, that sort of spawns the whole genre. So, you could certainly argue, that, you know, she, borrowed or she hired, hired people who borrowed or whatever to do this, you know, like the idea that, that the first hip hop, track on wax was like, you know, originated in a pizza shop in New Jersey is really unfortunate cause it started at the Bronx, but like, you know, Sylvia came from Harlem.She, you know, she, she knew that world. Like, you know, she was part of the music business and, for better or worse, she took hip hop from being, you know, just basically like spoken word in person kind of thing to being, you know, national events. Would it have happened eventually?Yeah, I think so. But you know, who knows? I mean, it could have taken years longer and if it took years longer, you know, are we going to have the eighties with like run DMC and Def Jam and all that? Like, you know, I don't know. I mean, it, could have taken a lot longer to get off the ground if she hadn't done what she'd done.And, you know, I don't think we, I don't think we should really be dinging Sylvia Robinson for her Machiavellian tactics, given some of the other people on this list, you know, we're talking like Suge Knight and whoever else, you know, there's quite nefarious characters, you know, as we get higher up too in this list.So, you know, I don't think anything she did was. remotely as bad as, as like a lot of the dudes on this list. and, you know, so, you know, let's, I think we give her her due and yeah, I would definitely put her higher, but, you know, I think that's part of the deal when, when you have somebody who's that early on.You know, people are going to say, Oh, well, you know, the total gross is not quite as much as so and so or whatever the case may be. And she wasn't as famous as some of the artists. So, but you know, she's up there, I mean, ahead of some pretty big names, Drake, Eminem, what have you. So, I think she's getting some flowers here[00:50:00] Dan Runcie: The total gross knock is always one that makes me roll my eyes a bit because even if you take out the inflation aspect and the amount of money that's now in the industry, this is something that happens with pioneers in any type of industry. They are the ones that take the early hits to make it possible.She and her work is what made it possible for rappers to like, she and her workers have made it possible for the message and anything else that we then see after that. Yes. Sugar Hill. records did have its struggles, afterward, like many other labels. But what do you think about broader context of the eighties being a very tough time in general for black music?And there were only a certain number of decision makers in power that could make that happen. Yeah. You have to take that into account. And then additionally, she did stuff outside of even just this record label itself. As you mentioned, she was a recording artist herself. She also owned a nightclub. So there were other mogul type things that she had her hands.And so shout out to Sylvia, who knows where this would be without her.[00:51:00] Zack Greenburg: And probably worth caveating also that, you know, she did have some, Disputes over paying artists, as the years went on. So did like really a lot of people on this list is we could do like a whole separate, you know, like has some kind of dispute on how they pay artists. So, you know, that, that's probably worth noting too, but yeah, I mean, so does everybody else.And, you know, I think she deserves her flowers.[00:51:22] Dan Runcie: Number 14, Dame Dash,[00:51:25] Zack Greenburg: Another, another hot one coming in. I mean, I think a lot of people would disagree with this, but you know, some people would put them even higher. I mean, I think he might be the most polarizing name on this entire list. Like some people had on top five, you know, some people didn't list them at all.you know, I think it kind of comes in. We've had this conversation before. Would there be a Jay Z without a Damon Dash? you know, I mean, I think so, but it's that part of the, you know, we've talked about him in the context of startups and do you, you know, you need a different kind of founder for your like pre seed days than you do for your series B.you know, if you're like a mafia, family, you need like a wartime Don, you know, versus like a peacetime Don or whatever it's called. But like, you know, I think, Dame Dash is a wartime Don. He's a seed stage startup founder. and he does it fair as well. You know, when it comes to like the growth stage and the corporate boardrooms and stuff, but, you know, there's no denying his brilliance.you know, I think what he did, you know, certainly with rock aware, you know, expanding, the Roc-A-Fella empire beyond music. you know, maybe he realized that Jay was eventually going to leave and that they just, it wasn't going to be forever. And so he wanted to get his hands into, you know, as many different areas as he could, but, you know, there's like a lot of pro and a fair bit of con, but, you know, I think again, he's one who, you know, the pro outweighed the con, he didn't kill anybody, you know, so there's some people on here who did.yeah, the con is only like so much con in my opinion.[00:52:56] Dan Runcie: This conversation makes me think about, that backstage documentary that. Roc-A-Fella had put out after the hard knock life tour. And there's that infamous scene of Dave dash yelling and swearing at Kevin Lyles, who was at Def Jam at the time about the jackets and where what logo was supposed to be, or something other than that.And thinking about that in context now of like, you know, how we talked about Kevin Lyles and everything he was able to do from that run and still can continue to do. And with where Dame Dash is, is in his career, Dame Dash doing his thing. I think he very much lived through and practice and preach the ownership standards that worked for him, where he has Dame Dash Studios, Dame Dash this, and he's been able to.Create exactly what he wanted to. We heard him on that infamous 2015 breakfast club interview where he's yelling at DJ Envy and Charlemagne about, Oh, well, if your son wants a job, can you get him a job here at power 105 or whatever? No. Well, I can do him at where I'm at. And as comic as the delivery was, there is some aspect of mogul dumb.That is a bit of that King making aspect of, okay, can you create opportunities for others around you? What those opportunities look like definitely vary. And I think that is a factor. So I do highlight that is something that Dame is able to do. And Dave is also similar to he's similar to a polarizing basketball player in the sense that the media may look and be like, why do you all fuck with this guy?Like, what's going on? But if you ask the people that are actually in it, a lot of that would be like, oh, well, you got to look at Dame dash, Dame dash is the guy. And when I have. Interviewed. I'm sure you've interviewed and talked to many of young artists, too, or young label executives, too. A lot of them will reference Dave Dash.A lot of them will look at what he was able to do alongside Roc-A-Fella, almost in the same way that, you know, players will swear by Kyrie or swear by James Harden or some other type of athlete that may be polarizing in their own right. And the media is like, Oh, why do you all like this guy? And it's like, Oh, well, no, you don't understand.So there's something about. The people, and obviously I say that being self aware is us as people more so on the media side, as opposed to being in it themselves. But there's something about these young artists and moguls as well that have always looked up and respected what Dame has built. And even though it may not resonate, like, personally, I acknowledge that.[00:55:23] Zack Greenburg: I would say, if you're going to make a basketball reference, Maybe not personality, but like basketball style, I'd almost liken him to Carmelo Anthony, you know, like he's an isolationist. He's a scorer, like, you know, he may not be very good at distributing the basketball, but like, you know, you throw him the ball in the corner and he's going to find a way to get it in.And, You know, like a lot of people wouldn't think that he belongs in the Hall of Fame at all, you know, but some people would, be insistent on it. So, you know, yeah, I think that sort of like singular focus, you know, you could definitely give him credit for that,[00:55:55] Dan Runcie: Agreed. Number 13, we are Cohen.[00:55:58] Zack Greenburg: man, another like bulldozer of a human being, but, you know, certainly somebody who, you know, maybe he has also got the finger roll, you know, like he, he can have a light touch when needed. you know, I think just like in terms of longevity, we talk about longevity with some of the names on this list, you know, Leroy was there in the very beginning of hip hop, you know, managing rappers, and it gives the road manager run DMC, taking the leader

Few record labels have left their stamp on the industry quite like Motown. This assembly line churned out hit song after hit song in the ‘60s and early ‘70s. With a who's-who roster — Marin Gaye, The Jackson 5, Diana Ross, and Stevie Wonder, among others — The Hitsville U.S.A. sign Gordy put on Motown's front door became warranted. This episode is the story of Motown Records — it's formula for success, what led to its decline, and where it stands today under Universal. I'm joined by friend of the pod, Zack O'Malley Greenburg. Here's what we covered in this episode:0:38 Berry Gordy's origin story8:08 Motown museum in Detroit9:20 Cultivating a culture of creativity13:05 Shifting the sound of Black music20:12 Motown's knack for discovering talent 34:29 The beginning of the decline36:12 80's decade of transition39:48 Post-Gordy struggles45:51 Motown's uncertainty today53:59 Best signing?55:16 Best business move?568:45 Dark horse move?1:01:58 Biggest missed opportunity?1:07:13 Motown big-screen picture1:09:22 Berry Gordy won big1:10:41 Who lost the most?1:14:56 Zack's Jay Z indexListen: 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: Berry Gordy created with Motown and sort of the Motown genre, which I think really like more than any label has become synonymous beyond just sort of like the name of label itself, you say Motown music, and a testament to the sound that he created,[00:00:13] Dan Runcie Audio Intro: 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.[00:00:38] Dan Runcie Guest Intro: Today's episode is a deep dive into the one and only legendary Motown records. At its peak, Motown was the most successful black business in the country. It peaked at 30 million dollars of revenue in 1968 and Barry Gordy and his team assembled a sound. a unique genre of music that produced hit after hit after hit and Hitsville USA lived up to its promise.So in this episode, we take you through the origins of how Motown came to be. What are some of the business principles and strategies that worked in its favor? And then what are some of the challenges that Motown faced too? It's now been 50 years since the peak of Motown. And this record label has had plenty of ups and downs and plenty of journeys that we went deep on in this episode. And I'm joined by Zach Greenburg He is a biographer of Jay Z and several others, and he also wrote about Michael Jackson. And in that he talked about Michael Jackson's time with Motown, especially in the Jackson 5. So we had a lot of fun in this one. So come take a trip down memory lane with us. Here's our episode on Motown.[00:01:42] Dan Runcie: All right. Today we're back with another case study style episode, and we're going deep into Hitsville, USA. Motown, baby. Let's do this, Zack, I'm excited for this one.[00:01:53] Zack Greenburg: Thanks for having me as always.[00:01:55] Dan Runcie: Berry Gordy is so fascinating because At one point, this was the most successful black business. They're the most successful black entrepreneur in the country invented a genre.And it's so hard to be able to do that. And that legacy still lives on today. We know so many record labels that have taken inspiration from what Berry Gordy built with Motown records, but let's start from the beginning. What inspired Berry Gordy to even want to get involved with music in the first place?[00:02:23] Zack Greenburg: Yeah. So, you know, Berry Gordy, and his family were in the Detroit area, you know, a bunch of serial entrepreneurs, get a record shop early on, but he was actually like semi professional boxer coming up. And, think one thing led to another and you just kind of saw that, you know, there was a market that was not being served in music.you know, certainly like the business was concentrated, on the coast and particularly in New York at that time, you know, eventually more in LA, but. you know, there was some stuff going on in Chicago. there was some regional acts, regional labels, things like that. But, you know, I think he just basically saw an opportunity, to start something.And, you know, sort of in the way that if you look at, Richard Branson or Puffy or, you know, what are those types of entrepreneurs? It's almost It doesn't really matter what they get into. They find a way to make it work. and they're just always on the lookout for a new sector. That's, kind of, you know, right for some creative destruction, know, and some refreshing or some freshening, some revising, I don't know, whatever you would call it.And, you know, in the case of Berry Gordy. Kind of amazingly, when you think about music over the past half century, he looked around and he thought, well, this is actually, this is a sector that is very promising amongst all the sectors that I could possibly get into. So, that's how Motown came to pass.[00:03:36] Dan Runcie: That point about whether it's Diddy, Branson, Gordy, and I think a lot of the tech CEOs fall in this category as well. You're going to put them in any generation. And I do think that these people would have found a way to make things work. And that's the same point you're making, right? He saw an opportunity to music, but let's say he came 30 years later.It could have been another aspect. Let's say he came today, probably could have been trying to do something in AI or even figure it out, how to make AI, be transformative with his music. And I think a lot of his work, whether you think about how he built derivative work or how he had this process with artists that we'll get into so much of it taps into, okay, here's an opportunity to optimize things.Here's how we can make things work. And music just happened to be the format. He chose it.[00:04:21] Zack Greenburg: Absolutely. And even, you know, when you think about it, he got started sort of mid century 30 years later, he was looking into other things, getting involved in film and TV. And You know, moving the business out West, but, you know, we'll get there eventually, but, he certainly did, you know, find other ways to extend the Motown brand as time went on.[00:04:37] Dan Runcie: So he starts off, he has this record business and things go okay with that. specifically talking about the store. And that was a lot of it was connected a bit more from the family perspective, but then he ends up getting the job at Ford specifically working with that Lincoln mercury plant. And that's when he was only there for 2 years, but he then sees how the process works and the whole concept of Ford is, which is that assembly line process that Henry Ford has been famous for.He sees that and then he taps back into his opportunities with music and he's like, okay. Okay, there's an opportunity to do the same with music. So he sees this assembly line, essentially have all these parts go through the inputs. And then the output, you get this car, he wanted to be able to pull some kid off the street, bring them into the Motown and bring them into this record label facility.And then outcomes a star. And he felt like he had the ability to be able to create that type of dynamic. And it took some time to get there, but that's essentially what he did. And a lot of the creations of what we saw from Hitsville USA was that exactly.[00:05:48] Zack Greenburg: Absolutely. And, he'll tell you that, I've interviewed him a couple of times. Once for Forbes, once for my book, Michael Jackson Inc, where he talked a lot about that. And, you know, he really has a formula, for making a hit song. And, you know, it's sort of like the song has to have a clear beginning, middle at an end. The chorus has to have a sort of grand arc that summarizes the song every time it happens.And then there's a sort of like grand finale bridge ending thing that, brings it all together, always at the end you hear the artist shout out the song's name almost, you know, invariably one last time and you know, that's like pure marketing, right? And you think about it in those days, this great songs on, you're hearing it, but like, you know, maybe you're in the car, it's on the radio, maybe you're artist and a record player.It's not popping up on your phone. So you know what it's called when you hear Michael Jackson shout out, I want you back at the end and I want you back. what you're going to go out and buy, you know what, you're going to call in, you know, to the radio station and ask them to play. So, it's very calculated, it really works and it's proven and, you know, if it sort of seems like, gosh. You know, this is like a cliche. This is obvious. I think part of it is because he helped create this cliche, obvious thing, right? I mean, things become cliche or obvious because they're smart or necessary most of the time.So, you know, at some point it was novel and, you know, very corny, I think was part of, making that whole song structure novel. And, you know, really. When you look at how he executed it, you know, I think a modern day analog, we talked about this, you know, before on our bad boy episode, but so, you know, his role was very much like the Puffy role, or at least the early Puffy role in production. So, you know, he had a hand in songwriting and production, but, you know, mostly he figured out who he wanted to have producing his labels, songs and sort of who he wanted to be in charge of authoring that certain type of sound.So for Berry Gordy, it was a handful of, producers called the corporation, just like Puffy had the Hitmen. And, you know, then he would kind of come in and do his own little thing on top when he thought it was necessary. But, you know, in a way it kind of adds that whole assembly line aspect, right? Where, you know, that there's going to be a certain level of quality, there's going to be like a distinctive sound, whether it's a bad boy or Motown, or, you know, even going back to, you know, what a Ford car was, you know, in those days you had kind of an ideology to get.And I think that's one of the things that really set Motown apart.[00:08:08] Dan Runcie: Exactly. And I think with that too, you have him going through the process of starting this. So this record label started with an 800 with 800. That's what he had initially. And he uses that to then start Hitsville USA. So that's the location on Grand Ave in Detroit.Have you been to this museum by the way?[00:08:30] Zack Greenburg: I did. We did a special event there. One time we had the Forbes 30 under 30, Summit and we did this like, special, like one off private interview where I went there with Quavo and we sat in Motown studios, you know, where Michael Jackson and all them had recorded. and we did a little like video discussion on the state of the music business, I think it's floating around the internet somewhere, but, it's a really cool building. I mean, I think what strikes. Me the most, you know, like the first time I went in is like the fact that just a house.I mean, it really just looks like a house. the rooms are sort of like room size, you know, it's not some sprawling like, you know, I don't know, institutional type place like a lot of modern, recording studios, you know, it's just a converted house but you know, you kind of walk through each room and it's museum and everything now, so you can kind of get a feel for it. It's very different from the modern day glitz and glamour of the record business for sure.[00:09:20] Dan Runcie: Yeah, been there twice. it was really cool because just like you said, you feel like you're actually in a home and that's the vibe that the studio gives you. And I felt like the people that were the tour guides as well, they clearly knew their history in a way where it should sound obvious, but that could obviously be hit or miss with museum sometimes.So I felt like that piece of it was good. And it ties back to a few things that tap into the culture that it is. Gordy wanted to create that. I think make it work. He lived upstairs. Studio is downstairs. So he has everything there and he wanted to make this somewhere that creativity could spawn at any particular moment.So he wanted to create a 24/7. Set up where he had made sure the vending machines were always stocked. So people could stay there year, you know, day in day out. If creativity comes to you at 3 p. m. or 3 a. m. you can go right there and do what you have to do. And you could keep things moving there internally.And this is one of the things that I do think worked really well for them because. Although I think the music industry has gotten away from this, there was this era where the culture and the vibe that you could create from a label and all that continuity really helped things. So when you saw how deliberate he was from an assembly line perspective was essentially keeping his product in place and keeping all the materials in place so that it can produce outputs at any given moments to just increase the likelihood that you could have hits coming time and time again.[00:10:49] Zack Greenburg: Yeah, for sure. And, you know, I mean, he certainly spoke a lot about, quality control, which is, it's kind of funny, you know, given the eventual QC relationship, but, you know, I think that's a really big part of it. And when you're that hands on and, you know, in some cases you could say micromanaging, but it does enable you to really have a unified.We can also get into this, fact that at some point it can become a bit of a creative constraint for artists as they mature.[00:11:14] Dan Runcie: Right, because with quality control, there was someone on the team that listened to everything that came through Motown and they essentially picked the best. They brought it to this weekly meeting and most of the Motown artists weren't writing or producing their materials necessarily, but they were going in and you had all these artists that would essentially sing.The same exact song and then they would pick the best version that came out of that to then release the song. Sometimes they had multiple artists that would end up releasing a version. And we saw different versions of this where you had both Diana Ross and Marvin Gaye have their versions of Ain't No Mountain high enough.Granted it was a few years later in different songs, but a lot of that stems from that quality control aspect. And there's this one quote that, was here from One of the books that was written about, Berry Gordy and Motown, where they talked about quality control and they said, quote, the artists were a means to an end in a way, end quote.And that's exactly what we're talking about how the downside is that it could limit creativity, but the upside is that it gives you the opportunity to get the best polished diamond from all of the creations that come from this studio.[00:12:24] Zack Greenburg: Absolutely. And man, there were quite a few, right? I mean, when you look through, I mean, the heydays, Smokey Robinson, the Miracles, Diana Ross, the Supremes, Four Tops, Marvin Gaye, coming into, you know, Michael Jackson, the Jackson 5, you know, think we've talked about in our previous discussions about hip hop, you know, like sort of the staying power, of different labels and, you know, and how you can kind of keep identifying talent and keep it coming. I mean, that's quite a breadth You know, of like musical accomplishment that they've got, that you could say that Berry Gordy identified over the years.So, you know, I would really, obviously I'd put him up against any other, identify any A& R, any, you know, music mogul in the history of the business, for sure.[00:13:05] Dan Runcie: I agree. And I think the other thing that's interesting too, is This taps back into the whole process and quality management things. Berry Gordy really wanted to help shift the sound and direction of this label because at the time, black music and music that was made by black artists was quite segmented where people didn't feel like it could reach beyond a certain audience.And he experienced some of this himself. One of the reasons that his record stores closed was because he was focused primarily on jazz music. At the time, even Black folks weren't really into jazz at that particular moment. So he just didn't have the market to be able to continue this. So I think that helps Chase Motower.He says, okay, I want the music that's able to be listened to by everyone. I want Black people to ride with it. I want white people. I want anyone in America to be able to ride with the same way that people would listen to the Beach Boys. And he had a few more interesting things that were part of this process.One, everyone had an etiquette coach. And these are things that we're teaching them, essentially, how you have black people essentially speak to white people. Granted, I think there's a lot of that that is problematic. That probably wouldn't fly into the same ways today, just given some of the language there.but then additionally, he also had white salesmen that were essentially the ones that were promoting the records in different areas, going to different radio stations. And he would go as far to insert in records that he's promoting to not even show the artist on the cover because he wanted the record to reach.And he didn't want people to necessarily immediately see or relate it to a black artist, which I thought was interesting, but lined up with a lot of these things. So, even though some of the choices clearly were problematic, it probably wouldn't fly at the same way today. That's how he was about process and wanting to essentially be able to sell this talent anywhere in the country.[00:15:01] Zack Greenburg: Yeah, and it's especially remarkable when you sort think of the cultural context of, you know, of when this is all happening in the 60s. You know, I mean, this is a time of great polarization and social change and, you know, really like turmoil, in a lot of ways, disunity, but, what Berry Gordy created with Motown and sort of the Motown genre, which I think really like more than any label has become synonymous like a genre, you know, beyond just sort of like the name of label itself, you say Motown music, and you're talking about like a genre, as much as you're talking about a label, the fact that you'd be able to sort of create that it like in the 60s, even the late 60s, when things were really why we think we're polarized now.I mean, the late sixties, oh my gosh. Like what a testament to the sort of the sound that he created, which, you know, just like bridged all these divides and, you know, you obviously still go to any wedding, black, white, you know, at anything. And, you're gonna hear Motown all over the place.So I think that kind of goes back to what he created, you know, even at the time. being so accessible to so many different audiences and, you know, one of the things he told me, when I interviewed him, he said that, Martin Luther King came to see him, in Detroit, at the peak of the civil rights movement.And apparently, according to Gary Gordy, MLK said, he said, what I'm trying to do politically and intellectually, you're doing with your music. I love the feeling people get when they hear your music. And so maybe we can make a deal. And they made a deal to actually put out some of MLK's greatest speeches.They put out three albums on Motown and Gordy kind of summed it up by saying, if you do the right thing will come to you. So I thought that was such a cool. Little nugget that people don't necessarily realize. and, you know, I think people don't, think of Berry Gordy as like avant garde, you know, civil rights activist or anything, but, he kind of approached it in his own way, which was to make this music that could, you know, that could really bring people together.They could also get black culture, you know, into the mainstream us culture, at the same time. And, you know, I mean, we saw that, you know, decades later with hip hop, but. Berry Gordy, you know, he made that blueprint, you know, very, very, very early on.[00:17:03] Dan Runcie: It's a great story because I think it highlights the complexity and that people just aren't in these corners. And as you mentioned, Berry Gordy wasn't known for his civil rights activism. In many ways, people would often point to things that he may have shied away from, where I remember, especially in the 70s when you started to hear a bit more of a pacifist and things like that, there was a push and people wanted Motown to lead more into this and he necessarily wasn't as eager at the time and I remember even Marvin Gaye's What's Going On, one of the biggest records that was ever made.There was tension leading up to that because Gordy was like, wait, what is this? you want to do this? Like, what are we doing here? And then it eventually gets made. And then you see how I feel like every time that one of these publications has one of the greatest songs ever made, I'm sure it's come up on number one, or at least on several, one of these.So you see that, and you've seen other areas where he clearly has leaned into this, but I do think that his. Place in his role at that time, often highlighted some of that ongoing tension that we've seen from black leaders over the years about people want progress, but what's the best way to agree with this?And you date back to some of the more public debates between folks like Booker T. Washington and W. E. B. Dubois about what is the best way for black progress and group economics and things like that. And I feel like Berry Gordy clearly was on a Particular side of that, that not everyone may have agreed with, but he clearly still wanted to be able to help progress things in a particular way.So he's a very fascinating figure as we look at this progression, especially in the 20th century.[00:18:42] Zack Greenburg: Well, that's right. And, you know, I think there's a reason you see him put out MLK speeches. I don't, think he put up Malcolm X's speeches, you know, but that was just sort of his approach, right? He was more Martin than Malcolm.And, you know, obviously you could speak to the merits of either method, but, Berry Gordon definitely, had his preference there.[00:18:59] Dan Runcie: The other thing that I want to talk about, you mentioned it earlier, but the talent and the breadth of talent that was in this place is such a constraint and such a valuable time.It's one of those things where just imagine walking through on a, some day in, let's say 1964, you're just walking through Motown and all of the names that you could just see there making music on a Wednesday afternoon. It's crazy to think of the names and also how he found folks because. Look at Smokey Robinson and Smokey Robinson, the miracles essentially end up releasing shop around, which I do think ends up becoming the first true hit that, or the first, hit single that comes from Motown.He found that he found Smokey on a street corner performing almost, and in many ways, it feels similar to. What we see decades later with Sylvia Robinson driving around the New Jersey tri state area, finding hip hop artists for Sugar Hill Gang. This is how these early entrepreneurs did it. They were the talent development.They saw things and granted it was a much less crowded market. So the people that were pushing music onto folks had a little bit easier time breaking through, but it was still tough, especially at the time. And he was able to make it work in that way, which was, cool.[00:20:13] Zack Greenburg: Yeah, I mean, he actually did. And, you know, of course, like the one group that we haven't talked about too much yet is Jackson and sort of the way that, different groups were signed in those days, you know, they're all the stories about, well, you hear, you see somebody busking and you sign them and this and that.And, sort of some of the stories, though, if you talk to a lot of different people, you get, you talk to 3 people, you get 3 different stories. Right? So, I think for my book on MJ, I talked to. His dad, I talked to Berry Gordy and I talked to the guy who signed them to this little record company called Steel Town in Gary, Indiana.And they all had three different versions of, you know, how it went down, right? And so, there's that old saying, basically that the winners get to write history and, you know, Berry Gordy won. So, you know, whether his version is a hundred percent, accurate or not, that's kind of the version that, you know, we tend to hear I think his version is usually correct, but there's definitely some, you know, embellishment or some showmanship from time to time.So, you know, I think, for example, with the Jackson 5, Berry Gordy decided to put out, I think it was their first album as Diana Ross presents the Jackson 5 and, you know, she had this little thing where she's like, I discovered this group from Gary, Indiana and like blah, blah, blah, and that wasn't really how it happened at all.And it was really, you know, depending on who you ask, but I think what happened is Suzanne DePasse, who was one of Berry Gordy's lieutenants, had discovered them, and I think it was, there's another band who heard them, like sent them along to Suzanne DePasse that like, she kind of did the legwork for Berry Gordy.And it was like many times, many. Kind of connections later that Diana Ross, you know, became connected, to the group. but, you know, it's such a better story, right? Like Diana Ross has found these kids from, from the Midwest and, you know, bringing them out, onto Motown. So. I always think that's, kind of funny how, the stories end up getting presented and, you know, when you hear it from everybody else involved, I mean, and Diana Ross, of course, did become, really instrumental and especially Michael's life, as time went on, moved to LA and I think she, he actually lived with her for a little while while they were, you know, making the move and all this stuff, but, you know, it, didn't exactly start out that way.[00:22:18] Dan Runcie: Right. And the Jackson 5 is interesting because they, in many ways were the last group that came through in the heyday of Motown because the heyday we're really talking about is that 50 to 60s run that we've been talking about with a lot of the groups and the artists that we mentioned, especially young Marvin Gaye, young Stevie Wonder, Diana Ross and the Supremes.And then Jackson 5 comes along. But they come along towards the end of the decade. And just for some context setting, in 1968, Motown is doing 30 million in revenue. And they at one point had a 65% hit rate on the songs that they released in terms of actually being able to chart. So the highs were quite high and they were, killing it.The thing is, though, in the early 70s, this is where things start to shift a little bit, because at this point, Berry has his eyes set much bigger, and he wants to move beyond things in Detroit, because of course he was in the Hitsville, U.S.A. house, solely, after the riots that happened and there was some damage there, they ended up expanding things closer.they ended up expanding further in Detroit to just get a bigger size studio there as well. But then, he eventually wants to go to Hollywood so that he could get more into film. He wants to get into production for plays. He wants to bring these artists on the big screen. And it makes sense. We see why this is a huge medium.You saw how much, popular this talent is. And if you can get people to see them and buy into this, visual image that he's clearly curated, no different than we saw someone like Diddy decades later curating things, he wanted to do that. And I think that in many ways, this was one of those big challenges that any leader can have.Do you stay with the thing that's working really well? Or do you try to expand? And when you do expand, how do you find out? How do you make sure that you have the best talent around you? How do you make sure that you're well equipped? And I think that bowtie really started to strain because as things started to grow for the label, a lot of the artists started to feel like they were getting neglected because of these broader ambitions.And that in many ways, now we're dating 50 plus years ago to like 1972 timeframe. That's when a lot of ways was the beginning of the end, at least in terms of the Motown that a lot of people grew up with and knew.[00:24:41] Zack Greenburg: I think so for sure. And, you know, I think as an entrepreneur, you have to seek the next thing, right? I mean, you don't want to stagnate and you kind of have to take the risk and go for the next big thing and maybe you succeed and maybe you don't, and I think that's at least the way we've been conditioned to think. On the other hand, there could be an argument for like, we don't need to have this growth at all costs mindset as a society, you know, what's wrong with having a really awesome business that's just like constantly, you know, successful has happy employees, you know, that kind of thing. But, I guess that's, you know, this is, you know, Trapital not, you know, Trapsocialism, I dunno, we're talking within a certain realm of, you know, of economic, styles and systems.So that's what's gotta happen. And that's what Berry Gordy decided to do, you know, by moving everything to LA but we talked, a while ago about John McClain, and his role in kind of in, in the past few decades as an executive. He's somebody who rarely talks, but somebody interviewed him at some point.He said that he thought that moving to LA was, kind of the beginning of the end for Motown, because it, kind of changed Motown from being a trendsetter to being a trend follower. And, I think I agree with that. And, you know, that's not to say that there wasn't additional success, especially, you know, beyond the recorded music business that occurred. And that moving to LA kind of, you know, like supercharged some of that, but yeah, you know, I mean, I think when Motown was in the Motor City, in its namesake place, like, You know, it was sort of like, I don't say the only game in town cause there were other labels, but I think it was sort of, the main game in town and, being in a place that, you know, wasn't sort of the epicenter of the music business allowed it to have kind of its own unique style and not sort of be influenced as much by what else was going on.And, you know, don't forget in those days, it wasn't like everything was, you know, it wasn't like we were all tuning into the same social media channels. you know, we weren't even like really tuned into cable TV or anything like that, you know, there wasn't the same kind of like national culture that there is today that, you know, where trends just kind of like fly across in a second. And things did kind of take time to move from one place to the other. throughout the country. So, you know, there was like a certain regionalism to it that I think set Motown apart and, you know, maybe you lose a little bit, you know, once you're out in LA, but, you know, certainly around that time, you really start to see some of the artists who wanted more creative freedom, leaving, you know, some others pushing back, you know, I think even within, a few years of moving to LA, the Jackson 5, we're kind of, having some issues with Motown and in terms of, you know, can we make some of our own types of music? You know, do we really have to stick to quite the assembly line? So, yeah, I do think it was a mixed bag for Berry Gordy to head west.[00:27:20] Dan Runcie: And this is where things really started to struggle because a lot of what worked for Berry Gordy was so perfect for. The Hitsville USA West Grand Ave mentality of building everything there and not to say that he was only an early stage founder that couldn't necessarily progress. But I think a lot of the processes he had were more fit for that era. So naturally, you see the growing success of the Jackson 5 and Michael is no longer 9 years old.He is at this point now a full on teenager, but unfortunately, it just didn't quite. Progress in a few things, as you mentioned, you wanted more, they wanted more creative control. They also wanted to have a bit more ownership. There were disputes about royalties. And I remember reading something that said that the Jackson 5 had calculated how much they got.And it was only a 2.3% stake of how much revenue was either coming through or would be coming through in the future. And they see this and they're like, okay, well how can we see our opportunity to get more of that? So then they leave for Epic. And then you also saw a handful of artists at this point were already on their ways out and things were definitely starting to look a little bit more bleak because by the time you get to the end of the seventies, the beginning of 1980s, The music industry was already, granted things are cyclical, but they were starting to sour a bit on black music.This was the end of disco and people wanted nothing to do with that genre. And even though Motown wasn't disco necessarily, there was vibes of the types of artists they were trying to naturally capture in the 70s. So then that had all of black music taking a hit in a lot of ways and there were groups like the barge and others that I think they tried to make work. Obviously, I think Stevie Wonder was a mainstay during all this and that worked out really well for them, but he was really just 1 mainstay. You did have Marvin Gaye, but again, still, it just wasn't necessarily. The same, and I think that they definitely started to struggle even more at that particular moment.And even as early as the 80s, you start to see more of that narrative that honestly, you still hear today about recapturing that Motown magic or recapturing that Motown journey. People have been saying this now for 40 years.[00:29:40] Zack Greenburg: Yeah, for sure. And I think one thing that people forget is that even though the Jackson 5 moved on to Epic, you know, and that's where MJ ended up, you know, Epic and CBS, and, that's where MJ ended up launching a solo career, people forget that Jermaine actually stayed at Motown initially. He had married Berry Gordy's daughter and, you know, they had this whole wedding with like, you know, 150 white doves were released and, you know, they had this, you know, kind of fairytale situation. And apparently, Berry said to Jermaine, like, Hey, you can go with your brothers and stay with me, whatever you want.And, you know, knowing Berry, I think he maybe didn't put it that delicately or, you know, that was kind of a huge break from Motown because you know, he had really taken the Jackson 5 under his wing. They used to have, Gordy versus Jackson family, baseball games. Michael Jackson would play catcher. It was very So, you know, I think Tito was like the big power hitter, is what I heard. but yeah, for, you know, I mean, these were two families that were really intricately linked. And I think ultimately it kind of came down to, you know, there was some creative control issues, but, you know, Joe Jackson was, pretty controlling, Berry Gordy was pretty controlling and at some point, you know, it just, I think it became impossible for them to coexist.And so, Joe kind of guided them over to Epic to get that big deal, but, you know, Jermaine. It wasn't obvious that Michael was going to be, you know, by far the superstar of all the Jacksons. And, you know, Jermaine did seem at the time to be like the one who had the most promising solo career, or at least it was, you know, pretty close.And, you know, he never really found his niche is a solo act and eventually it would go on to get back every night with his brothers and go on tours and that sort of thing.[00:31:22] Dan Runcie: I think that's a good distinction because people will often point to and think about what are the big nine and then he drops off the wall. This isn't what happened. There's a pretty big difference between those few years. No difference than anyone where naturally there's a difference between a 15 year, but there were others that experienced.So many of the artists that ended up leaving at that particular year old artist and a 19 year old artist. You're a completely different person at that point. And that's exactly what we ended up seeing with Michael. So missed opportunity for sure missed opportunities that Motown had, we'll get to miss opportunities in a minute, but you often hear people talk about them not being able to keep Michael, but to your point, the Jackson 5 leaving Motown in 1975, 76, isn't the same as.Them leaving in 1970 time ended up having greater,success once they were able to have a bit of freedom after leaving Motown, which was a bit unfortunate because obviously, I think it would have been great to see them continue that success under Berry Gordy's umbrella and continue to see them grow.But not everyone is going to be Stevie Wonder. Not everyone is there to say, Hey, I'm with you until the end. And I'm going to be riding with you during this entire journey. It just doesn't work that way. People have careers. No different. You see them today where people see a bigger opportunity and the grass is greener.They want to take advantage of that, especially if they don't feel like they are being put in the best position to thrive. So in the 80s, Motown is now officially in its transition recovery mode, trying to recapture what was there and we see a few things happen.So they start leading in on debarge. And a lot of people, DeBarge did have a pretty big hit with Rhythm of the Night, but I do think that they tried to make the DeBarge family replicate some of this Jackson family, where you had El DeBarge, and you had all of these others, but it just didn't quite click, at least in a mainstream way to that perspective, but then you did have Lionel Richie, who did end up having a pretty big career, especially with everything he had done since the, Commodores and, but then you also had Berry Gordy's son that they were also trying to work into the mix, who performed under the name Rockwell, who had had that song, somebody's watching me that Michael had sung the hook on.So you had a few things there, but just didn't exactly click because again, it's stuck in two models. Berry wanted to continue to have complete control over it. And the artists just didn't want that anymore. I think that worked when you were literally giving artists. No giving artists in a region of the country like Detroit a platform and opportunity, but they had no other options.But now they had leverage. Now they could go talk to mca Now they could go talk to CBS Epic and some of these other labels. So Berry's mentality just didn't work as much. And then by 1988 is when we see him transition on from the label, at least as the CEO level. And then we start to see the new blood come in to run the record label.[00:34:30] Zack Greenburg: Yeah. I mean, I think it is important to note that, you know, although you could characterize the 80s as sort of like musical decline era for Motown, you know, in the way that many artists are entrepreneurs, like, seem to be in a period of delays over some decade or whatever, they actually get much richer during that period of malaise, because what they had built before was so good.And there's still kind of like, they're finally cashing in on it, whereas maybe they didn't cash in on it when it first happened. But like, enough of the sort of like older, wealthier decision makers who can pay them more are like, finally getting hip to the fact that, you know, this is a big deal.So, I would definitely think about Motown that context and that, you know, when Berry was able to sell, you know, a huge chunk, of the company kind of like step back from it, that was after like a a period of time when Motown was not as hot as it had been.But you had things going on, like Motown 25 in 1983, that special. Put together, where MJ came back and reunited, with his brothers and the whole Motown crew and he had, you know, all these other artists, but that was actually the first time I think that MJ moonwalked, you know, sort of in public, like you know, he sort of like the popular debut of the moonwalk and it just really kind of, Created, so much buzz around that, that then kind of rubbed off on Motown and didn't really matter whether he wasn't on Motown anymore, but it just kind of gave a little more shine to the label and gave it sort of like, a relevance, I think that helped kind of carry through to the end of the 80s and helped get Berry Gordy, this really big payday.So, I wouldn't discount like You know, I don't know the sort of like delayed reaction that sort of the half life of fame or whatever you want to call it. But, there were still some of these moments that were created, that kept paying dividends as the time went on. I think[00:36:13] Dan Runcie: That's a fair point because he also sold at this smart time when right as we're seeing in this current era that we're recording, it's a very hot time for music asset transactions as were the late 80s and early 90s too. That's when you saw Geffen do many of the deals that he had done and Gordy. Did the same where I believe he made 61 million from the sale, or at least his portion of the sale in 1988, which is huge.You didn't see people, especially black business owners that fully owned everything being able to cash out at that level. So that's a good point. I'm glad that you mentioned that. And with this is when we start to see the transition of leadership. And we start to see a few things that do ring true.Where the first person that takes over is Gerald Busby, who was leading black music at MCA at the time. And even though Motown had had a bit of its malaise in the 1980s, MCA did not, in many ways, it was seen as the leader in black music. And Bubsy was able to. Have quite a good amount of success there with all of the work that he had done.the thing is though, he had started to run into some issues because he was in this weird dynamic where this company, Polygram had owned part of the label, as did Boston Ventures, his private equity group, and Bubsy was at odds with the folks at Boston Ventures about. some creative control. And he had this quote where he says he'd rather quit Motown president than see the label become a cash cow for a huge corporation trafficking off of nostalgia.And that was a quote that was said back in the 90s just thinking about how. Similar, some of those quotes now come to today. And this was someone who was largely credited from helping to say blast black music from that disco era. But unfortunately, I think a lot of those tensions that he had had, at the time just made life a little bit more difficult for him at Motown.So he eventually we Left. And while he was there, he was able to at least get a few things under. Like he was the one that had brought in voice to men. He had Queen Latifah there. He had Johnny Gill, who was another artist at the time that was quite popular, but maybe hadn't necessarily lived on in the way.And his dreams were, he wanted to have Motown cafes, the same way you had hard rock cafes. He wanted to have the young acts going and touring around at different places to recreate that vibe. And this is something that we'll get into. I think we see time and time again, where these leaders have all these dreams and visions for what they see.Motown can be, but because of the powers that be because of other things, they just can't quite get there to make it happen.[00:38:51] Zack Greenburg: Yeah. And I think that one of the things that set Motown apart early on, you know, as sets many startups apart early on, and many record companies are early on is that they were independent and they could do whatever they wanted.And, you know, Berry Gordy was, sort of like the unquestioned leader and, you know, things kind of, in the way that things kind of get done, let's say more efficiently, if not, more equitably in dictatorships, like he could just get shit done, move things around, have it happen immediately. And so when you started to have, you know, these corporate parents, parent companies, you know, you'd have to go through all these layers of approval to do anything.And, kind of like stop being able to be agile. and I think that's especially important in the music business when, you know, you have to. Not be reactive, but proactive, right? You have to be ahead of things. So, you know, if you're getting to a point where you're having to wait on approvals and things like that, you've already lost because you should have been out in front to begin with.[00:39:48] Dan Runcie: And this is something that I think plagued Motown time and time again, because Gordy didn't necessarily operate in this way. He had so many people that wanted to replicate what he did, but they didn't have the same parameters and the same leeway to make those decisions. As you mentioned, they're now working for corporations that now have their own vested interest.And to be frank, one of the tensions that we see often in music is that these brazen, bold leaders want to be able to take big swings and do things that are innovative and off the cuff. And these corporations are hard set pressed on efficiency. They don't want to see overspending. They don't want to see over commitments, or they want to be able to feel like this is being run in a strategic way.This is something that in the Interscope episode that we talked about, Jimmy Iveen struggled with this as well, even as recently as his tenure with Apple music. But this is one of those frequent tensions that happens with music executives. And we saw that continue with the person that replace Busby, which is Andre Harrell.We talked about him a bit in the Bad Boy episode, but Andre, of course, at this time was coming fresh off of Uptown Records where he was working in collaboration with MCA and he was able to build a little bit of his own fiefdom there where granted he still had people he had to answer to, but I think he had a pretty good relationship with the folks at MCA up until the end there.Then he goes to Motown and he sees this opportunity. And there's a few things that stick out about this because. As early as a year ago, he was starting to get rumored as to be the next person to then take over. But then he gets 250k as an initial announcement. He takes out this full page ad, New York Times.And then he has this ad that essentially says from Uptown to Motown, it's on. And it's him sitting in the back of the chair and you see a sweatshirt in the back. And people hated it. People grilled him. The way that they talked about him, the trades and even Russell Simmons and others coming in and giving him shit about it.He had pretty verbal flight fights with Clarence Avon, who was pretty powerful at the time. And Clarence even said he had swung on him at one particular point and was quite critical of him as well. There's this one quote that I think was really funny here, where this was from the Netflix documentary that was, The Black Godfather, which was about Clarence Avon.And, or actually, no, this is before this summer variety interview, but they talked about this as well. The doc, Clarence says, Andre and I didn't get along. And then he pointed to an image of the Motown boy band, 98 degrees. And Avon says, Andre wanted to send these white boys to Harlem to make them sound black.And I was like, you're out of your fucking mind. And it's a funny quote, because I do think that 98 degrees. Maybe didn't exactly have as many hits as they probably would have thought, but in Andre Harrell's defense, and sadly, but true, the mentality wasn't necessarily wrong because of the 90s, the most successful Motown act that you had was Boyz II Men, and we saw at the end of the decade that, what's that guy's name, the con artist that had the boy bands, Lou Pearlman, like, he literally modeled Backstreet Boys and NSYNC after How can I find white boys to men and make them see modern contemporary and make this happen?And that's how he was able to have success there. And that was before, what's his name? That was before Andre Harrell was really getting going. So he saw where things were going. But it just didn't click at the time. It just wasn't right. And obviously 90 degrees ends up having some decent success, but that's well after Andre Harrell had left the label.So he ended up leaving and the press was not kind to him. Literally headlines were. Andre Harrell gets fired from LA Times it's a type of headline that we probably don't see now when record label execs get fired in the same way. I think the industry is much more controlled in its PR sometimes to a fault, but it was very interesting to see that, come through. And another interesting quote from that, Lucian Grange had called the Andre Harrell at Motown relationship, an organ rejection. In terms of the relationship there.[00:43:56] Zack Greenburg: Yeah, no, I mean, and it's kind of interesting if you think about, you know, around that same time. What was going on in the music business, what would have been a great fit at Motown that didn't happen, would have been to sign Eminem, right? I mean, rather than try to do it with 98 degrees, if you really want to go and sort of like figure out what the kids are listening to, and do the thing where you have a white guy making black music, like. Holy shit. There's Eminem from Detroit, you know, doing his thing. But, you know, I think it took different kind of Andre to pull that one off.So, you know, in a way well played, you know, I mean, in a way it was like Andre was maybe Andre Harrell was taking some risks, but he wasn't taking quite enough. Like, he wasn't going far enough. He wasn't going way out enough on a limb. So, if you were really going to try to read that Motown, then that then go all the way at the same time, though, I would argue.I mean, if you look back, it's sort of like what worked with Motown and what did it, I think one of Motown's greatest attributes is also a limiting factor. And that's the thing we talked about before it, it's a label, but it's also a genre. And so if you have Motown making hip hop, it's like, wait a minute this isn't Motown. Like this isn't the genre of Motown. Like this is not the thing that I heard at my aunt's wedding, you know, this is something different. So, I think that they got kind of caught in between and I know that they've done all this stuff in hip hop over the years and, whatever, but it still doesn't feel like quite a fit because Motown, I mean that, you know, Motown was Motown, Motown wasn't hip hop and, you know, maybe if it had started getting into hip hop in the early days of hip hop.you know, it would have felt a little bit different about that, but, you know, hip hop is Def Jam, hip hop is is Roc-A-Fella hip hop is Bad Boy, and I just, you know, for all the efforts that Motown has made to get into hip hop, I think, it, has had a hard time, you know, fully sticking in the way that it would need to for Motown to replicate its, early success.[00:45:51] Dan Runcie: And one of the things that I think that a lot of these post Berry Gordy leaders struggled with was... As you mentioned, yeah, with Andre Harrell or others, there was the desire and opportunity to be able to do more, but the combination of the corporate structures in place that just didn't give them the same freedom that a Berry Gordy himself would have had.And then secondly. The business structure of how Motown itself as a company was set up didn't necessarily allow that because even things like radio or promotion and things like that, they still relied on other labels under the corporate umbrella, even to this day to get some of those things in place.So it really wasn't. Given the same freedom, even though their name, especially in the late 90s early two thousands was used in, especially back then it was the whole universal Republic Motown group or whatever the amalgamation was at the time. It really wasn't given the same freedom as some of those other record labels were.And I think we saw those challenges come in from time with some of the other leaders as well, because. Afterward, after, Harrell left, you had George Jackson who was there, felt like a bit more interim there for a couple of years. And then you had Kedar Mazenberg who was there late 90s early 2000.And that was a bit more than Neo soul vibe. You had India, Ari and a few others, but he has this quote that he gave to the independent, 2000 where he says, but we're not going to dominate the pop charts. Like we used to, how can we, there are too many other companies out there for that. So please don't compare it to the Motown of yesteryear.This is someone that is in the leadership role saying that exact quote. like How do you get past that? And then he talks again. I think they made a comparison to Def Jam where he said, you know, Def Jam, it took 10, 20 years to get to this established guidance, the way that you did with someone like a Lyor Cohen.And you essentially had that with Berry Gordy. But again, Lior was doing this before Def Jam ended up, you know, becoming under the whole Island Def Jam group and everything happened there. After that, you have Sylvia Roan, who was rising up the ranks herself. Still one of the most successful Black women in media and music right now.She's currently at Epic, but she had her time at Motown as well. And I'm going to get into her because I have something I want to say for missed opportunities there. And then you get more recently to the era of Ethiopia Habtamirian, who was there from 2011. Up until 2022, and she's 1 of those that I do feel like was put in a pretty hard spot because on 1 hand, she was able to essentially double the market share.Thanks in part to the partnership that she had made with hip hop through quality control to be able to help. them succeed And this is especially when the Migos are first starting to pop off, and then that transitions into the success of artists like Lil Yachty and Lil Baby and City Girls and others. But I think that also some of the overspending and things like that were quite critiqued.And especially from a PR perspective, the same way I was mentioning earlier when. Andre Harrell's challenges were bright front and center for the entire industry to read. Ethiopia's necessarily weren't in the same way. And even in some of the aspects of her leaving, the media had they called it a bit more reflective of, oh, Ethiopia has chosen to step down.When, yes, that's true, but there was also a pretty large severance package from Lucian and others at UMG. And again, I don't think she was necessarily given as much leadership either, because Motown was kind of, and still is kind of under capital, but now they've essentially moved it back. They had announced that she was solely the CEO back in 2021, but that was a pretty short lived.And to be honest, it felt like. Yeah. 1 of those announcements that the industry made in this, like, post George Floyd era to try to highlight and support black CEOs, which was great to see, but she's someone that's talented. You don't want to see her just become a tokenized person to have this. So, even though, like any CEO, I think there was things you could point out that she probably could have done differently.Still wasn't given the most leeway to begin with it. Now we're back in this point where what is Motown who's leading Motown. It's essentially the subsidiary under capital, but it's now a brand. And who knows where things are going to be. And it's quite unfortunate, but given everything that we've said up into this point, it also, isn't that surprising just given the dynamic.[00:50:21] Zack Greenburg: Yeah, a hundred percent. And I think, you know, like you mentioned the the partnership with quality control. I mean, I think. That was a smart way to get more involved in hip hop because that was a brand that did have roots in hip hop more that, kind of resonated. and so when you sort of like, build as a partnership and look at it that way, it seems a little more credible than like,you know, Motown is doing hip hop now. so it's too bad that, you know, things kind of turned out the way they did, but, it's an interesting asset, right? I mean, it's a brand that has a lot of value. But it's not exactly clear, you know, how to sort of monetize it. And I think with Motown right now, it's like, it's probably about more, than the music, right?Like that's maybe where most of the monetization opportunity would be, whether it's, you know, Motown branded, you know, I don't know, films and, you know, I don't know, products, whatever the case may be. It resonates more, I think, than it does, as a record label. And people don't care so much about record labels anymore.Like we've talked about this, you know, in prior episodes, but it's not the same. You're not going to put on your record on a record player and see that big Motown logo on it, you're having something pop up your ear. And there, there's no visual, like, you don't know whether it's on Motown or Def Jam or Universal or Sony or, and you don't probably don't care.Right. I mean, and I think as things have kind of blurred together, genres are blurring together, you know, different, labels are gobbling each other up over the years, you know, people have just kind of like lost track and, you know, sort of like the idea of a label just isn't as important anymore.So, I do think that it's. a valuable piece of IP and, you know, there's things to do with it still. But, you know, I think, Berry Gordy certainly like squeezed, you know, all he could out of it and, did a great job of sort of ultimately profiting off of what it was that he built.[00:52:04] Dan Runcie: Right. Because what you have right now is this brand where they do have Motown the musical, which I do think has been pretty successful, both in the US and in Europe and elsewhere that it's traveled. but that's it. I mean, quality control partnership doesn't exist in the same way since they've been now bought by hive.Hopefully, Ethiopia and those folks were able to at least retain some type of revenue for helping to set the framework to make that deal possible, but we'll see I, where I landed with this is that. The way to quote unquote, I don't want to say save Motown because that can just seems like such a blanket statement, but if you were trying to improve it from its current inevitable state, it would be finding a way to spin off the asset and the catalog from Universal and having it be in the hands of someone else who can make it work.The challenge is Universal isn't going to want to give that asset up. That's one of their most valuable back catalogs that they have. So. I was thinking through it in my mind, the same way that you have someone like a Tyler Perry, who are these modern moguls that have a bit of that Berry Gordy vibe to them.The way that Tyler Perry is, we'll see whether or not he ends up buying BET, but could that same mentality be applied to a record label? And then with that, you're able to then build up your own promotion. You're able to build up your own talent, and then you take things in a slightly different way. I still don't think that guarantees success, but at least you shake things up in a particular way and you still give it that black ownership mentality.You give it a bit more of that independence and the autonomy and you could potentially see what happens because. We all know what the continued fate is as a legacy entity of a catalog holder that it would be under the UMG umbrella.[00:53:50] Zack Greenburg: Yeah, a hundred percent. Totally agree.[00:53:52] Dan Runcie: And with that, I think it would be a good time to dig into some of these categories here. So what do you think is the biggest, this will may be obvious, but what do you think is the biggest signing that they've done or that Motown ever did?[00:54:04] Zack Greenburg: Yeah, I think I'd go with the Jackson 5 I mean, you know, although Motown did not ultimately profit off of MJ's solo career, in the way that it would have if it had retained him for a solo career, Motown did profit off of the association as he became the biggest musical star, but basically entertainer of any kind in the world.and, you know, going back to the Motown 25 moment, you know, other kinds of associations. So I would say like good process. Not really a bad outcome, but like signing the Jackson 5 could have been the path to also signing Michael Jackson as a solo artist. And then, you know, just because that didn't work out in the end, does it mean that that wasn't a huge signing for them?[00:54:47] Dan Runcie: Yeah, I was going to say Jackson 5 or Stevie Wonder, which is the one that I had and I say him because of the longevity because even when times were rough, Stevie Wonder still had arguably his best decade in the 70s But, he had a number of them that were there, especially in the seventies. I think that was his strongest run and he stayed through. And I think that in a lot of ways helped bridge the gap during some of those low moments when other artists did come and went. Did come and go. So that was the one I had there.What do you have as the best business move?[00:55:18] Zack Greenburg: Well, okay. This is something we haven't talked about and maybe we should talk about it but more, but here we are, we'll talk about it more now. I think it was Berry Gordy setting up, his publishing company. So, I mean, maybe that's cheating a little bit because it was outside of, Motown itself but of He set up Joe bet, publishing, you know, pretty early on. And he didn't realize, you know, his big payday for it until later 1997, but he sold it for 132 million for just for half of it. so the EMI, and then he sold another 30% for I think 109 million. And then he sold the rest of it for, something like 80 million in, what was that?It was like 2004. So, you know, we're talking like over a quarter billion dollars and that's not inflation adjusted. you know, for the publishing and that, you know, that dwarfed whatever he got for Motown itself. So, and, you know, think about if he held onto it until, the recent publishing Bonanza, I mean, I mean, it could have been close to a billion dollar catalog, right?I mean, you know, there's nothing, really like it out there. So. He was always very smart about ownership and I think Michael Jackson knew that and, you know, studied him as a kid growing up. And that's kind of what convinced Michael to want to own his own work, and also in the Beatles work, which then became the basis of Sony ATV.And that was another massive catalog. So, yeah, I think the publishing side of it definitely gets overlooked and, you know, was ultimately the most, financially valuable part. But, even though it was sort of a separate. Company, you know, I would argue it, for sure it wouldn't have happened without Motown happening.[00:56:51] Dan Runcie: That's a great one. And I'm glad you mentioned that. Cause definitely could get overlooked and doesn't get talked enough about in this whole business. I think publishing in general is something that people don't understand. And so they just don't, dig into it, but he wrote it. I mean, he owned everything.And obviously when you own the value. When you own something that valuable, it has its assets. And I think why publishing continues to be so valuable in the industry i

We are joined by Eric LeGrand and Eric LeGrand Whiskey co-founder Brian Axelrod. We discuss Eric's inspirational story about his path from Rutgers University football star to champion advocate for spinal cord injury research, his grit, positivity, and determination both on and off the field, and what led him to create a whiskey bearing his name.  Jake was very inspired by Eric during his football years and during this episode and we are so thankful to Eric and Brian for joining us to tell their story for our listeners.  Stream this episode on your favorite podcast app and be sure to drop us a review while you're there.  We are thankful for everyone who has supported us. A huge shoutout goes to our growing Patreon Community as well! We'd appreciate it if you can take the time to give us feedback on our podcast. If you enjoy our content, consider giving us a 5 star rating on your favorite podcast app, leave us a review, and tell a fellow bourbon lover about our show. Follow us @BourbonLens on Instagram, Facebook, & Twitter.  And please check out our Patreon to learn how you can support our endeavors, earn Bourbon Lens swag, be part of future barrel picks, and more. If you have any comments, questions, or suggestions, please email us at Info@BourbonLens.com. Check out our BourbonLens.com to read our blog posts, whiskey news, podcast archive, and details on our upcoming single barrel picks. Cheers,Scott and JakeBourbon Lens ABOUT ERIC LEGRAND BOURBON: Co-Founded by Eric LeGrand and Brian Axelrod, Eric LeGrand Bourbon is developed with choice heartland grown corn, limestone purified water, the freshest rye and barley available. Aged no less than two years in perfectly charred oak barrels, our premier whiskey boasts a warm nose and a smooth and crisp finish. For more information on Eric LeGrand Bourbon, visit www.ericlegrandwhiskey.com and follow them on Instagram @LeGrandWhiskey  ABOUT ERIC LEGRAND: In October 2010, Rutgers University football star, Eric LeGrand, sustained a spinal cord injury at his C3 and C4 vertebrae during a fourth quarter play at MetLife Stadium. While the initial prognosis was grim, Eric demonstrated his titan strength by shattering all expectations for his recovery and rehabilitation. Eric harnessed the national spotlight he attracted from his injury to give back to the community and inspire those living with and impacted by paralysis to bELieve. Team LeGrand was launched in September 2013 as a fundraising arm for the Christopher & Dana Reeve Foundation. Since its inception, Team LeGrand has raised well over two million dollars for the Reeve Foundation. During his time as a participant of the Reeve Foundation's NeuroRecovery Network, he took part in a rigorous rehabilitation regime, including locomotor training, to re-teach his body how to walk and improve his quality of life. Eric has since regained movement in his shoulders and improvements to his overall health. From becoming an author, sports analyst for ESPN, Sirius, the Big Ten Network and Rutgers radio, to a much sought after motivational speaker, Eric has given a voice to the paralysis community to mobilize support for critical initiatives, policies and cutting-edge research. He has been recognized and received awards by Sports Illustrated, ESPY Awards, and the WWE Hall Of Fame. He also realized his NFL dream when his college coach and then Tampa Bay Buccaneers head coach, Greg Schiano, signed him to a professional contract in 2012. In May 2014, Eric graduated from Rutgers University where he was an honored speaker at the commencement ceremony. Since his injury, Eric has shown the world that obstacles can be transformed into opportunities, and he will continue to drive his mission forward until he delivers on Christopher Reeve's dream of a world with empty wheelchairs. To Eric, it is not a matter of if he walks again, but rather when. Additionally, he has extended his versatility by becoming a savvy entrepreneur. In 2019, he created his own clothing brand, Shop Fifty Two and in 2021, launched his own coffee brand, LeGrand Coffee House. In 2022, he co-founded a Rutgers collective entitled Knight Society with former Rutgers basketball player Geo Baker. Most recently, Eric has further extended his business portfolio by co-founding Eric LeGrand Bourbon. ABOUT BRIAN AXELROD: Brian Axelrod is a fixture of the U.S wines & spirits industry, with more than 20 years working on the distribution and commercial side of some the most iconic spirits labels in the world. A true connector of people and brands, recently Brian brought his experience and talent together to partner with Conor McGregor and his team to launch Proper No. Twelve in all types of accounts across North America. In 2021 Proper No. Twelve was purchased by Becle, owners of Jose Cuervo, in a deal worth up to US $600 million. Before partnering with Team McGregor, Brian worked on D'USSE Cognac as the Brand Director and Commercial Director for Champagne Armand de Brignac for over 6 years alongside Jay-Z and Desire Perez. ABOUT THE CHRISTOPHER & DANA REEVE FOUNDATION: The Christopher & Dana Reeve Foundation is dedicated to curing spinal cord injury by funding innovative research and improving the quality of life for individuals and families impacted by paralysis. By uniting the brightest minds in the field, we are working tirelessly to accelerate scientific discoveries across the field of spinal cord research by investing in labs across the globe. Additionally, through a cooperative agreement with the Administration for Community Living, the Reeve Foundation's National Paralysis Resource Center (NPRC) promotes the health, well-being, and independence of people living with paralysis, providing comprehensive information, resources, and referral services assisting over 100,000 individuals and families since its launch in 2002. The Reeve Foundation is committed to elevating our community's voices and needs to achieve greater representation and independence. We meet all 20 of the Better Business Bureau's standards for charity accountability and hold the BBB's Charity Seal. For more information, please visit www.christopherreeve.org or call 800-225-0292.  Bourbon Lens Coverage and Show Links: Eric LeGrand Bourbon Available Now In Kentucky! KENTUCKY STRAIGHT BOURBON WHISKEY Eric LeGrand  Eric LeGrand creates new bourbon brand to help support those who are paralyzed

Rick Ross is one of the most successful musicians in the world, but few realize he also dabbles in the world of consumer packaged goods (CPG). So, what can CPG professionals learn from the hip-hop legend? I've always believed that hip-hop and CPG entrepreneurship are linked together. This is probably why you see so many hip-hop artists that are involved with CPG entrepreneurship or investing in this consumer sector. While his overall business activity is lower compared to Jay Z, you might be surprised to learn that Rick Ross is an active investor across the CPG industry. Interestingly, Rick Ross and Jay Z both got their start in the CPG world through the same alcoholic beverage entrepreneur. Brett Berish, CEO of Sovereign Brands, who founded Armand de Brignac (aka Ace of Spades), also founded the sparkling rose brand Luc Belaire. In 2013, Rick Ross became essentially the brand's ambassador, which skyrocketed Luc Belaire in the rap game. A decade later, there aren't many artists as synonymous with a particular brand quite like Rick Ross is with Luc Belaire…even earning himself the nickname Rick Rozay. Likely due to the successful longtime partnership, Rick Ross is also involved in several other Sovereign Brands alcoholic portfolio companies. Now…Rick Ross might be best known for his alcoholic beverage investments, but he also dabbles in the packaged food side of the CPG industry (Rap Snacks and CTRL). It's also my belief that lyrics from his extensive catalog of music spanning more than a decade and quotes from various interviews will provide strong lessons for any CPG professional. I picked out a handful of my favorites that I know will bring you value… FOLLOW ME ON MY SOCIAL MEDIA ACCOUNTS LINKEDIN - https://www.linkedin.com/in/joshuaschallmba TWITTER - https://www.twitter.com/joshua_schall INSTAGRAM - https://www.instagram.com/joshua_schall FACEBOOK - https://www.facebook.com/jschallconsulting MEDIUM - https://www.medium.com/@joshuaschall

Digital procurement is no longer a ‘next level' approach to spend and supplier management. Digitized procurement processes have fast become the table stakes for any procurement team that hopes to become a true business partner.  And yet, procurement often still struggles to ‘connect the dots' between multiple strategic and technical considerations - a business-wide effort. In a recent LinkedIn Snap Poll, Art of Procurement community members told us that alignment with the business is the most important input to digital transformation. That in and of itself is an important indication of procurement maturity. This episode features a recent AOP Live session where Philip Ideson was joined by Alpar Kamber, Julie Brignac, and Chris Eyerman from WNS Denali. They took the opportunity to dig deeper into the connection between alignment with the business and procurement's digital transformation goals. They discussed: What the concept of a digital ecosystem really means - to procurement and to the rest of the company How procurement should perceive the connections between digital transformation and their own maturity journey The important role that experienced and objective third parties can play in accelerating both transformation and maturation

Tonight's special guest is John Anderson from River Ridge, Louisiana, a child abuse survivor, activist, volunteer and member of the NAASCA family. "My abuse started at the age of nine at St. Matthew in River Ridge, Louisiana," he explains. "It continued for three weeks in class in front of other students. I was threatened and scared. My friends saw Brignac abusing me with their own eyes. So did many other students," he says.  "It took the help of one of the witnesses to tell my parents. I couldn't." John goes on, "I started breaking down. My life would never be the same. 6 different schools later I barely graduated. My mother was in her third trimester with my brother while trying to convict George Brignac. We had him arrested and with a bench trial Brignac was acquitted for the reasons of conspiring to expose his celibacy. I had two witnesses. Brignac managed to get 26 victims after me. I was the first." Today he's getting better. "I suffer extensive damage physically and mentally. C-PTSD, fibromyalgia, permanent nerve damage, depression and anxiety. I have been going to doctors since I was 10. I use my experience of 45 years to help any and all victims." John goes on, "I am a musician on Facebook where I play songs of healing daily.over the years i have been affililiatedwith SNAP.Louisiana leader,SCSA,co founder and NAASCA HOST AND FAMILY MEMBER.,   Sports Illustrated, Big Easy New Orleans magazine, NOLA.com, and the NO Advocate newspaper), you tube, The Ms.Texas Show,as well as our local TV and radio station here in New Orleans.".John participated in getting the statue of limitations abolished in louisiana".our children must be protected"

Former Playboy Plamate Lauren Anderson Brignac, and the wife of Mets Double A manager Reid Brignac joined us for WAG Wedneday. Lauren had some interesting things to say about Holly Madison and Hugh Hefner. She also had a crazy story about how Reid literally saved her life when they first started dating. 

Do you ever blame pain on an individual task? Maybe it was deadlifting, picking up your grandchild, or just magically waking up with a new ache. Bradley and Ashley explain how small things add up AND HOW to overcome the pains. On this episode, Bradley sat down with Ashley Brignac, chiropractor and former collegiate softball pitcher. They talk about overcoming injuries, the importance of strength training for athletes, and the stigmatism around chiropractors. Take a listen to learn more... You can follow Ashley on Instagram: @brigsdomec and @chiroriverridge Find her on Facebook: @ChiroRiverRidge

Guest: Sarah has worked for twenty years in the luxury sector with many of the top European luxury houses, including Lalique, Cartier, DeBeers, Valmont, McLaren Automotive, The Italian Government, Hotel Santa Caterina, Villa René Lalique, Chateau Lafaurie-Peyraguey, Nobu Hotels, Puiforcat, Jean-Louis Coquet, Philippe Deshoulières, Robert Haviland & C. Parlon, Rossano Ferretti, Nathalie Jean fine jewelry, John Hardy, Vertu, Armand de Brignac champagnes, Agent Provacateur, RISD Museum, One Drop Foundation and Luxury Education Foundation, among others. Sarah has received first-hand experience in the factories and headquarters for each brand, observing the craftsmanship and know-how of the artisans and workers, passed on from generation to generation. She has developed a passion for handcrafted, service-oriented luxury brands through this invaluable training. This love and appreciation of the sector have driven Sarah to specialize and focus her efforts on promoting and educating luxury brands worldwide. Episode in a Tweet: What makes luxury brands unique? They know who they are, and they don't pretend. They are true to their own DNA. Listen for a behind-the-scenes look at how the luxury industry is becoming more diverse, inclusive and sustainability-focused. Quick Background: Sarah Gargano believes excellent communication is a 360-degree approach, including editorial coverage, social media & digital strategy, influencer marketing, events, video, advertising, television and film. Her contacts in each medium are A-list. She has helped her clients achieve outstanding results, successfully delivering their message and furthering their presence and power as authoritative luxury brands. In this week's episode of Reflect Forward, Sarah shares her journey from leaving Wall Street to entering the mysterious world of luxury. She explains what all brands could learn about PR and branding from luxury: know who you are and stay true to who you are – great advice for anyone. She talks about helping her clients create highly personalized experiences so their customers can truly understand the brand. Sarah and I talk about how the luxury industry is becoming more diverse, inclusive, and sustainability-focused. She shares her passion for educating future generations about the luxury industry through her involvement with the Luxury Education Foundation. The Luxury Education Foundation is a non-profit organization focused on nurturing future leaders in the luxury industry and fostering meaningful exchanges between like-minded CEOs, leading executives and high-potential, emerging talent. Established in 2004, LEF partners with Columbia Business School, Parsons School of Design, and Hong Kong University of Science and Technology to create global, qualitative interdisciplinary programs to ensure future success for members, students, and alumni. This episode is fascinating, and I am sure you will enjoy learning from Sarah as she shares her passion for her clients and their brands and her journey to excellence. To find out more about Sarah, check out her website here: https://www.sarahgargano.com/ To learn more about the Luxury Education Foundations, visit their website here: https://www.luxuryeducationfoundation.org/

Tonight's special guest is John Anderson from River Ridge, Louisiana, a child abuse survivor, NAASCA volunteer and cofounder of SCSA (Survivors of Childhood Sex Abuse). "My abuse started at the age of nine at St. Matthew in River Ridge, Louisiana," he explains. "It continued for three weeks in class in front of other students. I was threatened and scared. My friends saw Brignac abusing me with their own eyes. So did many other students," he says. "It took the help of one of the witnesses to tell my parents. I couldn't." John goes on, "I started breaking down. My life would never be the same. 6 different schools later I barely graduated. My mother was in her third trimester with my brother while trying to convict George Brignac. We had him arrested and with a bench trial Brignac was acquitted for the reasons of conspiring to expose his celibacy. I had two witnesses. Brignac managed to get 26 victims after me. I was the first." Today he's getting better. "I suffer extensive damage physically and mentally. C-PTSD, fibromyalgia, permanent nerve damage, depression and anxiety. I have been going to doctors since I was 10. Today I am disabled, but help run www.scsaorg.org as Vice President and co-founder with two other New Orleans survivors. I use my experience of 45 years to help any and all victims." John goes on, "I am a musician on Facebook where I play songs of healing daily. I have been seen in Sports Illustrated, Big Easy New Orleans magazine, NOLA.com, and the NO Advocate newspaper), as well as our local TV station here in New Orleans."

Dr. Ashley Brignac Domec joined Scott on the day of her Louisiana Ragin' Cajun Hall of Fame induction, reflecting on her collegiate career, time in softball, life journey, and more.

I've always believed that Hip Hop and CPG entrepreneurship are linked together. Firstly, Hip Hop is seen as counterculture to other music genres, which is similar to CPG entrepreneurship in today's “technology” filled founder landscape. Additionally, Hip Hop and CPG entrepreneurship are both centered around salesmanship and the ability to hustle. Moreover, Hip Hop music is rooted in remixing (or sampling) previous music, and this iterative innovation process is also core to the CPG industry. Finally, Hip Hop is more than music, it's a cultural lifestyle...which anyone in the CPG industry knows it functions in the exact same way. This is probably why you see so many hip-hop artists that are involved with CPG entrepreneurship (or investing). If you've consumed the first two episodes of this content series, which covered Notorious B.I.G. and NAS, you know that I select a collection of my favorite lyrics from the hip hop artist that provide keen lessons for any CPG entrepreneur. What will make this episode a little different is the fact that Jay Z can speak about CPG entrepreneurship from a place of personal knowledge. For those that aren't aware, Jay Z recently sold 50% of the champagne brand Armand de Brignac, which is known as "Ace of Spades" after its logo, to Moet Hennessy, the wine and spirits division of luxury giant LVMH. I'll explain the real story behind why Jay Z became an alcoholic beverage CPG owner that eventually made him hundreds of millions in the exit. Jay Z might be one of the most successful musicians of the generation, but he also has the type of CPG entrepreneurship (and investing) resume that should put him in the upper echelon of the space. It's also my belief that lyrics from his extensive catalog of music spanning more than two and a half decades will provide strong lessons for any CPG entrepreneur. I picked out a handful of my favorite lyrics that I know will bring you value… Notorious B.I.G. = https://youtu.be/z4vau3pstNs NAS = https://youtu.be/qy-sN6lKzKk FOLLOW ME ON MY SOCIAL MEDIA ACCOUNTS LINKEDIN https://www.linkedin.com/in/joshuaschallmba TWITTER https://www.twitter.com/joshua_schall INSTAGRAM https://www.instagram.com/joshua_schall FACEBOOK https://www.facebook.com/jschallconsulting MEDIUM https://www.medium.com/@joshuaschall

Tanisha and I were able to view the upcoming documentary, SPARKLING: THE STORY OF CHAMPAGNE. Directed by Frank Mannion and featuring Vitalie Taittinger, Bruno Paillard, Stephen Fry, and Sir Nicholas Soames, SPARKLING: THE STORY OF CHAMPAGNE will be available in select theaters and on demand on August 13th. The film is a love letter to the joys and pleasures of champagne. Major champagne houses featured include Pol Roger (Winston Churchill famously drank over 40,000 bottles in his lifetime), Bollinger (appearing in 15 James Bond movies), as well as Piper-Heidsieck (Marilyn Monroe's favourite), Taittinger, JAY-Z's Armand de Brignac, Cristal, Veuve Clicquot and Queen Elizabeth II's vineyard at Windsor. It explores the legend of the French monk, Dom Perignon, who famously declared "I can taste the stars" when he discovered champagne, and examines the theory that the English actually invented champagne decades before Dom Perignon. It also looks at the impact of climate change. The champagne region is gradually becoming too hot leading to the likes of Pommery and Taittinger acquiring vineyards in southern England where the chalk soil is the same as the champagne region. The film was shot on location in France, England, New York and LA.Follow The Swirl Suite:@SwirlSuitewww.swirlsuite.com Sarita @VineMeUpTanisha @GirlMeetsGlassLeslie @Vino301Glynis @Vino_NoireSupport this show http://supporter.acast.com/SwirlSuite. See acast.com/privacy for privacy and opt-out information.

Tanisha and I were able to view the upcoming documentary,SPARKLING: THE STORY OF CHAMPAGNE.Directed by Frank Mannion and featuring Vitalie Taittinger, Bruno Paillard, Stephen Fry, and Sir Nicholas Soames,SPARKLING: THE STORY OF CHAMPAGNEwill be available in select theaters and on demand on August 13th.The film is a love letter to the joys and pleasures of champagne. Major champagne houses featured include Pol Roger (Winston Churchill famously drank over 40,000 bottles in his lifetime), Bollinger (appearing in 15 James Bond movies), as well as Piper-Heidsieck (Marilyn Monroe's favourite), Taittinger, JAY-Zs Armand de Brignac, Cristal, Veuve Clicquot and Queen Elizabeth II's vineyard at Windsor. It explores the legend of the French monk, Dom Perignon, who famously declared "I can taste the stars" when he discovered champagne, and examines the theory that the English actually invented champagne decades before Dom Perignon. It also looks at the impact of climate change. The champagne region is gradually becoming too hot leading to the likes of Pommery and Taittinger acquiring vineyards in southern England where the chalk soil is the same as the champagne region. The film was shot on location in France, England, New York and LA.Follow The Swirl Suite:@SwirlSuitewww.swirlsuite.comSarita @VineMeUpTanisha @GirlMeetsGlassLeslie @Vino301Glynis @Vino_NoireSupport this show http://supporter.acast.com/SwirlSuite. See acast.com/privacy for privacy and opt-out information.

Tanisha and I were able to view the upcoming documentary, SPARKLING: THE STORY OF CHAMPAGNE. Directed by Frank Mannion and featuring Vitalie Taittinger, Bruno Paillard, Stephen Fry, and Sir Nicholas Soames, SPARKLING: THE STORY OF CHAMPAGNE will be available in select theaters and on demand on August 13th. The film is a love letter to the joys and pleasures of champagne. Major champagne houses featured include Pol Roger (Winston Churchill famously drank over 40,000 bottles in his lifetime), Bollinger (appearing in 15 James Bond movies), as well as Piper-Heidsieck (Marilyn Monroe's favourite), Taittinger, JAY-Z's Armand de Brignac, Cristal, Veuve Clicquot and Queen Elizabeth II's vineyard at Windsor. It explores the legend of the French monk, Dom Perignon, who famously declared "I can taste the stars" when he discovered champagne, and examines the theory that the English actually invented champagne decades before Dom Perignon. It also looks at the impact of climate change. The champagne region is gradually becoming too hot leading to the likes of Pommery and Taittinger acquiring vineyards in southern England where the chalk soil is the same as the champagne region. The film was shot on location in France, England, New York and LA.Follow The Swirl Suite:@SwirlSuitewww.swirlsuite.com Sarita @VineMeUpTanisha @GirlMeetsGlassLeslie @Vino301Glynis @Vino_NoireSupport this show http://supporter.acast.com/SwirlSuite. See acast.com/privacy for privacy and opt-out information.

What would you describe as being unique or different about your business? When is the last time you thought about it or even celebrated it? Today's guests, William Benson and Patrick Ductant are co-Founders of Billionaire's Row and they share their stories about how they differentiate in the highly competitive adult beverage industry.**Check out Billionaire's Row Champagne: https://billionairesrow.com/**Learn more about franchising your business and Big Sky Franchise Team: https://bigskyfranchiseteam.com/    ABOUT OUR GUESTSPatrick Ductant and William Benson are co-founders of Billionaire's Row, a premier black-owned champagne brand.   Billionaire's Row has been the champagne of choice by many celebrities and VIPs including Stevie Wonder, the Kardashians, and Kensington Palace.Billionaires Row is a global luxury brand company that designs, develops, and markets luxury goods for the modern trendsetting and affluent customer. We infuse new cutting-edge concepts and iconic fundamentals into every product experience.  Outside of rapper/mogul, Jay-Z's Armand de Brignac, Billionaire's Row is the only other black-owned champagne brand to be recognized by both the federal government in France and the United States. Billionaires Row brand endorses a unique passion for distinction and exclusivity, fuelling its rise to one of the most recognizable brands in the world today.  The company's mission is: To inspire and empower individuals to reach for their dreams while protecting human welfare and advancement by furthering private initiatives for the good of the public by focusing on love for humanity, quality of life, and planet preservation.ABOUT BIG SKY FRANCHISE TEAM:This episode is powered by Big Sky Franchise Team. If you are ready to talk about franchising your business you can schedule your free, no-obligation, franchise consultation online at: https://bigskyfranchiseteam.com/ or by calling Big Sky Franchise Team at: 855-824-4759.   

Tonight's special guest is John Anderson from River Ridge, Louisiana, a child abuse survivor and cofounder of SCSA (Survivors of Childhood Sex Abuse). "My abuse started at the age of nine at St. Matthew in River Ridge, Louisiana," he explains. "It continued for three weeks in class in front of other students. I was threatened and scared. My friends saw Brignac abusing me with their own eyes. So did many other students. They would climb on top of garbage cans to watch him through the windows in the hall. It took the help of one of the witnesses to tell my parents. I couldn't." John goes on, "I started breaking down. My life would never be the same. 6 different schools later I barely graduated. My mother was in her third trimester with my brother while trying to convict George Brignac. We had him arrested and with a bench trial Brignac was acquitted for the reasons of conspiring to expose his celibacy. I had two witnesses. Brignac is the Louisiana's most prolific rapist, managed to get 26 victims after me. I was the first." Today he's getting better. "I do suffer extensive damage physically and mentally. C-PTSD, fibromyalgia, permanent nerve damage, depression and anxiety. I have been going to doctors since I was 10. Today I am disabled, but help run  www.scsaorg.org as Vice President and co-founder with two other New Orleans survivors. I use my experience of 45 years to help any and all victims." John is happier now, "I am a musician on Facebook where I play songs of healing daily. I have been seen in Sports Illustrated, Big Easy New Orleans magazine, NOLA.com, and the NO Advocate newspaper, as well as our local TV station here in New Orleans."

Moet Chandon acquired 50% of Jay-Z's Armand de Brignac this past week. The champagne sold more than 500k bottles in 2019. We congratulate Mr. Carter for his unrivaled success and wish him many more to come.

Jay-Z is expanding his empire. The rapper and entrepreneur announced on Monday that he had sold 50 percent ownership of the Armand de Brignac champagne he has owned since 2014 to luxury brand Moët Hennessy Louis Vuitton. "Shawn JAY-Z Carter is pleased to announce a partnership with Moët Hennessy as they acquire a 50% stake in Armand de Brignac," the champagne brand wrote on Twitter. "The partnership reflects a shared vision between Moët Hennessy and Shawn JAY-Z Carter for the future of this iconic Maison." The financial terms of the deal were not disclosed, according to the New York Times. What's going on Internet, Analytic here aka Dreamz and I would like to welcome you to mine, which I call the Notorious Mass Effect Podcast! I am your Hip-Hop / Gaming News source with a little bit of R&B mixed in. For Episode 39:“DRAKEO THE RULER- TALK TO ME FT DRAKE” “BOBBY SHMURDA” “POKEMON & POST MALONE” “JAY-Z” But before that make sure to Click my Linktree in my bio to access my social medias and follow, to keep up with my latest activities, if you want to financially support the show click my cash app link located towards the top of my linktree as it helps the show overall, also make sure to share this podcast as this helps the show reach more people so we can grow together and effect the masses! --- Support this podcast: https://anchor.fm/masseffect/support

Dans ce nouvel épisode de Eat's Business, la revue de presse du Business de la Bouffe, Olivier Frey et Daniel Coutinho reviennent sur les conséquences de la crise sanitaire sur la pause déjeuner, sur les défis d'Alexandre Bompard pour Carrefour et sur l'accord entre LVMH et Jay-Z concernant la maison de Champagne Armand de Brignac.Dans cet épisode, sont aussi évoqués l'e-commerçant spécialiste du bio en circuit court Aurore Market, l'opération "Un agriculteur dans votre répertoire téléphonique" en l'absence du traditionnel Salon de l'Agriculture, la polémique du menu unique sans viande dans les cantines scolaires à Lyon, le KitKat vegan, l'avis de Bill Gates sur l'avenir du bœuf synthétique et les ventes en ligne d'alcool. Alexandre Bompard revient sur les résultats de CarrefourLe Figaro, Alexandre Bompard : « L’histoire ne repasse pas les plats, nous avons tourné la page », 18/02/2021Une interview du PDG de Carrefour qui revient notamment sur les résultats du groupe pour l’année 2020 ainsi que l’opération de rapprochement avortée avec le canadien Couche-Tard.Selon lui, “Avec 80 milliards d'euros de chiffre d'affaires, nous n'avons pas de problème de taille critique. Carrefour est à l'offensive, tourné vers la croissance et ne recherche pas de consolidation mondiale. Ces dernières années, on a d'ailleurs plutôt observé un recentrage de grands acteurs sur un nombre réduit de pays où ils sont puissants”. On y apprend par ailleurs (mais sans surprise) que la crise sanitaire a accéléré le développement de l'e-commerce dans tous les pays où Carrefour est présent, pour tous les produits et toutes les générations. Ainsi, d’après Alexandre Bompard, Carrefour a gagné 1,3 millions de nouveaux clients en 2020 et les ventes en ligne ont augmenté de 70% dans le monde, à 2,7 milliards d'euros. Il prévoit par ailleurs qu’elles atteindront 4,2 milliards en 2022. Désormais, Carrefour représente 14% du marché du drive en France et est leader de celui de la livraison à domicile, avec 25% de parts de marché.  Les défis d'Alexandre BompardChallenges, Carrefour : quels défis pour Alexandre Bompard après une année hors norme?, 18/02/2021Alors que le groupe Carrefour a annoncé ses résultats, Challenges s’interroge sur les défis à venir pour son PDG Alexandre Bompard.1er défi : la vitesse d'exécution. Selon Alexandre Bompard, “c'est une année qui compte double” et durant laquelle le groupe doit “accélérer” et “donner de la visibilité aux investisseurs” selon un analyste de chez Barclays. Ceci passera par une amélioration de l'exécution et des performances. Ainsi, après avoir atteint son objectif de 3 Mds d'euros de baisse de coûts à fin 2020, Carrefour s’est fixé pour objectif d’atteindre 2,4 Mds d'euros d’économies de coûts additionnels en année pleine à horizon 2023.2è défi : le e-commerce. Si les chiffres donnés dans l’article précédent sont flatteurs, certains analystes estiment que Carrefour devra prouver qu'il ne s'agit pas uniquement d’un effet d'aubaine lié à la crise sanitaire. Ces chiffres seraient en effet en grande partie tirés par le drive et les drives piétons et Carrefour ne serait pas assez ambitieux dans la livraison à domicile, au risque de se voir dépassé par des acteurs comme Amazon, Deliveroo ou Uber Eats.3è défi : la compétitivité prix. Alors qu’une bataille des prix entre enseignes de distribution est à prévoir (voir la newsletter de la semaine dernière) vu le contexte de crise économique à venir, Carrefour n’est pas le mieux positionné au niveau des prix.4è défi : le cours de bourse. Selon les analystes, les principaux actionnaires de Carrefour souhaitent vendre leurs actions pour sortir du capital. Ainsi, l’un des défis du PDG est d’améliorer le cours de l’action Carrefour. Cette hausse du cours serait urgente car, selon les observateurs, Couche-Tard n'a pas abandonné son projet de racheter Carrefour. Aurore Market, spécialiste du bio en circuit courtJDD, Aurore Market, bio et solidaire à la fois, 21/02/2021Focus sur une success story du e-commerce français, le site Aurore Market, spécialiste du bio en circuit court. Lancé en 2018, Aurore Market s’est inspiré du modèle de l’américain Thrive Market.Implanté en Auvergne, le site expédie environ 800 colis par jour et compte 20 000 clients réguliers. La spécificité du modèle d’Aurore Market : pour être client il faut d’abord s’acquitter d’une adhésion d’un montant de 60 euros, qui vous donne ensuite accès à une gamme de 4000 produits. Selon Roman Régis, l’un des co-fondateurs, ce système d’adhésion permet de pratiquer des marges plus faibles. Ainsi, Aurore Market n’a pas de dépenses marketing ni de budget pour l’acquisition de nouveaux clients. Grâce à son assortiment réduit, le site va réaliser de gros volumes sur chacune de ses références ce qui lui permet d’obtenir un meilleur tarif d’achat.A noter également que le site propose une collecte pour les étudiants en difficulté. Chaque euro collecté permettra de réaliser un panier d’une trentaine d’euros qui sera envoyé aux étudiants qui se seront inscrits au programme. Salon de l'Agriculture 2021 : les agriculteurs au bout du filLe Figaro, En l’absence de salon, les agriculteurs s’invitent dans le téléphone des Français, 23/02/2021Le collectif Ici la Terre, qui réunit 130 producteurs a lancé ce lundi l’opération « Un agriculteur dans votre répertoire téléphonique ». Le but de cette opération : proposer aux citoyens, qui se seront au préalable inscrits sur le site du collectif, d’être rappelés par un exploitant pour répondre à leurs questions sur le métier d’agriculteur.Selon l’un des co-fondateurs, “la démarche est de recréer un lien direct avec les Français, d’expliquer notre métier. Il est indispensable, lorsqu’on s’intéresse à l’agriculture, d’avoir un référent sur le sujet dans son répertoire”. L’article précise que cette opération est financée par une cagnotte Leetchi, qui a permis de récolter 6 000 euros il y a deux ans.Si vous vous interrogez sur ce beau métier, n’hésitez pas à utiliser cette initiative mise en place par Ici la Terre. Les pauses déjeuners en temps de Covid-19Le Figaro, Comment la crise sanitaire a transformé nos pauses déjeuner, 18/02/2021Entre la fermeture des bars et restaurants, le développement du télétravail et les mesures de distanciation au sein des entreprises, la pause déjeuner a complètement changé de visage et, comme le précise l’article, est devenue “un moment de plus en plus solitaire”. Pour ceux qui ne peuvent pas télétravailler, les plats à emporter et les sandwichs ont remplacé les déjeuners à la cantine ou au restaurant et s’avalent souvent dans la voiture faute de pouvoir s’attabler quelque part. Pour ceux qui télétravaillent, les repas sont cuisinés ou livrés et consommés à la maison. Enfin, les déjeuners d'affaires, sont également de moins en moins fréquents.Plus cocasse, on apprend qu’un décret paru le 14 février autorise désormais les salariés à déjeuner à leur bureau, devant leur ordinateur. En effet, cette pratique était jusqu’à présent illégale…Un chiffre résume tous ces changements : 700 millions d'euros, c’est le montant estimé des tickets restaurants non utilisés. C’est pourquoi le ministère de l’Économie a décidé de prolonger la durée de validité des tickets-restaurants de l'année 2020, jusqu'en septembre 2021. Menu unique végétarien dans les cantines scolaires à LyonBFM TV, A Lyon, un menu unique dans les cantines à partir de lundi, 18/02/2021C’est la polémique de la semaine, le maire écologiste de Lyon a imposé un "menu unique sans viande" dans les cantines scolaires de la ville depuis la rentrée des vacances de février, au nom de la lutte contre le Covid. Selon Stéphanie Léger, l'adjointe chargée de l'Éducation, "Le nouveau protocole sanitaire impose une distanciation de deux mètres dans la restauration scolaire. Le menu unique va nous permettre d'accélérer le service et ainsi nous permettre d'accueillir tous les enfants" et ce menu unique sans viande permettrait de “servir plus rapidement les élèves et fluidifier les repas”.Une telle décision fait évidemment débat au sein de monde politique mais également au sein du monde agricole. KitKat veganLes Echos, KitKat vegan : la course au chocolat végétalien s'accélère, 16/02/2021Nous en parlions la semaine dernière, Nestlé lance une version vegan de ses célèbres Kit Kat. Dénommée KitKat V, il s’agit selon l’article d’une “des premières d'un acteur majeur du secteur à être 100% végétaliennes”. Pour fabriquer cette version végane, Nestlé utilise une formule à base de riz comme substitut de lait. Mais il s’agit d’un défi technique car le groupe a mis deux ans à développer cette nouvelle gamme. En effet, selon l’article, les alternatives véganes au chocolat au lait sont compliquées à développer car il faut s'assurer que l’alternative au lait utilisée “se marie bien avec le cacao et le sucre pour arriver à une texture crémeuse”. C’est pourquoi, la plupart des chocolats végans présents sur le marché sont des chocolats noirs.  L'avis de Bill Gates sur l'avenir de la viande de bœuf synthétiqueMIT Technology Review, Bill Gates : Rich nations should shift entirely to synthetic beef, 14/02/2021Un entretien avec Bill Gates, qui sort un livre intitulé “How to Avoid a Climate Disaster”, dans lequel il explique ce que, selon lui, il faudra réellement faire pour éliminer les émissions de gaz à effet de serre à l'origine du changement climatique.Dans ce livre, il adresse notamment le secteur de l’alimentaire. Et parmi les propositions de Bill Gates évoquées lors de cet entretien, il y a celle-ci : “Je pense par contre que tous les pays riches devraient passer à une viande de bœuf 100 % synthétique. On peut s'habituer à la différence de goût, et on prétend qu'ils vont la rendre encore meilleure avec le temps”.Rappelons que Bill Gates est investisseur, à titre personnel ou par l'intermédiaire de Breakthrough Energy Ventures, dans plusieurs des entreprises qui proposent des alternatives à la viande, notamment Beyond Meats, Impossible Foods, Memphis Meats et Pivot Bio. Accord entre LVMH et la marque de Champagne de Jay-ZThe New York Times, Jay-Z and LVMH, Two of the World’s Biggest Brands, Go Into Business, 22/02/2021LVMH va acquérir la moitié d'Armand de Brignac, la marque de Champagne, couramment appelé « L’as de pique », propriété du chanteur Jay-Z qui l’a acquise en 2014.Cet accord donne à Jay-Z le soutien organisationnel et le pouvoir de distribution d’un leader mondial des boissons tandis que LVMH obtient l'influence cool et le savoir-faire en matière de marketing lifestyle d'un leader culturel noir qui fait autorité à un moment où le racisme dans le secteur du luxe est particulièrement surveillé.Comme l’explique l’article, pour LVMH il ne s’agit pas seulement d'acheter une nouvelle marque de boissons, mais également d’acheter un savoir-faire culturel et pénétrer des marchés qui ne sont pas traditionnellement desservis par certaines de ses marques.Aucune des deux parties n’a divulgué le montant de la transaction. Ventes en ligne d'alcoolBloomberg Businessweek, Online Booze Gets a Covid Boost, 15-22/02/2021Un article intéressant sur la percée du e-commerce dans la vente d’alcools aux Etats-Unis en 2020. Le grand brasseur américain Molson Coors a par exemple vu ses ventes en ligne progresser de 230% sur les 11 premiers mois de 2020.Comme partout dans le monde, les fermetures de bars et restaurants aux Etats-Unis ont forcé les acteurs de ce secteur à se mettre au e-commerce. Mais la vente en ligne d’alcool était auparavant très compliquée aux Etats-Unis, notamment à cause du 21è amendement voté en 1933 à la fin de la prohibition mais également des lois propres à chaque Etat. Car, si de nombreux États autorisent la livraison à domicile depuis des années, les réglementations ont souvent été très restrictives, rendant cette option infaisable pour de nombreuses brasseries et détaillants. Par exemple, seuls 12 Etats autorisent les expéditions en dehors de leur territoire pour la bière et l'alcool. Mais en 2020, la pandémie a ouvert une nouvelle voie et une majorité d'États ont fait de leur mieux pour répondre à la crise en autorisant de nombreuses formes de distribution d'alcool à emporter et à livrer pendant la pandémie. Les fabricants de vins et spiritueux se sont dans un premier temps appuyés sur les services offerts par des startups comme Drizly, Thirstie ou Speakeasy pour développer leur offre de e-commerce.L'annonce faite début février 2021 de l'acquisition par Uber du service de distribution de boissons Drizly, pour 1,1 milliards de dollars, est vue comme un tournant qui pourrait booster la croissance de la distribution d'alcool en ligne. Les Etats-Unis sont désormais en passe de devenir le plus grand marché pour le e-commerce de vins et spiritueux. Drizly estime ainsi que la part des ventes en ligne d’alcool aux Etats-Unis devrait passait de 5% aujourd’hui à 20% d’ici 5 ans. Découvrez l’émission Eat’s Businesshttps://businessofbouffe.com/podcast-eats-business Pour vous abonner à la newsletter Eat’s Businesshttps://businessofbouffe.com/revue-de-presse-eats-business-newsletter

In this episode, I discuss America's largest private employer Walmart announcing they're raising their average minimum wage to $15 per hour for their US employees. I breakdown the video of Cam Newton talking to a young kid who was seen talking out of line to him while attending his football camp. I also talk about Jay-Z announcing that he sold 50% of Armand de Brignac champagne aka Ace of Spade champagne to luxury brand Moët Hennessy Louis Vuitton. If you'd like to grab some merch, canvas prints for your home or office, or see the full length video from this episode please visit dopevision.com. Follow me on Instagram, Facebook, Twitter, @dopevisionsf. Send me an email of someone you'd like to hear on the podcast at dopevisionsf@gmail.com Also, please join the Dope Vision Club at patreon.com/dopevision for early access to content and a behind the scene look of some of my episodes. While you're listening don't forget to hit the subscribe button and comment on the podcast as well my YouTube channel and turn on the notifications so you'll be notified each and every time I drop a new episode. Thanks for listening and remember it's collaboration over competition. Enjoy! If you'd like to schedule a quick 15min meeting with me please use the provided link below https://calendly.com/d/dktk-mps7/15-minute-meeting --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Dan shares thoughts on Jay Z selling 50% of Armand de Brignac to LVMH, Cristal, and how it all ties together. After that, Dan gives an audio version of the Trapital essay, How More TikTok Stars Can Succeed in the Music Industry. Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSS Host: Dan Runcie, @RuncieDan, trapital.co Links: Jay Z Puts a Cap on Cristal (2006) New York Times Jay Z and LVMH Pop the Cork in Champagne Tie-Up Wall Street Journal How More TikTok Stars Can Succeed in the Music Industry Trapital Hip-hop’s influence continues to grow. Learn how it impacts your business. Join the execs, CEOs, and moguls who read Trapital: trapital.co/newsletter

Welcome back to The kPodcast and thanks for tuning into Episode 32! Today we'll be discussing some updates with kPod, the weather issues in Texas, the U.S. re-joining the Paris Climate Agreement, Bobby Shmurda being released from prison, Jay-Z partnering with luxury brand giant LVMH, Jim Jones being the official weatherman for Revolt TV, Daft Punk breaking up, and Naomi Osaka beating Serena Williams. Thank you so much for listening and please be sure to email therealkpodcast@gmail.com with any feedback, comments, suggestions, and/or questions!

Aussie design/tech company Canva is buying European design startups to drive the next phase of its growth. Jay-Z has sold 50% of his Armand de Brignac (aka Ace of Spaces) champagne to LVMH, the owner of Dom Perignon. LinkedIn is building a marketplace for white collar gig workers to find jobs. --- Save money and win cash prizes up to $250k weekly: https://www.flux.finance/ --- The content in this podcast reflects the views and opinions of the hosts, and is intended for personal and not commercial use. We do not represent or endorse the accuracy or reliability of any opinion, statement or other information provided or distributed in these episodes.

durée : 00:02:09 - Le brief éco - Le groupe de luxe dirigé par Bernard Arnault prend une participation de 50% dans la marque Armand de Brignac, détenue par Jay-Z depuis une quinzaine d’années.

This podcast is sponsored by: BetterHelp 1. Kim officially filed for divorce from Kanye. 2. The 411 on social media’s newest app Clubhouse and it’s founders. 3. Elon is starting to doubt the Bitcoin rally. 4. LVMH will acquire half of Jay-Z’s champagne brand, Armand de Brignac also known as Ace of Spades. 5. “The CAKE” Play of the day: I Care A Lot (Netflix) -- BetterHelp Get 10% off your first month using code cake.  Go to https://betterhelp.com/cake and get started today! --- Follow us on Instagram! Jess - https://www.instagram.com/girlonthestreet_/ Brittany - https://www.instagram.com/brittany.lo/ Cake For Breakfast - https://www.instagram.com/cakeforbreakfastpodcast/

CommercioTra il 2012 e il 2020 sono sparite dalle città italiane oltre 77mila attività di commercio al dettaglio (-14%) e quasi 14mila imprese ambulanti (-14,8%), con un progressivo processo di desertificazione commerciale. Così l'analisi dell'Ufficio Studi di Confcommercio "Demografia d'impresa nelle città italiane", che lancia un altro allarme: nel 2021, solo nei centri storici dei 110 capoluoghi di provincia e altre 10 città di media ampiezza, oltre ad un calo ancora maggiore per il commercio al dettaglio (-17,1%), si registrerà per la prima volta da due decenni la perdita di un quarto delle imprese di alloggio e ristorazione (-24,9%). Milleproroghe Le commissioni Affari costituzionali e Bilancio della Camera hanno votato il mandato ai relatori Giuseppe Brescia e Fabio Melilli di riferire favorevolmente in Aula sul decreto Milleproroghe. Il testo era dunque atteso oggi in assemblea per l'ok in prima lettura, per poi passare al Senato. Dietro la Notizia Lvmh si allea con Jay-Z per aiutare lo champagne del rapper, Armand de Brignac, a espandersi a livello globale. Jay-Z ha venduto il 50% della società che produce lo champagne a Moet Hennessy, colosso delle bollicine di Lvmh. Moet Hennessy è il "partner naturale" per spingere Armand de Brignac "al livello successivo di gusto e distribuzione", dice il rapper. OSPITI: Mariano Bella, Direttore Ufficio Studi Confcommercio, Alessandro Plateroti, editorialista Sole 24 Ore, Gianni Trovati, Sole 24 Ore.

On Episode 35 of the Messy Mom Magic Podcast, Stephanie & Chrissie speak with Dr. Theresa Brignac, an OB GYN with Louisiana Women’s Healthcare.We discussed all things GYN, including periods, post-partum depression, hormonal changes and imbalances, hemorrhoids, libido, mammograms, and more. We asked all the questions that women want to know, including—is my period “normal?” Do we really have to do Kegels? Does the doctor notice whether we shave? What’s peri-menopause like? How do we bring up post-partum depression with our doctors?This was a fun and informative episode, but does have adult themes, so please take this into account with younger listeners.

On this episode Jonathan Brignac (VP – Business Development at Edge Gathering Virtual Pipeline) joins us and gives us background on how he’s always wanted to be in sales since he was a child watching his two grandfathers in sales. Jonathan dives into his previous roles and the challenges and successes he has had in his previous roles (from being fresh out of college, to building a team, to restructuring, to betting on himself in his latest endeavor). One thing is certain is that throughout his past his mentors have set him up for success, which is why Jonathan takes such focus on mentoring others as he believes in giving back to our industry. He then discusses his current role at Edge and the benefits of utilizing their technology for companies ESG efforts, in that Edge can 1) reduce flaring and 2) cut cost by displacing diesel on location. We then get into the current market environment and the changes in the oilfield since March. He leaves us with his favorite quote: “If you’re going through hell, keep going.” (Winston Churchill). Thanks Jonathan for stopping by and chatting with us!

在足够年长到合法喝酒之前，我们已经通过广告对各种酒水品牌有了或多或少的认知。除了标榜产品工艺精良、口感出众的卖点罗列型广告，也有不少以创意取胜的广告作品，给人留下了深刻印象。本期节目，两位主播将与来自《贝望录》的Jennie，从营销创意的角度，分享一些我们喜欢的酒水广告，并分析广告背后的商业逻辑，以及创意折射出的社会思潮的变化。微信搜索bgsyxzs加入听众交流群，欢迎您参与互动。 【主持】戴鸿靖（微信公众号：佛门太闲）钱老板（微信公众号：酒壶和点唱机）【嘉宾】Jennie（播客：《贝望录》）[04:40] 重大体育赛事与品牌广告建构的全球共时性[09:10] 品牌广告通过社会议题输出价值观[15:30] 市场结构的不同决定广告策略的差异[19:35] 锁定兴趣圈层[24:05] 麒麟啤酒的“地方创生”[30:15] 女性化的啤酒产品及推广[32:35] 本期推荐：札幌啤酒[38:20] 商业广告与政治议题[42:45] 一支成为上海人集体记忆的啤酒广告歌【本集酒单】喜力Heineken百威Budweiser红魔鬼Casillero del Diablo奔富Penfolds柏阁干红黑桃A Champagne Armand de Brignac绝对伏特加Absolut Vodka札幌啤酒Sapporo麒麟啤酒Kirin 哈尔滨啤酒Harbin Beer燕京啤酒Yanjing Beer雪花马尔斯绿啤酒Marrs Green三得利金麦Suntory Rich Malt三得利和乐怡Horoyoi山姆亚当斯啤酒Samuel Adams力波啤酒Reeb Beer【音乐】Strawberry Fields Forever (The Beatles, Magical Mystery Tour)喜欢上海的理由 （孔佳）【logo设计】杨文骥【后期制作】Nikko【制作总监】王若弛【节目助理】猫老师【收听方式】推荐您使用Apple播客、Spotify、小宇宙App或任意安卓播客客户端订阅收听《杯弓舌瘾》，也可通过网易云音乐、喜马拉雅、蜻蜓FM和荔枝FM收听。【本节目由JustPod出品】【互动方式】商务合作：contact@justpod.fm微博@杯弓舌瘾TipsyProof 微信公众号：杯弓舌瘾微博@播客一下 微信公众号：播客一下

Not even sure if anyone reads these descriptions but, anyway. This week the boys are on scene and off the beeeeaaaannn. If the cinema in your city is still closed, don’t worry, it’s always a movie here at the hottest podcast on the mother f**king planet. Especially when BAIT rolls the tapes on their Toy Story themed Reebok’s, Ben Baller adds some diamonds to the deck, NBA 2K and the Swoosh link us with THE Larry O’Brien, FTP and Lakai show us how to celebrate, and Michael Jordan takes us on an exclusive trip overseas. Universal balance is finally restored now that Supreme is back in action after a loooong week off, amirite?! Palace drops some bars on us from across the pond, Jimmy Gorecki and Standard Issue Tees pop a top on some Armand de Brignac, Eric Emanuel screams the sky is the limit, and Wacko Maria lights one up for Bob Marley’s 75th birthday. The 6 God Drizzy Drake hit our hotline and said next years blessings will be in the form of Nike’s, and we’re not even mad about it. Sean Wotherspoon and ATMOS will “soon” offer up a sticky situation, the Air Max 95 is waiting on its chaining day, and YEEZY gives us a glimpse of his latest creation. All this, and much more at H&A. Now, if you made it this far into the excerpt, the latter statement might surprise you, but yes, we really do talk about more than what’s mentioned here in this absolute slapppp of an episode. For more HERE & AIR check us out on @hereandairpodcast on Instagram. And follow us individually: @angelolaviero & @stacksdn . --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

live from the COVID Pavillion at Porchella 2020

In this episode we had the pleasure of speaking with Donae Burston Founder and CEO of La Fete du Rosé.  In this episode we speak to Donae about:  Rosé, Rosé, Rosé !!!!! Lessons from Corporate America Marketing to the Community And so much more…………… Donae's Bio   Donae Burston is a luxury wine & spirits leader with over 15 years of industry experience. Born in Baltimore, Maryland, Donae achieved a Bachelor of Science degree, majoring in Mathematics from Clark Atlanta University in 1998. He concurrently completed a second degree in Industrial Engineering from Georgia Tech, before he began his career in the information technology sector, initially consulting on Healthcare Systems. In 2003, Donae entered the alcohol industry, working on the promotional side of a number of iconic brands in the U.S, before he joined the luxury group, LVMH. During his 10+ years with the company, he worked across brands such as Dom Perignon, Veuve Clicquot, Ruinart, Moet & Chandon, Belvedere Vodka and Hennessy Cognac. While with LVMH, in 2011, Donae created the first-ever luxury champagne bar in a sports arena at American Airlines Arena during the Miami Heat's championship run. In 2016, Donae became the Regional Director of the Southeast U.S, Caribbean and Latin America regions of Armand de Brignac Champagne in which he was responsible for the brand's commercial and marketing goals in each territory. While with Armand de Brignac, he achieved a 206% increase of sales in the Southeast U.S. for the brand. Throughout his career, Donae found that in general, the wine industry was not embracing the multicultural consumer (in messaging, marketing/event participation, social media, etc). As an African-American man himself, he wanted to create a quality product inspired by his zest for life and travel that honed in on catering to the margin that had been overlooked, particularly when it came to rosé. With a commitment to create a St. Tropez rosé that is both authentic and exceptional, in 2017 Donae went directly to the esteemed Domaine Bertaud Belieu winery. After several trips and a number of blending and tasting sessions, in summer 2019, La Fête du Rosé was born - a brand that speaks to all demographics with a focus on targeting the multicultural audience; hence the name “La Fête” – which translates to “the rosé party” – one that everyone is invited. Donae splits his time between Miami and Atlanta, where he lives with his fiancée and their 2 year old son, Noah.  For more information:  https://lafeterose.com/ Social Media: Instagram: @lafeterose Facebook: @lafeterose

Matthew 27:6

I have always been attracted to stories of transformation and enlightenment. A man is one way today, then something critical shifts in his life, and he wakes up as a new man.  It had been years since I had seen Mike Brignac, but when he came to visit me on Find the Good News it was clear that I was talking with a man that had come out of a chrysalis. Mike spoke to me with an honesty that I’ve come to appreciate from my guests. He was fearless and truthful in the way he recounted his days as a local media personality. He relentlessly dissected and described the man he was, someone that he painted as filled with ego and self-centered ways. In one of the most humble and graceful testimonies I’ve ever heard, Mike described his shift away from media, local fame, and his decent. After an unfortunate accident, Mike entered a seven-year sentence of declining health which left him debilitated and dependent on others for his care. It was in this state—bed-ridden and imprisoned within his own body—that Mike Brignac changed his mind. He discovered that the healing of his body, mind, and spirit lay within the power of his imagination. Only one word could describe what came next—a miracle. Mike’s story will challenge the logical thinker, the supernatural denier, a hardened unbelieving heart, or a mind that disregards anything fantastic as fiction. Maybe it will challenge you. Regardless, I would encourage you to listen to Mike’s story with an open mind and heart. Listen to every word. Perhaps he has been where you have been, or to places you have yet to go. Maybe you have your cocoon yet to weave, or perhaps you are just emerging from your chrysalis. My conversation with Mike Brignac reminded me—yet again—that we all have the potential to change. Sometimes life is like a wheel spinning around us, out of control, but the good news is that sometimes— through our imaginative thinking—we can turn the wheel ourselves to a better way. ========== FOR MORE INFO ABOUT MIKE BRIGNAC >> www.facebook.com/mike.wbrignac  or https://feelingtwisty.podbean.com/ ========== FIND THE GOOD NEWS IS PRODUCED BY PARKER BRAND CREATIVE SERVICES >> www.ParkerBrandUp.com ========== SUPPORT OUR ADVERTISERS ••••••••••••• BEN VON DUKE'S HANDYMAN SERVICE >> www.facebook.com/BenVonDukeMaint or Call (337) 540-1355 ••••••••••••• FRESH FUEL >> www.TheFreshFuel.com or www.facebook.com/thefreshfuel  ••••••••••••• ASAP GLASS >> www.ASAPGlassCo.com or Call (337) 527-5455 ••••••••••••• WHISTLE STOP DANCESPORT >> Call (337) 515-7577 ••••••••••••• BRIMSTONE MUSEUM >> www.brimstonemuseum.org or Call (337) 527-0357 •••••••••••••

Descarga este episodio LA NUEVA TENDENCIA ‘MILLENIAL’ EN ÁFRICA: recuperar la agricultura. Varios jóvenes africanos con educación universitaria dejaron trabajos profesionales para volverse agroemprendedores que usan aplicaciones de procesamiento de datos y otros métodos con el fin de demostrar que la agricultura puede ser rentable para el futuro económico del continente. EL OBSERVADOR   TRUMP VISITA REINO UNIDO. El presidente de Estados Unidos, Donald Trump, durante su visita de Estado a Londres este lunes ha prometido un "gran acuerdo comercial" una vez que Reino Unido se libere de "los grilletes" de la UE. En un discurso centrado en la estrecha relación que une a Washington y Londres desde la Segunda Guerra Mundial, la monarca ha resaltado ante Trump el valor de las instituciones multinacionales que se constituyeron tras aquella contienda. Esto sucedió al término de la primera de las tres jornadas previstas de su visita. ABC | RTVE   PAGO MILLONARIO POR UN ALMUERZO. Un postor anónimo acordó pagar más de $ 4.5 millones por un almuerzo privado con el multimillonario Warren Buffett. Buffett es el presidente de Berkshire Hathaway y uno de los hombres más ricos del mundo. Lleva realizando esta subasta durante casi 20 años seguidos. Los ingresos van a la Fundación Glide, una organización benéfica que atiende a los pobres, las personas sin hogar y las personas que luchan contra el abuso de sustancias. ENTREPRENEUR JULIAN ASSANGE. Un tribunal sueco rechazó este lunes el pedido de la fiscalía para detener "en ausencia" al fundador de WikiLeaks, Julian Assange, acusado de una presunta violación cometida en Suecia en 2010 y que se encuentra actualmente encarcelado en Londres. La decisión del tribunal de Uppsala (este), que puede ser apelada, es un revés para la acusación, que esperaba emitir una orden de detención europea para transferir al australiano a Suecia antes de la prescripción de los hechos en agosto de 2020. ABC GOOGLE BAJO LA LUPA ANTIMONOPOLIO. Se espera que el Departamento de Justicia inicie una nueva investigación en Google, que podría llevar a nuevas regulaciones gubernamentales contra una de las compañías más poderosas del mundo. Los críticos dicen que Google usa su motor de búsqueda para promover su propio contenido y perjudica a la competencia. Google dice son quejas fuera de fecha. Además, los reguladores decidieron que el Departamento de Justicia supervisará a Google, mientras que la Comisión Federal de Comercio (FTC) vigilará Amazon. Las cotizaciones de las acciones de Alphabet, Amazon y Facebook, tres de los mayores gigantes tecnológicos de Estados Unidos, cayeron con fuerza tras las informaciones publicadas en los últimos días sobre posibles investigaciones antimonopolio. EUROPA PRESS | EL PAIS   DÍA DE NOVEDADES APPLE. Apple mostró por primera vez este lunes el iOS 13. Fue en el marco de la  Worldwide Developers Conference 2019 (WWDC) Esta es la próxima versión de su sistema operativo móvil que llegará de manera oficial en septiembre pero del que ya conocemos sus principales detalles. Supone no solo la nueva iteración de este software, sino también la independencia del mismo respecto al que corre en el iPad, que a partir de ahora será desarrollado de manera independiente bajo el nombre iPadOS. Además revelaron nuevas funciones de seguridad. Una de ellas es Sign in with Apple, una aplicación en la que se pueden concentrar todas las contraseñas de aplicaciones. También brinda la alternativa de ocultar el correo electrónico cuando un usuario se registre en alguna plataforma para proteger su información personal. EL MUNDO   NUEVO BATMAN. Aparentemente Robert Pattinson ya está listo para convertirse en el nuevo Batman del cine, o al menos eso es lo que sugiere el último tweet del director Matt Reeves. A través de su cuenta en la red social, el director de The Batman habría confirmado los reportes respecto a la elección del actor con un simple tweet que muestra un gif de Pattinson junto a tres emojis de murciélagos. CNET   HABRÁ MUNDIAL DE CLUBES. Rayados de Monterrey (México) y Liverpool (Inglaterra) se conviertieron en los primeros clasificados al Mundial de Clubes 2019. FIFA confirmó que el torneo se realizará al menos por dos ediciones más con Qatar como sede, poniendo fin a las especulaciones e incertidumbre. El sistema de competencia será el mismo que se utiliza desde 2005: los ganadores de la Champions League y la Copa Libertadores tendrán un lugar asegurado en la semifinal, mientras que los de las otras confederaciones (Concacaf, africana, asiática y oceánica, más un equipo del país anfitrión) deberán pelear entre sí por medirse a los conjuntos de los continentes más poderosos del fútbol mundial. GOAL RAPERO BILLONARIO. Jay-Z tiene algo más de lo que jactarse: es el primer rapero que vale ... UN BILLÓN DE DÓLARES. El patrimonio neto de Jay está oficialmente en el exclusivo club de billonarios, según un nuevo informe de Forbes que totalizó todos sus ingresos de múltiples negocios. Se pueden citar la plataforma de Streaming Tidal (100 millones), la compañía de gestión deportiva Roc Nation (75 millones), la marca de champagne Armand de Brignac (310 millones) y otras inversiones. Hasta el momento, pocos artistas llegaron a este hito, sin embargo, Jay-Z es el más joven y el primero en su la industria urbana mundial y a eso podemos agregarle estar casado con la superestrella Beyoncé. CNN  

Libor, the world’s most important number, is going away in 2021. But according to a recent Wall Street Journal article, banks and corporates have been slow to move away from the rate – even as regulators are uncharacteristically ahead of schedule in creating alternatives. So why are finance executives dragging their feet? Laurie Brignac has some thoughts. Brignac is the chief investment officer and head of Invesco’s Global Liquidity Business. She’s a recognized industry expert on corporate investing who has presented at the AFP Annual Conference. Brignac has been in the investment business since 1989 and is on numerous industry committees both in the U.S. and globally. Brignac discussed the “what”, the “when” and the “how” to be ready for the Libor transition. Invesco assets under management are as of May 24, 2019. The opinions expressed are those of Laurie Brignac are based on current market conditions and subject to change. Her opinion may differ from those of other Invesco investment professionals. Invesco Advisers, Inc. is an investment adviser. It provides investment advisory services and does not sell securities. Invesco Advisers is an indirect, wholly owned subsidiary of Invesco Ltd. Invesco and its entities are not directly affiliated with the Association of Financial Professionals. NA5234 AFP 2019, this October in Boston, is where treasury and finance professionals separate the hype from the reality. Visit www.afp2019.org/register to sign up and use discount code PODCASTAFP2019 at checkout to save $100.

Tools To Master The 8 Fundamentals Of Standing Out In Business Interview by Chicke Fitzgerald of the Game Changer Network as a part of the Best of the Game Changer series, showcased on C-Suite Network In their new book STAND OUT: Tools To Master The 8 Fundamentals Of Standing Out In Business, marketing and branding experts Winnie Brignac Hart and Lorrie Brignac Lee provide a framework for developing and refining a message that will resonate in the marketplace. TwinEngine Team Shares Their Strategic Approach: “When you say, ‘this is what we stand for and this is why we do what we do' – you do so with the understanding that you will appeal most to those people who share your values and who relate to what you say you stand for.” STAND OUT will equip CEOs, chief marketing officers, and chief strategy officers with tools and resources to help their business define what it is (distinct advantage), clarify how it represents itself to its prospects and customers (brand), and align these in practical ways to achieve specific measurable goals (strategy). Hart and Lee are founders of TwinEngine, a Houston-based strategic marketing and creative agency. In today's complex business environment, having a superior product or service is not enough to distinguish a company from its competitors, nor can advertising alone command the attention and loyalty of customers. What's needed is a consistent and genuine message that communicates the company's core values, beliefs, and purpose – in short, a brand. As identical twin sisters, the authors have developed a heightened awareness of the importance of perception and reality. From their first-hand experience of dealing with misperceptions and working hard to refine their individual identities, they've honed the ability to perceive differences in other people, companies, and brands. In STAND OUT, Hart and Lee have distilled this ability to help companies see themselves more objectively into a set of tools and exercises, such as the Brand Traffic Control Radar Tool, the Brand Traffic Control Assessment, the Brand Positioning Assessment, and the One-Page Marketing Plan. The Brand Positioning Assessment shows where a company is compared to the competition and competing brands by measuring the four key attributes of a brand: Brand Differentiation How effectively does the brand capture the attention of prospects? Brand Relevance How aligned is the brand to customers' and prospects' needs? Brand Promise How consistently does the brand deliver on its promises? Brand Intelligence How well does the company understand its brand and the quality and impact of the brand experience on its customers? Ultimately, a company's product or service becomes an obvious choice as an extension of its story. The key is authenticity – aligning what an organization communicates about its products or services with what it truly is. When a company's story, messages, and images reflect the values, personality, and lifestyle preferences of its customers, they'll feel more involved with the brand. Winnie Brignac Hart, and Lorrie Brignac Lee, authors of Stand Out – Mastering the 8 Fundamentals of Standing Out in Business and creators of The One-Page Marketing Plan bring 25+ years of marketing experience, 125+ industry awards and a passion for leveraging their twin talents to help companies translate traditional marketing channels into forward-thinking solutions. They have built a reputation as inspired leaders, speakers and savvy interpreters of business brand and personality. At TwinEngine, they have collaborated with the largest public and privately held corporations in the region, helping them define their distinct advantages and what makes them stand out. They define their business style as collaborative and relationship-based, and bring a right-brain approach to the visual organization of ideas and the left-brain efficiencies of real-time brand management. The Game Changer is featured on C-Suite Network.

Building a luxury brand isn't a piece of cake. Matt Laricy dives into exactly how it's done with Matt Ochse of Armand de Brignac Ace of Spades in the Matt Laricy Project's S1 E5: Ace of Spades. We cover what sets Ace of Spades apart, why Matt Laricy Group gifts a bottle at every close, and exactly how Jay-Z got involved. The Matt Laricy Project Podcast covers all things real estate, business, marketing, and entrepreneurship. We can't wait for you to tune in.

This is a flashback episode of the syndicated FuseBox Radio Broadcast with DJ Fusion & Jon Judah for the weeks of July 25 & August 1, 2018 (originally broadcast on the Week of March 30, 2011) with some new and classic Hip-Hop & Soul Music, news and commentary. Our commentary during that week touched base on updates with the after effects of the earthquake + tsunami in Japan, the recent U.N. intervention in Libya news, the possible upcoming U.S. government shutdown due to budget issues and why it's just ridiculous how politicians are dragging this along, the re-birth of the "Birther" fake controversy with President Barack Obama and some other diverse topics here and there. We also had a great interview with Forbes magazine staff writer Zack O'Malley Greenburg about the creative inspiration, work & drama behind his latest book, "Empire State of Mind: How Jay-Z Went From Street Corner to Corner Office". Book Summary: Empire State of Mind tells the story behind Jay-Z’s rise to the top as told by the people who lived it with him–from classmates at Brooklyn’s George Westinghouse High School; to the childhood friend who got him into the drug trade; to the DJ who convinced him to stop dealing and focus on music. This book explains just how Jay-Z propelled himself from the bleak streets of Brooklyn to the heights of the business world. Zack O’Malley Greenburg draws on his one-on-one interviews with hip-hop luminaries such as DJ Clark Kent, Questlove of The Roots, Damon Dash, Fred “Fab 5 Freddy” Brathwaite, MC Serch; NBA stars Jamal Crawford and Sebastian Telfair; and recording industry executives including Craig Kallman, CEO of Atlantic Records, to paint a tantalizing portrait of a very private mogul. Greenburg also reveals new information on Jay-Z’s various business dealings, such as: * The feature movie about Jay-Z and his first basketball team that was filmed by Fab 5 Freddy in 2003 but never released. * The Jay-Z branded Jeep that was scrapped just before going into production. * The real story behind his association with Armand de Brignac champagne. * The financial ramifications of his marriage to Beyonce. _________ Official FuseBox Radio Broadcast Website: http://www.FuseBoxRadio.com Official FuseBox Radio Broadcast Facebook Page: http://www.facebook.com/FuseBoxRadioShow FuseBox Radio Playlist for the Weeks of July 25 & August 1, 2018 [originally broadcast on March 30, 2011] Top Spins (Music Still Lasting in Rotation/Music Played Live on Air Each Week/As Well As Music Requested By The Listeners) 1. Pharoahe Monch/Let My People Go/W.A.R. Media & Duck Down Records (Played Live) 2. Marsha Ambrosius/Butterflies/J Records (Played Live) 3. Illvibe Collective/Medicine Man/Soulspaszm & Fat Beats 4. L*A*W/Brooklyn!/Planet 12 Productions (Played Live) 5. Pro'Verb feat. yU of Diamond District/Too Hip-Hop/White Label (http://www.AllProAllDay.bandcamp.com) (Top Song Requested) 6. Tai Allen + Vicelounge/Canned Goods (It's Love, Love Mash)/Vicelounge & Record Breakin' Music (Top Song Requested) 7. Blueprint/So Alive/Rhymesayers (Top Song Requested) 8. Phil Ade/Use To Be/368 Music Group (Top Song Requested) 9. J-DaVey/Lazy Daze/White Label (http://www.JDaveyBaby.com) (Top Song Requested) 10. Mary Mary/Walking/C2 & Columbia (Top Song Requested) 11. The Villains 21/Heaven For The Wicked/White Label (http://www.myspace.com/thevillains21) (Top Song Requested) 12. Bilal/Levels/Plug Research (Top Song Requested) 13. Stalley feat. Rashad/Slapp/Res Ent. & Milq Music 14. Elucid/Dream On/Discord Research Labs (Top Song Requested) 15. Iyadonna/Actress/32 Track Productions (Top Song Requested) 16. Tiffany Paige feat. Jay ARE/Relax ur Mind/Beatvizion (Top Song Requested) 17. Leila Adu/Sick Department Store/Tracce/Rai Trade, Little Red Hen & Frizz Records (Top Song Requested) 18. Saigon feat. Faith Evans/Clap/Suburban Noize (Top Song Requested) 19. Lupe Fiasco/All Black Everything/Atlantic (Top Song Requested) 20. Dirty Vegas/Electric Love (Alex Tepper ReMix)/Om Records (Top Song Requested) 21. Kyle Rapps feat. Joell Ortiz/Hard Knock Children/Mayehm Ent. (Top Song Requested) 22. Wise Intelligent as Djezuz Jonez/Water Walker/Intelligent Muzik (Top Song Requested) 23. Blu/Amnesia/Nature Sounds (Top Song Requested) 24. The Go! Team/Bust-Out Brigade/Memphis Industries (Top Song Requested) 25. PiEl/Sync/PeilMusic.com (Top Song Requested) Top Adds (New Joints Played Live On This Week's Broadcast) 1. R.E.K.S. feat. Lil' Fame of M.O.P./Cigarettes/Brick Records & Showoff 2. Robert Koch & John Robinson/Channeling/Project Mooncircle 3. Sizzla feat. Anthony Red Rose/Mr. Right/White Label 4. Floyd Lawson/Roof Top Sugar/Record Kicks DJ Fusion Flashback Tracks: Del The Funky Homosapien/Wrong Place/Elektra A Tribe Called Quest feat. Raphael Saadiq & Faith Evans/Stressed Out RMX/Jive Jay-Z feat. Nas/Success/White Label Jay-Z/Dead Presidents/Roc-A-Fella PLUS Some Extra Special Hidden Tracks in the Ausar Ra Black Hawk Master Mix w/ Old School Black Music Classics and Independent Music Finds

Why don't we drink at lunch? That is the whine of Karl Hess (Food Fact or Fiction on the Cooking Channel, Yelling About Paté podcast, stand-up) who shows up to challenge Shaughn with his sultry bass tones. Ellen moderates as best she can.  The grape of the week is Sangiovese! Do you enjoy a Tuscan red wine like Chianti? Well--boom! You are probably enjoying Sangiovese. There is a new mailbag assignment: Tell us the fanciest and/or priciest wine you've sipped! Ellen has enjoyed Armand de Brignac rosé and Shaughn has had a Henri Jayer Richebourg--what have you sipped? Karl's beef is with American's lack of lunchtime drinks. Why can we not have a nice, moderate glass of wine with lunch? That is the question. Shaughn and Ellen pair that whine with a light lunchtime wine that will compliment whatever chopped salad you are munching on: Domaine Martin-Faudot Crémant du Jura Brut Rosé! Learn more about the grapes of this obscure (but growing!) French wine region. They discuss how wine in the USA needs to find a balance--people either drink too much or not at all. Can we not just have a glass or two at lunch and call it a day? The food talk goes deep from "is Blue Apron worth it?" to Karl and Ellen's love for The Food Lab cookbook. Shoutout J. Kenji Lopez-Alt! And let us all put an egg on it!  From there things go deep into the Los Angeles food scene. Where to eat, where to drink? Where should you get natural wine? We have suggestions. The lightning round goes into bastard grapes, obscure French regions and yellow wine! See acast.com/privacy for privacy and opt-out information.

A lot of marketing efforts are being made to convince consumers that Champagne is not just for special occasions. While that's true, some bottles are meant for times of celebration and opulence. Just by looking at the unique metalicized bottle of Armand de Brignac one can tell these cuvees are for special times. Produced by the Cattier family, who have been making fine Champagnes for 11 generations, Armand de Brignac produces five multi-vintage cuvees.. Hip hop star and mogul Jay-Z loved the wine so much he bought the brand in 2014. Winemaker at Armand de Brignac, Emilien Boutillat is a native of Champagne who is committed to creating wines that express the best of Champagne.  While talking with Boutillat and tasting his wines, one can tell his efforts are succeeding.

STAND OUT: Tools To Master The 8 Fundamentals Of Standing Out In Business by Winnie Brignac Hart and Lorrie Brignac Lee. This on demand audio is a part of the The Game Changer Network Series. Chicke Fitzgerald interviews Winnie Brignac Hart and Lorrie Brignac Lee. The original live interview was 8/26/16. In today's complex business environment, having a superior product or service is not enough to distinguish a company from its competitors, nor can advertising alone command the attention and loyalty of customers. What's needed is a consistent and genuine message that communicates the company's core values, beliefs, and purpose – in short, a brand. As identical twin sisters, the authors have developed a heightened awareness of the importance of perception and reality. From their first-hand experience of dealing with misperceptions and working hard to refine their individual identities, they've honed the ability to perceive differences in other people, companies, and brands. In STAND OUT, Hart and Lee have distilled this ability to help companies see themselves more objectively into a set of tools and exercises, such as the Brand Traffic Control Radar Tool, the Brand Traffic Control Assessment, the Brand Positioning Assessment, and the One-Page Marketing Plan. Ultimately, a company's product or service becomes an obvious choice as an extension of its story. The key is authenticity – aligning what an organization communicates about its products or services with what it truly is. Hart and Lee are founders of TwinEngine, a Houston-based strategic marketing and creative agency. Their website is twinengine.com/ To purchase the book click HERE  

Psalm 19-To whom are you listening? God or the world?

Winnie Brignac Hart, Founder, President and Creative Director of TwinEngine, is a truly unique entrepreneur and highly effective leader.  Interesting, it’s the fact that she grew up identically to her sister (they’re twins) that has helped to set her apart. … Continue reading → The post Everything Is “Easy” When We Do This – Winnie Brignac Hart appeared first on Paper Napkin Wisdom - Blog and Podcast For Entrepreneurs, Leaders, and Difference-Makers.

This is a flashback episode of the syndicated FuseBox Radio Broadcast with DJ Fusion & Ausar Ra Black Hawk for the week of April 1, 2015 (due to it just being another VERY hectic week with DJ + press events and more for the radio show...plus with Jay-Z making moves in the streaming angle of the music business with TIDAL as of late, this seemed to be a quality show to pull out of the archives; originally broadcast on weeks of March 30 & April 6, 2011) with some new and classic Hip-Hop & Soul Music, news and commentary. Our commentary during that week focused on the latest updates with the after effects of the earthquake + tsunami in Japan, the recent U.N. intervention in Libya news, the possible upcoming U.S. government shutdown due to budget issues and why it's just ridiculous how politicians are dragging this along, the re-birth of the "Birther" fake controversy with President Barack Obama and some other diverse topics here and there. We also had a great interview with Forbes magazine staff writer Zack O'Malley Greenburg about the creative inspiration, work & drama behind his latest book, "Empire State of Mind: How Jay-Z Went From Street Corner to Corner Office". From the book's website (http://www.JayZBook.com): Empire State of Mind tells the story behind Jay-Z’s rise to the top as told by the people who lived it with him–from classmates at Brooklyn’s George Westinghouse High School; to the childhood friend who got him into the drug trade; to the DJ who convinced him to stop dealing and focus on music. This book explains just how Jay-Z propelled himself from the bleak streets of Brooklyn to the heights of the business world. Zack O’Malley Greenburg draws on his one-on-one interviews with hip-hop luminaries such as DJ Clark Kent, Questlove of The Roots, Damon Dash, Fred “Fab 5 Freddy” Brathwaite, MC Serch; NBA stars Jamal Crawford and Sebastian Telfair; and recording industry executives including Craig Kallman, CEO of Atlantic Records, to paint a tantalizing portrait of a very private mogul. Greenburg also reveals new information on Jay-Z’s various business dealings, such as: * The feature movie about Jay-Z and his first basketball team that was filmed by Fab 5 Freddy in 2003 but never released. * The Jay-Z branded Jeep that was scrapped just before going into production. * The real story behind his association with Armand de Brignac champagne. * The financial ramifications of his marriage to Beyonce. We have brand new Black Agenda Report, Free Press "Media Minutes" and Black University Radio Network (B.U.R.N.) Direct EFX mini-segments on next week's syndicated FuseBox Radio Broadcast episode. FuseBox Radio Playlist for the Week of April 8, 2015 [originally broadcast on the weeks of March 30 & April 6, 2011] Top Spins (Music Still Lasting in Rotation/Music Played Live on Air Each Week/As Well As Music Requested By The Listeners) 1. Pharoahe Monch/Let My People Go/W.A.R. Media & Duck Down Records (Played Live) 2. Marsha Ambrosius/Butterflies/J Records (Played Live) 3. Illvibe Collective/Medicine Man/Soulspaszm & Fat Beats 4. L*A*W/Brooklyn!/Planet 12 Productions (Played Live) 5. Pro'Verb feat. yU of Diamond District/Too Hip-Hop/White Label (http://www.AllProAllDay.bandcamp.com) (Top Song Requested) 6. Tai Allen + Vicelounge/Canned Goods (It's Love, Love Mash)/Vicelounge & Record Breakin' Music (Top Song Requested) 7. Blueprint/So Alive/Rhymesayers (Top Song Requested) 8. Phil Ade/Use To Be/368 Music Group (Top Song Requested) 9. J-DaVey/Lazy Daze/White Label (http://www.JDaveyBaby.com) (Top Song Requested) 10. Mary Mary/Walking/C2 & Columbia (Top Song Requested) 11. The Villains 21/Heaven For The Wicked/White Label (http://www.myspace.com/thevillains21) (Top Song Requested) 12. Bilal/Levels/Plug Research (Top Song Requested) 13. Stalley feat. Rashad/Slapp/Res Ent. & Milq Music 14. Elucid/Dream On/Discord Research Labs (Top Song Requested) 15. Iyadonna/Actress/32 Track Productions (Top Song Requested) 16. Tiffany Paige feat. Jay ARE/Relax ur Mind/Beatvizion (Top Song Requested) 17. Leila Adu/Sick Department Store/Tracce/Rai Trade, Little Red Hen & Frizz Records (Top Song Requested) 18. Saigon feat. Faith Evans/Clap/Suburban Noize (Top Song Requested) 19. Lupe Fiasco/All Black Everything/Atlantic (Top Song Requested) 20. Dirty Vegas/Electric Love (Alex Tepper ReMix)/Om Records (Top Song Requested) 21. Kyle Rapps feat. Joell Ortiz/Hard Knock Children/Mayehm Ent. (Top Song Requested) 22. Wise Intelligent as Djezuz Jonez/Water Walker/Intelligent Muzik (Top Song Requested) 23. Blu/Amnesia/Nature Sounds (Top Song Requested) 24. The Go! Team/Bust-Out Brigade/Memphis Industries (Top Song Requested) 25. PiEl/Sync/PeilMusic.com (Top Song Requested) Top Adds (New Joints Played Live On This Week's Broadcast) 1. R.E.K.S. feat. Lil' Fame of M.O.P./Cigarettes/Brick Records & Showoff 2. Robert Koch & John Robinson/Channeling/Project Mooncircle 3. Sizzla feat. Anthony Red Rose/Mr. Right/White Label 4. Floyd Lawson/Roof Top Sugar/Record Kicks DJ Fusion Flashback Tracks: Del The Funky Homosapien/Wrong Place/Elektra A Tribe Called Quest feat. Raphael Saadiq & Faith Evans/Stressed Out RMX/Jive Jay-Z feat. Nas/Success/White Label Jay-Z/Dead Presidents/Roc-A-Fella PLUS Some Extra Special Hidden Tracks in the Ausar Ra Black Hawk Master Mix w/ Old School Black Music Classics and Independent Music Finds

** Due to some computer issues in the FuseBox Radio Broadcast lab we just got repaired, we just wanted to give our listeners something to listen to with a bonus flashback episode from a few year's back...enjoy! ** This is a special extra flashback episode of the syndicated FuseBox Radio Broadcast with DJ Fusion & Jon Judah for the week of March 26, 2014 (originally broadcast on March 30, 2011) with some new and classic Hip-Hop & Soul Music, news and commentary. Our commentary during that week focused on the latest updates with the after effects of the earthquake + tsunami in Japan, the recent U.N. intervention in Libya news, the possible upcoming U.S. government shutdown due to budget issues and why it's just ridiculous how politicians are dragging this along, the re-birth of the "Birther" fake controversy with President Barack Obama and some other diverse topics here and there. We also had a great interview with Forbes magazine staff writer Zack O'Malley Greenburg about the creative inspiration, work & drama behind his latest book, "Empire State of Mind: How Jay-Z Went From Street Corner to Corner Office". From the book's website (http://www.JayZBook.com): Empire State of Mind tells the story behind Jay-Z’s rise to the top as told by the people who lived it with him–from classmates at Brooklyn’s George Westinghouse High School; to the childhood friend who got him into the drug trade; to the DJ who convinced him to stop dealing and focus on music. This book explains just how Jay-Z propelled himself from the bleak streets of Brooklyn to the heights of the business world. Zack O’Malley Greenburg draws on his one-on-one interviews with hip-hop luminaries such as DJ Clark Kent, Questlove of The Roots, Damon Dash, Fred “Fab 5 Freddy” Brathwaite, MC Serch; NBA stars Jamal Crawford and Sebastian Telfair; and recording industry executives including Craig Kallman, CEO of Atlantic Records, to paint a tantalizing portrait of a very private mogul. Greenburg also reveals new information on Jay-Z’s various business dealings, such as: * The feature movie about Jay-Z and his first basketball team that was filmed by Fab 5 Freddy in 2003 but never released. * The Jay-Z branded Jeep that was scrapped just before going into production. * The real story behind his association with Armand de Brignac champagne. * The financial ramifications of his marriage to Beyonce. FuseBox Radio Playlist for the Week of March 26, 2014 (originally broadcast on March 30, 2011) Top Spins (Music Still Lasting in Rotation/Music Played Live on Air Each Week/As Well As Music Requested By The Listeners) 1. Pharoahe Monch/Let My People Go/W.A.R. Media & Duck Down Records (Played Live) 2. Marsha Ambrosius/Butterflies/J Records (Played Live) 3. Illvibe Collective/Medicine Man/Soulspaszm & Fat Beats 4. L*A*W/Brooklyn!/Planet 12 Productions (Played Live) 5. Pro'Verb feat. yU of Diamond District/Too Hip-Hop/White Label (http://www.AllProAllDay.bandcamp.com) (Top Song Requested) 6. Tai Allen + Vicelounge/Canned Goods (It's Love, Love Mash)/Vicelounge & Record Breakin' Music (Top Song Requested) 7. Blueprint/So Alive/Rhymesayers (Top Song Requested) 8. Phil Ade/Use To Be/368 Music Group (Top Song Requested) 9. J-DaVey/Lazy Daze/White Label (http://www.JDaveyBaby.com) (Top Song Requested) 10. Mary Mary/Walking/C2 & Columbia (Top Song Requested) 11. The Villains 21/Heaven For The Wicked/White Label (http://www.myspace.com/thevillains21) (Top Song Requested) 12. Bilal/Levels/Plug Research (Top Song Requested) 13. Stalley feat. Rashad/Slapp/Res Ent. & Milq Music 14. Elucid/Dream On/Discord Research Labs (Top Song Requested) 15. Iyadonna/Actress/32 Track Productions (Top Song Requested) 16. Tiffany Paige feat. Jay ARE/Relax ur Mind/Beatvizion (Top Song Requested) 17. Leila Adu/Sick Department Store/Tracce/Rai Trade, Little Red Hen & Frizz Records (Top Song Requested) 18. Saigon feat. Faith Evans/Clap/Suburban Noize (Top Song Requested) 19. Lupe Fiasco/All Black Everything/Atlantic (Top Song Requested) 20. Dirty Vegas/Electric Love (Alex Tepper ReMix)/Om Records (Top Song Requested) 21. Kyle Rapps feat. Joell Ortiz/Hard Knock Children/Mayehm Ent. (Top Song Requested) 22. Wise Intelligent as Djezuz Jonez/Water Walker/Intelligent Muzik (Top Song Requested) 23. Blu/Amnesia/Nature Sounds (Top Song Requested) 24. The Go! Team/Bust-Out Brigade/Memphis Industries (Top Song Requested) 25. PiEl/Sync/PeilMusic.com (Top Song Requested) Top Adds (New Joints Played Live On This Week's Broadcast) 1. R.E.K.S. feat. Lil' Fame of M.O.P./Cigarettes/Brick Records & Showoff 2. Robert Koch & John Robinson/Channeling/Project Mooncircle 3. Sizzla feat. Anthony Red Rose/Mr. Right/White Label 4. Floyd Lawson/Roof Top Sugar/Record Kicks DJ Fusion Flashback Tracks: Del The Funky Homosapien/Wrong Place/Elektra A Tribe Called Quest feat. Raphael Saadiq & Faith Evans/Stressed Out RMX/Jive Jay-Z feat. Nas/Success/White Label Jay-Z/Dead Presidents/Roc-A-Fella PLUS Some Extra Special Hidden Tracks in the Jon Judah Master Mix w/ Old School Black Music Classics and Independent Music Finds

This is the latest episode of the syndicated FuseBox Radio Broadcast with DJ Fusion & Jon Judah for the week of March 30, 2011 with some new and classic Hip-Hop & Soul Music, news and commentary. Our commentary this week focused on the latest updates with the after effects of the earthquake + tsunami in Japan, the recent U.N. intervention in Libya news, the possible upcoming U.S. government shutdown due to budget issues and why it's just ridiculous how politicians are dragging this along, the re-birth of the "Birther" fake controversy with President Barack Obama and some other diverse topics here and there. This week we had a great interview with Forbes magazine staff writer Zack O'Malley Greenburg about the creative inspiration, work & drama behind his latest book, "Empire State of Mind: How Jay-Z Went From Street Corner to Corner Office". From the book's website (http://www.JayZBook.com): Empire State of Mind tells the story behind Jay-Z’s rise to the top as told by the people who lived it with him–from classmates at Brooklyn’s George Westinghouse High School; to the childhood friend who got him into the drug trade; to the DJ who convinced him to stop dealing and focus on music. This book explains just how Jay-Z propelled himself from the bleak streets of Brooklyn to the heights of the business world. Zack O’Malley Greenburg draws on his one-on-one interviews with hip-hop luminaries such as DJ Clark Kent, Questlove of The Roots, Damon Dash, Fred “Fab 5 Freddy” Brathwaite, MC Serch; NBA stars Jamal Crawford and Sebastian Telfair; and recording industry executives including Craig Kallman, CEO of Atlantic Records, to paint a tantalizing portrait of a very private mogul. Greenburg also reveals new information on Jay-Z’s various business dealings, such as: * The feature movie about Jay-Z and his first basketball team that was filmed by Fab 5 Freddy in 2003 but never released. * The Jay-Z branded Jeep that was scrapped just before going into production. * The real story behind his association with Armand de Brignac champagne. * The financial ramifications of his marriage to Beyonce. We have brand new Black Agenda Report, Free Press "Media Minutes" and Black University Radio Network (B.U.R.N.) Direct EFX mini-segments on next week's syndicated FuseBox Radio Broadcast episode. FuseBox Radio Playlist for the Week of March 30, 2011 Top Spins (Music Still Lasting in Rotation/Music Played Live on Air Each Week/As Well As Music Requested By The Listeners) 1. Pharoahe Monch/Let My People Go/W.A.R. Media & Duck Down Records (Played Live) 2. Marsha Ambrosius/Butterflies/J Records (Played Live) 3. Illvibe Collective/Medicine Man/Soulspaszm & Fat Beats 4. L*A*W/Brooklyn!/Planet 12 Productions (Played Live) 5. Pro'Verb feat. yU of Diamond District/Too Hip-Hop/White Label (http://www.AllProAllDay.bandcamp.com) (Top Song Requested) 6. Tai Allen + Vicelounge/Canned Goods (It's Love, Love Mash)/Vicelounge & Record Breakin' Music (Top Song Requested) 7. Blueprint/So Alive/Rhymesayers (Top Song Requested) 8. Phil Ade/Use To Be/368 Music Group (Top Song Requested) 9. J-DaVey/Lazy Daze/White Label (http://www.JDaveyBaby.com) (Top Song Requested) 10. Mary Mary/Walking/C2 & Columbia (Top Song Requested) 11. The Villains 21/Heaven For The Wicked/White Label (http://www.myspace.com/thevillains21) (Top Song Requested) 12. Bilal/Levels/Plug Research (Top Song Requested) 13. Stalley feat. Rashad/Slapp/Res Ent. & Milq Music 14. Elucid/Dream On/Discord Research Labs (Top Song Requested) 15. Iyadonna/Actress/32 Track Productions (Top Song Requested) 16. Tiffany Paige feat. Jay ARE/Relax ur Mind/Beatvizion (Top Song Requested) 17. Leila Adu/Sick Department Store/Tracce/Rai Trade, Little Red Hen & Frizz Records (Top Song Requested) 18. Saigon feat. Faith Evans/Clap/Suburban Noize (Top Song Requested) 19. Lupe Fiasco/All Black Everything/Atlantic (Top Song Requested) 20. Dirty Vegas/Electric Love (Alex Tepper ReMix)/Om Records (Top Song Requested) 21. Kyle Rapps feat. Joell Ortiz/Hard Knock Children/Mayehm Ent. (Top Song Requested) 22. Wise Intelligent as Djezuz Jonez/Water Walker/Intelligent Muzik (Top Song Requested) 23. Blu/Amnesia/Nature Sounds (Top Song Requested) 24. The Go! Team/Bust-Out Brigade/Memphis Industries (Top Song Requested) 25. PiEl/Sync/PeilMusic.com (Top Song Requested) Top Adds (New Joints Played Live On This Week's Broadcast) 1. R.E.K.S. feat. Lil' Fame of M.O.P./Cigarettes/Brick Records & Showoff 2. Robert Koch & John Robinson/Channeling/Project Mooncircle 3. Sizzla feat. Anthony Red Rose/Mr. Right/White Label 4. Floyd Lawson/Roof Top Sugar/Record Kicks DJ Fusion Flashback Tracks: Del The Funky Homosapien/Wrong Place/Elektra A Tribe Called Quest feat. Raphael Saadiq & Faith Evans/Stressed Out RMX/Jive Jay-Z feat. Nas/Success/White Label Jay-Z/Dead Presidents/Roc-A-Fella PLUS Some Extra Special Hidden Tracks in the Jon Judah Master Mix w/ Old School Black Music Classics and Independent Music Finds