Podcasts about DMX

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Best podcasts about DMX

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Latest podcast episodes about DMX

Ordway, Merloni & Fauria
Meghan Ottolini's explains WEEI.com column on Celtics-Heat Game 5

Ordway, Merloni & Fauria

Play Episode Listen Later May 26, 2022 8:02


Meghan Ottolini's explains her WEEI.com column on Celtics-Heat Game 5 and her love for DMX

GET IN THE GARAGE
93 - DMX w/ Phillip Lombardo

GET IN THE GARAGE

Play Episode Listen Later May 23, 2022 63:57


This week we welcome back special guest host Phillip Lombardo! We sit down and talk Taylor Swift's NYU commencement speech, Thee Oh Sees new music video, remember Vangelis Papathanassíou, and talk DMX! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Jim and Them
The Hierarchy Of Life - #727 Part 1

Jim and Them

Play Episode Listen Later May 23, 2022 184:44


POWER HOUR: Jim and Them started 15 years ago in 2007, here we are celebrating our ANNIVERSARY! Get out the playlist, get out the drinks and start taking shots, LET'S GO!Train Cruise: Inevitably while we are celebrating, Train comes up in the playlist so of course we are checking in on the Train cruise.Friendship: We get a call in from Jake! Jim is being a dick because he's cerebral but could this end in a sweet lesson on friendship!? Also a blast from the past with TOPHAT!MAX LANDIS!, BEING THE BEST!, RARE!, BREAKING BAD!, CELEBRATION!, ANNIVERSARY!, DRINKING!, POWER HOUR!, JAKE!, HYPE TRAIN!, PATREON!, OLD MEN!, DISNEY!, FOURTH PRESIDENT!, PANDEMIC!, BARACK OBAMA!, DMX!, MARGARITA!, GREATEST GENERATION!, POWER RANGERS!, GENERATION X!, REALITY BITES!, FLANNEL!, STITCHES!, BRICK IN YO FACE!, CHIPS!, DIP!, NECK TATTS!, STREAMATHON!, BOASTY!, IDRIS!, ANDRES!, DONATION!, PUDDLE OF MUDD!, FLY TOO CLOSE TO THE SUN!, PISSCORD!, CRUNK AIN'T DEAD!, STARCRUISER!, HATE BEING SOBER!, CHET HANKS!, JOKER!, MOANA!, POP PUNK!, KID ROCK!, BACKSTABBERS!, PANIC AT THE DISCO!, LIMP BIZKIT!, DEEP CUTS!, PLAYLISP!, RICO CHARGES!, TOM PETTY!, TRAIN!, HEY SOUL SISTER!, TRAIN CRUISE!, SAIL ACROSS THE SUN!, FEBRUARY 2023!, MIAMI!, SUGAR RAY!, JOHNNY CASH!, HALLOWEEN HORROR NIGHTS!, GUARDIANS COASTER!, THEME PARKS!, ORLANDO!, 100 GECS!, SOUL PUNK HIMSELF!, SCOTT PILGRIM!, BRIE LARSON!, NATE DOGG!, AIN'T NO FUN!, WOLFMAN VS DRACULA VS THE MUMMY!, FEAR STREET!, SCREAM!, SPECULATION!, GLASSEATER!, GAMES WE PLAY!, CHIP AND DALE!, RESCUE RANGERS!, UGLY SONIC!, TIM ROBINSON!, RMR!, RASCAL!, ALASKA CRUISE!, SPARTANS!, JACKED AND ROCK!, NOBODY'S PERFECT!, EVIL DEAD!, PS4!, KEVIN'S BIRTHDAY!, 9/11 BOYZ!, TRIPS!, DRINKING!, WEDDING!, NOT INVITED!, CYNICISM!, TOPHAT!, ISAAC!, CHOMO!, JAKE CALLS!, PLANNED IT!, POKEMON!, LADY'S COSMETICS!, NOTIFICATIONS TURNED OFF!, LADY JUSTICE!, THE SCALES!, FRIENDS!, DECADES!, CAPRICORN!, HIERARCHY!, TIKTOK ALGORITHM!, YOUTUBE ALGORITHM!, JAKE PATHWAY!, I LOVE HIM LIKE A FRIEND!, THE DOSS!, VOICEMAILS!, GHOST OF THE QUINCEANERA!, COMET PING PONG!, KANSAS CITY!, GLACIERS!, BAHAMAS!, ASHEVILLE!, UCB RAPIST!, MATT BESSER!, I'M CEREBRAL!, APOLOGIZE FOR WHO I AM!?, 9 BEERS JIM!, JUDGE A BOOK BY IT'S COVER!, TOPHAT!, CALL IN!, OLD SCHOOL!, MOTHER!, PURITY TEST!, RIDE OR DIE!,You can find the videos from this episode at our Discord RIGHT HERE!

Chase Talks Hip Hop
#244: Legends: DMX

Chase Talks Hip Hop

Play Episode Listen Later May 20, 2022 41:28


Hey everyone in this podcast I pay tribute to the great DMX. I speak about my conversation with him and his overall career. Hopefully we can get him on as a guest eventually. Thank y'all for listening. Go support my homie Majin M: https://soundcloud.app.goo.gl/sp8xWSXQ8XJN6eFR9 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Cards Face Up Podcast
Mic Geronimo On Hip Hop In The 90s, 2Pac, Jay Z And NAS BEEF, DMX & More | Cards Face Up

Cards Face Up Podcast

Play Episode Listen Later May 19, 2022 43:42


Mic Geronimo On Hip Hop In The 90s, 2Pac, Jay Z And NAS BEEF,  DMX & More | Cards Face Up interview with the legendary #MicGeronimo. Tune in as we talk with the Hip Hop legend about growing up, the good and bad side of hip hop, Queens beef in Hip Hop, new music we should be expecting and incredible stories with legends like  #tupac, #Jay-z, Nas, Dmx, Irv Gotti, Steve Stout and much more. SUBSCRIBE-SUBSCRIBE-SUBSCRIBE-SUBSCRIBE-SUBSCRIBE-SUBSCRIBE-SUBSCRIBE-SUBSCRIBEPLEASE VISIT US AT OUR OFFICIAL WEBSITE - WWW.CARDSFACEUPPODCAST.COMAUDIO IS AVAILABLE ON ALL STREAMING PLATFORMS SUCH AS "APPLE/GOOGLE/SPOTIFY/ETCSUBSCRIBE TO OUR SISTER PAGE ALSO AND GET MORE EXCLUSIVE CARDS FACE UP PODCAST CONTENT @WWW.YOUTUBE.COM/CARDSFACEUPPODCAST

Breaking Atoms: The Hip Hop Podcast
Breaking Atoms Classic: Mic Geronimo

Breaking Atoms: The Hip Hop Podcast

Play Episode Listen Later May 19, 2022 95:16


In the first of our 'Classic' series, we revisit our September 2020 interview with Mic Geronimo.    The Masta I.C. revisits the making of his first album, 'The Natural', nearly signing to Loud Records, working with Jay-Z and DMX and much more!   We're taking a few weeks off, so look out for more classic episodes coming soon!   Follow Sumit   Instagram: https://www.instagram.com/hiphopchronicle Twitter: https://www.twitter.com/hiphopchronicle   Follow Chris   Instagram: https://www.instagram.com/iamkinetik Twitter: https://www.twitter.com/iamkinetik   Connect with Breaking Atoms   Instagram: https://www.instagram.com/breaktheatoms Facebook: https://www.facebook.com/breaktheatoms Twitter: https://twitter.com/breaktheatoms Website: https://www.breakingatoms.co.uk

World Music Foundation Podcast
Illmind- Filipino-American Multi-Platinum Music Producer and Innovator

World Music Foundation Podcast

Play Episode Listen Later May 18, 2022 66:15


Many articles, films, and interviews have been made about Illmind's extraordinary career producing many albums for several of the top names in Hip-Hop today. This isn't one of those interviews. In this week's episode, John digs deep into the early experiences and upbringing that shaped Ramon Ibanga Jr - AKA !llmind - as a musician and planted the seeds of what has become a life's quest towards community building. After years of social innovation within the Producer Community, we catch up with this 2x GRAMMY Award winning artist just days before he speaks at Gary Vaynerchuck's VeeCon and just a couple months after the launch of his landmark NFT project: Squad of Knights.  MUSICAL MENTIONS 0:00:10 World Music Foundation Podcast 0:00:12 John Gardner 0:00:18 GRAMMY 0:00:20 Multi-Platinum 0:00:21 Producer 0:00:26 !llmind (aka Illmind) 0:00:38 DMX's Second Album 0:18:59 Pete Rock 0:18:59 DJ Quik 0:18:59 Dr. Dre 0:20:02 undergroundhiphop.com   Music Producer Community Forum   Producer   Beats 0:20:23 SoundCloud 0:20:32 Bounce an MP3   Single 0:21:48 Akrobatik 0:21:56 Remind My Soul   12-Inch Vinyl Single 0:22:11 Fat Beats NYC   Mount Rushmore of Hip-Hop   Jay Z   Beyoncé   Kanye West   J Cole 0:24:48 Little Brother 0:24:58 Atlantic Records 0:25:16 G Unit   G Unit Records 0:25:59 Cruel Summer 0:26:11 Rhymefest 0:27:20 Pass the Aux 0:28:09 BLAP 0:28:22 DJ 0:28:32 Cypher 0:28:47 New York City 0:29:12 BLAP on the Radio 0:29:57 Recording Studio 0:30:32 Web 3 0:31:21 Bitcoin 0:32:00 Squad of Knights 0:32:02 NFT 0:32:59 Piano 0:33:00 Guitar 0:33:01 Drum Set 0:33:02 Beat Machines 0:33:33 Music Software 0:33:35 Music Hardware 0:33:39 Cables   BLAP Kit 0:35:19 ZIP File 0:37:20 Snare 0:37:26 EQ 0:37:35 TR-88 Machine 0:37:38 Foley 0:37:55 Sound Design   Squad of Knights   Rhymefest   Skyzoo   Live from the Tape Deck by Skyzoo and Illmind   Kanye West   Audio Engineers   Music Producers   PFP   Moonwalk   Wallet   Metaverse   Gary Vaynerchuk   VeeCon   Discord   Chronicles of S.O.K. (Squad of Knights)   Executive Producer   Arrangements   Mixing   Quincy Jones   R&B   OpenSea   LooksRare   Ethereum   Tabla   Sitar 1:04:38 Liturgical Music 1:04:48 Notes 1:04:48 Bending Notes 1:04:51 Sliding Notes 1:04:59 “High Lonesome Sound” 1:05:00 Bill Monroe 1:05:01 Bluegrass  

The Jay King Network
WOMEN WHO JAM RADIO (WWJR) / MS JOHNNIE WALKER

The Jay King Network

Play Episode Listen Later May 16, 2022 61:00


Johnnie Walker began her career as a country music radio personality. She later segued to Black radio holding numerous positions, and in 1989 she joined Def Jam Recordings as a regional marketing rep. Within one year Walker was promoted to National Director of Promotion. The Sr. National Director position soon followed and positioned Walker to be instrumental in launching the careers of Redman, Method Man, Onyx, Montell Jordan, Ashanti, Sisqo, and Foxy Brown! Making the move to New York City in 1997, Walker was named Vice President of Promotion for Def Jam. A year later, after restructuring the company's promotions department and its field staff, Walker was named Sr. Vice President. During her tenure, her team successfully marketed Def Comedy Jam, Phat Farm clothing, Russell Simmons' co-produced movies, "The Nutty Professor,” Jackie Chan's “Rush Hour 1 and 2” plus several #1 Gold and Platinum albums from Jay-Z, Sisqo, Kelly Price, Ashanti, Ja Rule, DMX, LL Cool J, Musiq, Dru Hill, and others.

Icons and Outlaws

JAY-Z,  was born Shawn Corey Carter, on December 4, 1969, in Brooklyn, New York, here in the U.S..   He grew up in Brooklyn's Marcy Projects in the Bedford–Stuyvesant neighborhood, which was pretty rough at the time, where he was raised mainly by his mother, Gloria Carter, who says Shawn used to wake up the household at night, banging out drum patterns on the kitchen table.   His mother bought him his first boombox for his birthday, which set him off on his love of music.   Shawn's father, Adnis Reeves bailed out on his family, including Shawn's three siblings, at a young age but they rekindled their relationship right before Adnis passed away.   Shawn has said, through his lyrics, that when he was younger he had once shot his older drug addicted brother, Eric, in the shoulder for stealing his jewelry.    While in the 6th grade, Jay tested at a 12th grade reading level.   Shawn went to Eli Whitney high school in Brooklyn, along with AZ, the longtime friend and co collaborator of Nas and The Firm, who has been revered as “one of the most underrated lyricists of our time.”   After the closing of his high school, Shawn attended the George Westinghouse Career and Technical Education High School. There, he would be amongst future Icons and Outlaws alumni Busta Rhymes and Biggie Smalls, the one and only Notorious B.I.G.   Shawn then attended Trenton Central High School, shortly, before dropping out.   He claims to have been selling crack at this time and was even shot at three times.   His firsthand experience with illicit drug dealing would form his lyrics when he began rapping under the stage name Jazzy, soon shortened to Jay-Z (a name that may also have been derived from the proximity of the J and Z subway lines to the Marcy Projects or possibly an Homage to his rapping mentor, Jaz-O).   He lived in London in 1989 for a short time. JAY recorded music with Monie Love and soaked in the culture, before moving back to the States.    You can hear Jay on some of Jaz-O's earlier recordings from the 80's and 90's, like “H.P. Gets Busy”, “Hawaiian Sofie” and “The Originators.”   In the early 90's, Jay-Z found himself involved in rap battles with LL Cool J, who eventually had a falling out while they were both involved at Def Jam. They've resolved their differences since then.   Big Daddy Kane's 1994 album, “Daddy's Home”, introduced the world to Jay in the song “Show and Prove”, a posse cut that had multiple rappers doing verses on one track.   Big Daddy Kane has said in regards to Jay being referred to as his “hype man,”  “When I would leave the stage to go change outfits, I would bring out Jay-Z and Positive K (“I Got A Man”) and let them freestyle until I came back to the stage.”     Jay then found himself appearing on Big L's “Da Graveyard” and alongside young versions of DMX and Ja Rule (Holla Holla) in 1995.   1995 also saw Jay's first official single, “In My Lifetime” that had a music video as well as an unreleased video for the song's B-Side, “I Can't Get With that.”   What do you do when you want to get your music out but have no financial backing from a record label? You get out and hustle your album yourself. Jay Z would spend hours a day selling CD's out of his car.   Tired of not getting where he wanted to be in the music world, Jay-Z and two friends, Damon Dash and Kareem Burke, founded their own company and independent record label, Roc-A-Fella Records, in 1995 to release his debut album, Reasonable Doubt (1996). It eventually sold more than a million copies in the United States, certifying it platinum and hes been revered as “one of the greatest rap albums ever” and, arguably, “Jay-Z's best work.”   This album featured beats by renowned producers like DJ Premier and DJ Clark Kent and even had very early appearances from the Notorious B.I.G. and the queen, Mary J Blige.   Reasonable Doubt debuted at 23 on the Billboard 200 and charted for 18 weeks.   The four singles from this album were “Dead Presidents”, “Ain't No N Word”, “Can't Knock the Hustle”, and “Feelin It”. It would later make Rolling Stone's Magazines “500 Greatest Albums of All Time.”   A string of successful albums followed at a rate of at least one per year through 2003. Vol. 2: Hard Knock Life (1998) was not only one of the first of Jay-Z's releases to top the Billboard 200 album chart but also won him his first Grammy Award, for best rap album.    This record saw Jay relying more on “wordplay and flow” and featured beats by DJ Premier, Erick Sermon from future Icons, EPMD, Kid Capri and Swizz Beatz, who was a producer for DMX and the record label, Ruff Ryders as well as Timbaland.   Singles from this album included “Can I Get A..”, featuring Ja Rule and Amil, as well as several other head bobbin' bangers.    Vol. 2 would go on to sell over 5 million copies. Remember how we said he won a grammy for this album? He actually boycotted the awards ceremony, contesting the failure to include DMX as a Grammy nominee.   1999 saw Jay working with Mariah Carey on the chart topping song, “Heartbreaker”, which would be his first chart topper in the US. Thanks Mariah!   The same year, Jay released “Vol 3… Life and Times of S. Carter”, selling over 3 million copies with singles like “Big Pimpin.”   The Year 2000 saw the release of yet another album, “The Dynasty: Roc La Familia”. Not originally intended to be a Jay Z album, it was initially recorded to be a compilation record for the Roc-A-Fella artist roster, but Def Jam released it as a Jay-Z joint.   However, this record introduced the world to up and coming producers, The Neptunes and a guy named Pherrel Williams, Bink, Just Blaze and some guy named Kanye West.   The album is considered “more soulful” and has gone twice platinum. That's almost 9 million copies, total. Not too bad for a high school drop out.   In the midst of all this success, there were some fairly prominent feuds with other rappers.   In 2001, Prodigy from Mobb Deep had a problem with a line from Jay in his song “Money, Cash, Hoes” that he felt was talking smack about a dispute he had with Death Row Records, most notably, 2 Pac and Snoop Dogg.   I looked up the lyrics and the only line that I could find that seemed remotely close to a diss was:   “Us the villains, fuck your feelings While y'all playa hate, we in the upper millions What's the dealing? Huh, it's like New York's been soft Ever since Snoop came through and crushed the buildings” Later that year, at Summer Jam 2001, Jay performed the song “Takeover”, which attacked Prodigy with the lines:   “I don't care if you Mobb Deep, I hold triggers to crews You little, I got money stacks bigger than you When I was pushing weight, back in '88 You was a ballerina, I got the pictures, I seen ya Then you dropped "Shook Ones, " switched your demeanor Well, we don't believe you, you need more people Roc-A-Fella, students of the game, we passed the class 'Cause nobody can read you dudes like we do Don't let 'em gas you, like, "Jigga is ass and won't clap you" Trust me on this one, I'll detach you Mind from spirit, body from soul They'll have to hold a mass, put your body in a hole Oh no, you're not on my level, get your brakes tweaked I sold what your whole album sold in my first week You guys don't want it with Hov Ask Nas, he don't want it with Hov, no!”   Jay then proceeded to reveal photos of Prodigy dressed up like Michael Jackson.   That last line then started beef with Nas that went back and forth until 2005.   The critically acclaimed The Blueprint (2001), Jay's 6th album, featuring the triumphant hit “Izzo (H.O.V.A.),” solidified his status as one of the preeminent voices in hip-hop at the dawn of the 21st century.    That album was released literally hours before the infamous 9/11 attacks on the Twin Towers and the Pentagon.   The Blueprint was written in only two days and hit double platinum status, selling 2.7 million albums by 2012.   This album was revered for its production and for being able to “balance mainstream and hardcore rap”.   As opposed to other Jay-Z releases, the Blueprint had only one guest rapper, a fella by the name “Eminem”, who assisted Jay on the track, “Renegade.”   Kanye West was back in the mix producing 4 songs on the album.   The Library of Congress chose “the Blueprint” for preservation in the National Recording Registry in 2019 for being “culturally, historically, or aesthetically significant.”   A legendary singer can actually be heard singing in the song “Girls, Girls, Girls”, another single from “The Blueprint”. Michael Jackson. "He was on my song ‘Girls, Girls, Girls', singing these background vocals and I didn't even put his name on it,” Jay once revealed in an interview with NME.   Shortly after its release, Jay-Z pleaded guilty to assault relating to a 1999 nightclub stabbing of record producer Lance Rivera at the Kit Kat Club in New York City at an album release party for Q-Tip (Tribe Called Quest) and received three years' probation, but the incident did little to derail his career. Apparently, the altercation happened due to Jay accusing Rivera of bootlegging his albums.   Always a busy man, Jay-Z dropped his 6th record, the double album, “The Blueprint 2: The Gift and the Curse”, in 2002. It sold over 3 million copies in JUST the U.S., selling more than his previous album, “The Blueprint”, and debuted on the Billboard 200 at number one!    A reissued version, dubbed “The Blueprint 2.1”, was later released as a single disc album and had half of the songs that were on the double record, including the hits “Excuse Me Miss” and “03 Bonnie & Clyde”, which featured the queen B, Beyonce.   Lenny Kravitz, Faith Evans, Biggie and Kanye all had appearances on this album and actually had the songs “Stop”, “La La La”, “What They Gonna Do, Part 2”, and “Beware” on it; these were songs that were not on “The Blueprint 2.”   Also in 2002, Jay-Z released a collaborative album called “The Best Of Both Worlds” with a guy who's been in the news quite often the past years, R. Kelly. The first single from this record was “Honey”, which sampled “Love You Inside Out” by the Bee Gees. None of the singles charted.   Ahead of the release of The Black Album (2003), however, Jay-Z announced his retirement as a performer. The “farewell recording” proved to be one of his most popular, with killer singles like “99 Problems' ' and “Dirt Off Your Shoulder (you can listen to our version at the end of the show and on the official Icons and Outlaws Spotify playlist.    The Black Album was produced by Rick Rubin, and featured other hit makers like Eminem, Kanye, The Neptunes, DJ Quick and The Neptunes, attracting considerable attention. This album has sold over 3 million copies in the US. Jay threw a “retirement party” on November 25th, 2003. However, unlike most of us that would rent out the back room at Outback Steakhouse and invite people from work and the few family members we can tolerate, this was a concert. A concert held at Madison Square Garden in New York.    The footage taken at the “party” would wind up being the central focus of Jay-Z's documentary, “Fade to Black”. All of the proceeds from the party went to charity,   Other performers that rocked the stage were his backing band, The Roots, Missy Elliot, Mary J. Blige, Beyonce, Ghostface Killa from Wu Tang, the speed rapper, Twista, and so many more. Both Tupac and Biggie's mother's, Afeni Shakur & Voletta Wallace even made a special appearance.    As Jay-Z had claimed that he would “retire”, it was more of a retirement from making new studio albums. It didn't stop him from touring, releasing a greatest hits record and making a second collaboration album with R. Kelly, named “Unfinished Business.” This time, the release debuted at number one in the US on the Billboard 200 and has been certified platinum. 2004 was another busy year as he assumed the presidency of Def Jam Recordings, making him one of the most highly placed African American executives in the recording industry at the time. This new role led to his Roc A Fella partners selling off their shares of Roc A Fella and Jay taking control of BOTH companies. Absolutely killing it!   As I mentioned, Jay-Z stayed extremely active in music. He collaborated with the rock group and future Icons and Outlaws featured artist, Linkin Park in 2004. This record was a remix EP dubbed “Collision Course” that featured mashups of songs from both artists. The only single from the record, “Numb/Encore '' wound up winning a Grammy for “Best Rap/Sung Collaboration”. Linkin Park performed the song live at the Grammys and featured the one and only Sir Paul McCartney of the Beatles, who sang verses from the iconic song “Yesterday. The EP went platinum in the US.   Speaking of Linkin Park, Jay-Z executive produced the debut album of Fort Minor, the side project from Mike Shinoda.   In 2005, Jay-Z headlined the Power 105.1 annual concert in New York called the “I Declare War” concert leading people to speculate who he was “declaring war on” as he'd had a history of calling out other artists. However, it was quite the opposite. The concert wound up being an end to the rivalry between Jay and Nas with the two sharing the stage and performing a blended version of Jay-Z's “Dead Presidents” and Nas's “The World Is Yours.”  Jay appeared as a guest vocalist on the recordings of numerous other artists, including Kanye West, whose career he had helped foster, and Beyoncé, whom he had begun dating. (The two would be married in 2008.) Jay-Z also developed a large portfolio of business ventures and investments, including a film-production company, a clothing line, and a stake in the New Jersey Nets of the National Basketball Association, which he later helped relocate to his hometown of Brooklyn.    He formally returned to recording in 2006 with his next album,Kingdom Come, which released the single, “Show Me What You Got”. This single was leaked a month earlier than it was supposed to and wound up being played in heavy radio rotation. This leak led to Def Jam prompting an FBI investigation into how it could have been leaked. I couldn't find much more about the investigation.   Kingdom Come, Jay-Z's ninth album, featured songs produced by Pharrell, Kanye, Just Blaze, Dr. Dre and, oddly enough, Coldplay's Chris Martin. It sold over 680,000 copies in its first week and has gone double platinum.    In 2007, Jay-Z released his tenth album, American Gangster on November 6th, which was inspired by the gangster movie of the same name, by Ridley Scott.  This record was considered a concept album with Jay depicting his life as a street hustler. The first single off of the album, “Blue Magic” starts off with what has been called a “dealer's manifesto” and refers to political figures of the 1980's like Reagan and Oliver North.    He has his own color. In 2007, JAY-Z spent tens of thousands of dollars for the Pantone Color Institute to create a hue just for him. Described as a pearly blue with platinum dust, the color was first introduced on his own limited edition line of GM Yukon Denali later that year. On January 1st, 2008 Jay stepped down as Def Jam president. He founded a new label, Roc Nation, in 2008, and it soon became a full-service entertainment conglomerate.   Jay-Z proved that he remained one of rap's most-bankable acts when he embarked on a highly successful tour with Mary J. Blige in 2008. The following year he released The Blueprint 3, which bore the sound of some of his most frequent producers, including West and Timbaland. The album generated such hits as “Empire State of Mind,” a musical love letter to New York City adorned with soaring guest vocals by Alicia Keys, and the determined “Run This Town,” which featured West and Rihanna. Both songs won Grammy Awards, as did two other singles from the album. Watch the Throne (2011), an ambitious and highly regarded collaboration with West, proved to be similarly fruitful, with the singles “Otis,” “Niggas in Paris,” and “No Church in the Wild” capturing Grammys as well. In between the two releases, Jay-Z published a memoir, Decoded (2010).   Jay Z (having dropped the hyphen from his name) returned in 2013 with Magna Carta Holy Grail, which, in an exclusive deal with Samsung, was made available for free to users of the company's smartphones several days ahead of its official release. Although the album, on which the rapper reflected on his massive wealth and fame, was greeted with mostly lukewarm reviews, it became his 13th release to land at number one on the Billboard 200. It also produced two Grammy wins: one for best rap/sung collaboration for “Holy Grail” and another for best music video for “Suit & Tie.” He received two more Grammys a year later for his collaboration on Beyoncé's song “Drunk in Love.”   In 2017 JAY-Z (having capitalized the letters and reinstated the hyphen in his name) released his 13th studio solo album, 4:44, an extremely candid album that was, in part, a response to Beyoncé's Lemonade (2016), on which she accused her husband of adultery. He admitted to infidelity on various tracks and also addressed racism and politics. The couple's albums were both released exclusively on TIDAL—a subscription-based music streaming service that JAY-Z owned alongside other artists. JAY-Z had acquired the service in 2015 when he purchased its parent, the Norwegian technology company Aspiro AB. Also in 2017 JAY-Z became the first rapper to be inducted into the Songwriters Hall of Fame. In 2018 he and Beyoncé, billed as the Carters, unveiled the collaborative effort Everything Is Love, for which they won the Grammy for best urban contemporary album.   In 2021 JAY-Z was inducted into the Rock and Roll Hall of Fame.   JAY-Z is as iconic an entrepreneur and businessman as he is a recording artist. He's been involved in everything from having his own collection through Reebok in 2003, starting his own clothing line and selling it for $204 million, owning a chain of upscale sports bars called the 40/40 Club, being an investor in a line of beauty products, being a co-brand director for Budweiser Select and owning the Brooklyn Nets basketball team until 2013.   He's been an investor in an app to help rich folk book executive plane flights, launched his own cigar line, bought a wine and spirits company, signed an exclusive deal with the Weinstein Company, producing a documentary on Kalief Browder, a man imprisoned for three years and who committed suicide when he was released.   As recently as 2020 he announced the Roc Nation School of Music, Sports & Entertainment, a partnership between his own Roc Nation and Brooklyn's Long Island University, which “prepares students for a wide range of careers in performance, entrepreneurship, and all aspects of music, sports business and management.”   In November of that same year, he announced his joining of a cannabis production company as their “Chief Visionary Officer.”   He made Grammy history last month. JAY-Z recently became tied for the most Grammy nominations in history with 80. He shares that distinction with legendary producer Quincy Jones. He's also married to the person who currently holds the record for second most Grammy nominations: Beyoncé's 9 nominations at the end of November put her at 79 over the course of her career.     Jay Z is ranked the 88th best artist - of any genre - of all time by Rolling Stone magazine.   From running around the rough and tough alleys of the Marcy projects to becoming a mogul of multiple companies, Jay-Z is the living embodiment of what hard work and perseverance can achieve. Jay-Z's net worth, presently, is 1.3 Billion dollars, giving him the infallible title of “Hip Hop's First Billionaire.” www.britannica.com www.wikipedia.com www.jayz.com Consider Becoming a Producer of the Show! www.iconsandoutlaws.com www.accidentaldads.com  

united states love music new york money black new york city trust power west club home wild girls mind kanye west african americans hip hop grammy fbi states curse beatles cd roots gift daddy michael jackson rolling stones jay z billion hustle beyonce drunk takeover eminem vol pac blueprint samsung rihanna nas throne pentagon snoop dogg knock prove beyonc billboard norwegian firm grammy awards dmx rivera mariah carey ridley scott brooklyn nets outlaws madison square garden lemonade kingdom come coldplay holy grail prodigy snoop mary j blige fade biggie icons alicia keys tidal magazines linkin park wu tang quincy jones rock and roll hall of fame renegade busta rhymes bee gees reebok ll cool j ja rule hoes pharrell unfinished business jazzy timbaland homage chris martin twin towers roc nation b side def jam missy elliot heartbreaker decoded hov biggie smalls mobb deep rick rubin empire state carters dj premier swizz beatz sports entertainment faith evans nme national basketball association reasonable doubt summer jams collision course black album best of both worlds death row records la la la sir paul mccartney big l outback steakhouse chief visionary officer originators twista long island university neptunes american gangster ruff ryders epmd hard knock life mike shinoda dead presidents roc a fella just blaze greatest albums oliver north new jersey nets bink everything is love bonnie clyde jigga erick sermon damon dash bedford stuyvesant no church kalief browder weinstein company songwriters hall of fame def jam recordings big pimpin blue magic roc a fella records monie love kid capri i declare war shook ones kit kat club fort minor run this town national recording registry jaz o eli whitney dj clark kent dj quick ghostface killa pantone color institute show me what you got magna carta holy grail shawn corey carter dirt off your shoulder
Conspiracy Beer Me
The Nowhere Men w/ Alex Hofford

Conspiracy Beer Me

Play Episode Listen Later May 15, 2022 74:14


We sit down with our friend comedian Alex Hofford to discuss men and women all over the globe who have seemingly disappeared or appeared out of nowhere. This one was a ton of fun. Listen to Alex's Bop or Flop Episode about him hanging with DMX! Give him a follow on insta. ✂ Get 20% OFF @manscaped + Free Shipping with promo code *CBM20* at https://manscaped.com Become a patron! https://www.patreon.com/conspiracybeerme Join us on Rokfin! https://www.rokfin.com/ConspiracyBeerMe Give us a follow at @conspiracybeerme on Instagram and Facebook! Review us on iTunes! Website www.conspiracybeerme.com --- Support this podcast: https://anchor.fm/conspiracybeerme/support

Whatever Talk
Episode 161: Whatever Talk 161 The Justice System Is Extremely Derogatory

Whatever Talk

Play Episode Listen Later May 13, 2022 47:20


Mason and Friends show
Episode 648: episode 648

Mason and Friends show

Play Episode Listen Later May 12, 2022 48:44


www.TheMasonAndFriendsShow.com https://thejuunit.bandcamp.com/releases movie trivia, warriors. fishing issues, cinco de miyo, appropriation, drinking excuse, chicken issues, cooking issues, pandering, pride? Trae hot headed. Mario Beef challenges, madden complaints, soul caliber, charlestown, winning? kentucky derby, only two tables, four leaf clovers? crystal growth, Us, get out, names, DMX movie, prime? time goes by, the music of this episode@ https://open.spotify.com/playlist/1qDqTTkJVBGawtG1QmR7XU?si=f2f140b45e5241f7 support the show@ www.patreon.com/MperfectEntertainment

Melaninwhitecoats's Podcast
Episode 53- Addiction is more than meets the eye with Addiction Psychiatrist, Dr. Christopher Smith

Melaninwhitecoats's Podcast

Play Episode Listen Later May 12, 2022 65:41


It is National Prevention Week which is a week dedicated to bringing communities together to raise awareness about the importance of substance use prevention. It is also Mental Health Awareness Month! On this episode, we have Dr. Chrisopther Smith, Addiction Psychiatrist discuss    how addiction is a disease of the brain/mind and not just attributed to a person's decision making    how cultural stigma behind addiction causes negative outcomes in our community    how addiction affects all people of all walks of life and is particularlarly concerning in pop/ hip hop culture ala DMX, MJ, Prince   how substance use has built the prison industrial complex    how the history of oppression continues to perpetuate addiction    and MORE! Follow us on IG here Support the Melaninwhitecoats Annual Podcast Scholarship here Follow Dr Smith on IG here  

The Jay King Network
WOMEN WHO JAM RADIO (WWJR) / MS JOHNNIE WALKER

The Jay King Network

Play Episode Listen Later May 9, 2022 61:00


Johnnie Walker began her career as a country music radio personality. She later segued to Black radio holding numerous positions, and in 1989 she joined Def Jam Recordings as a regional marketing rep. Within one year Walker was promoted to National Director of Promotion. The Sr. National Director position soon followed and positioned Walker to be instrumental in launching the careers of Redman, Method Man, Onyx, Montell Jordan, Ashanti, Sisqo, and Foxy Brown! Making the move to New York City in 1997, Walker was named Vice President of Promotion for Def Jam. A year later, after restructuring the company's promotions department and its field staff, Walker was named Sr. Vice President. During her tenure, her team successfully marketed Def Comedy Jam, Phat Farm clothing, Russell Simmons' co-produced movies, "The Nutty Professor,” Jackie Chan's “Rush Hour 1 and 2” plus several #1 Gold and Platinum albums from Jay-Z, Sisqo, Kelly Price, Ashanti, Ja Rule, DMX, LL Cool J, Musiq, Dru Hill, and others.

Every Damn Thing
91. Garfield, Student Loan Forgiveness, Y'all

Every Damn Thing

Play Episode Listen Later May 5, 2022 58:45


Phil & Jake rank the funny-pages sensation Garfield, the proposed policy of student loan forgiveness, and the word “y'all” on the List of Every Damn Thing.VOTE HERE to help decide which topic we're going to re-rank on an upcoming episode.If you have something to add to the list, email it to list@everydamnthing.net (or get at us on Twitter, Instagram and Facebook).SHOW NOTES: There's an infamous strip where Jon Arbunkle drinks dog semen. For the record, Jim Davis denied that's what was going on. Discussion of portrayals of cats in popular culture leads to some talk about Tom and Jerry and much talk about Heathcliff (the Original Orange Cat). Phil was wrong about the name of the Garfield convention, it's called the Garfield Gathering. It should be called The Garfering. The next one is May 20th, 2022 in Warwick, Rhode Island. They don't happen every year so don't miss your chance. Garfield Minus Garfield were some edits people made in which Garfield was removed. Phil mentions the very grounded and realistic Garfield without his thought balloons. Beetle Bailey is singled out by Phil as a good gag strip Olivia James took over drawing the comic strip Nancy a few years ago and it's been a breath of fresh air. The old Ernie Bushmiller strips are extremely good also.  Garfield: His 9 Lives was a very strange Garfield project in the 80s. When talking about historical tax jubilees, Phil didn't really understand the mechanics too well but in Leviticus, God tells the Hebrews to forgive debts and free slaves every 50 years. It's unclear how this worked in practice. The idea wasn't unique to Hebrews, there are also records of jubilee proclamations in Babylon & Egypt. ALSO DISCUSSED IN THIS EPISODE:vocabulary * spelling * Bill Murray * Garfield: The Movie * Garfield: A Tail of Two Kitties * Odie * Nermal * Pookie * lasagna * capitalism * Donald Duck * Popeye * Sir Topham Hatt * Charmander * Jessica Rabbit * Cinderella * the 80s * Theodore Roosevelt * Aerosmith * “Friday” by Rebecca Black * Girl Scout Cookies * the national debt * kids in restaurants * Barack Obama * cochlear implants * “Macho Man” Randy Savage * shirtless men wearing elaborate angel wings, gold lamé shorts and furry cha-cha heels * standing in line * gender * Texas * Chris Gaines * “Party Up” by DMX * “moist” * jorts * dippin' sauce * dilapidated shacks * puns * intro to “Back that Azz Up” * Country music * rye bread * the Jersey Shore * pigeons * Crocs * Britney SpearsBelow are the Top Ten and Bottom Top items on List of Every Damn Thing as of this episode (for the complete up-to-date list, go here).TOP TEN: Dolly Parton - person interspecies animal friends - idea sex - idea bicycles - tool coffee - beverage Clement Street in San Francisco - location Prince - person It's-It - food Doctor Doom - fictional character Cher - person BOTTOM TEN:280. Hank Williams, Jr - person281. British Royal Family - institution282. Steven Seagal - person283. McRib - food284. Hoarders - TV show285. death - idea286. war - idea287. cigarettes - drug288. QAnon - idea289. transphobia - ideaTheme song by Jade Puget. Graphic design by Jason Mann. This episode was produced & edited by Jake MacLachlan. Show notes by Jake MacLachlan & Phil Green.Our website is everydamnthing.net and we're also on Twitter, Instagram and Facebook.Email us at list@everydamnthing.net. 

SKRATCH N SNIFF Past Episodes

Rock Show #1003 (the Weekend of April 29/30) Playlist: Nine Inch Nails - The Hand That Feeds (Ruff Mix) Deftones - My Own Summer (Charlie Clouser Remix) Badflower - Family Shinedown vs. The Beastie Boys - Looking Down a 45 (Mike Czech Remixxx) Dirty Honey - Another Last Time Jelly Roll - Dead Man Walking Godsmack vs. Eminem - Love The Hate Sex Pain (Mike Czech Remixxx) Masked Wolf x Bring Me The Horizon - Fallout Breaking Benjamin - Breath (Mike Czech Remixxx) White Stripes vs. Led Zeppelin - Icky Thump (DJ Zebra Whole Lotta Funk Remix) Asking Alexandria - Never Gonna Learn Soundgarden - Black Hole Sun [DJ Zebra Remix] The Black Keys - Wild Child Disturbed vs. DMX - 10000 Fists Up In Here (Mike Czech Remixxx) Nothing More - Tired of Winning Everlast - What It's Like Weezer - Say It Ain't So (Discotech Remix) Linkin Park - Waiting For The End (The Glitch Mob Remix) Smashing Pumpkins - Cherub Rock (Virgin Magnetic Material Remix) Moonshine Bandits - Like Em Hot Three Days Grace vs. Korn vs. Eminem - Never Too Late (Mike Czech Mashup) Bad Wolves - If Tomorrow Never Comes (Acoustic) Linkin Park & Jay-Z - Lying From You/ Dirt Off Your Shoulder Seven Mary Three vs. T.I. - Live Your Cumbersome Life (Mike Czech Remixxx) Ayron Jones - Hot Friends Beastie Boys - Jimmy James Red Hot Chili Peppers - Californication (Theatre Of Delays Remix) (Hed) p.e & Dropout Kings ft. DJ Lethal - Bartenders The Pretty Reckless - Heaven Knows (FURTHA BOYZ Remix) P.O.D. vs. Saliva - Booooom (Mike Czech Remixxx)

The Jay King Network
WOMEN WHO JAM RADIO (WWJR) / MS JOHNNIE WALKER

The Jay King Network

Play Episode Listen Later May 2, 2022 61:00


Johnnie Walker began her career as a country music radio personality. She later segued to Black radio holding numerous positions, and in 1989 she joined Def Jam Recordings as a regional marketing rep. Within one year Walker was promoted to National Director of Promotion. The Sr. National Director position soon followed and positioned Walker to be instrumental in launching the careers of Redman, Method Man, Onyx, Montell Jordan, Ashanti, Sisqo, and Foxy Brown! Making the move to New York City in 1997, Walker was named Vice President of Promotion for Def Jam. A year later, after restructuring the company's promotions department and its field staff, Walker was named Sr. Vice President. During her tenure, her team successfully marketed Def Comedy Jam, Phat Farm clothing, Russell Simmons' co-produced movies, "The Nutty Professor,” Jackie Chan's “Rush Hour 1 and 2” plus several #1 Gold and Platinum albums from Jay-Z, Sisqo, Kelly Price, Ashanti, Ja Rule, DMX, LL Cool J, Musiq, Dru Hill, and others.

B Dorm Podcast
(Just Like) Music. Progress, Change and Resisting New Shit. Old School vs New School - Why Pick One? Don's Dystopian Decision: Pick Three Albums.

B Dorm Podcast

Play Episode Listen Later Apr 29, 2022 66:05


This episode asks what seems to be a simple question, “What does it mean to be progressive?” And while the answer for many people seems to be simple, when the perspective is changed, things get more complicated very quickly. It's the kind of question that B Dorm was built for. And an important part of the foundation that B Dorm is built on, is a love of hip hop and R&B. So in 2001 when Erick Sermon dropped (Just Like) Music it was the perfect blend, mixing the silky smooth sound of Marvin Gaye with the modern, raw sound of hip hop. It's a timeless jam and just one of many from what a lot of people consider the best time ever for hip hop. And as much as we love the old school jams, your hosts Don Elivert and Jehriko Turner ask the important question, has our love of hip hop continued to evolve too? Are too many people stuck on old jams and dismissing the new artists the same way the old heads dissed hip hop when we were coming up? It's an easy argument to fall into. The 1990s and early 2000s gave us BIGGIE, Nas, Wu Tang, Tupac and Dre. Jay Z, DMX and Snoop. But the current crop is every bit as talented with J Cole, Chance, Future and Lil Nas X pushing the art forward. So why don't they get the love? Why do so many people seem to think that hip hop hasn't evolved and gotten better? Has it? Has it progressed?  And speaking of progress, we've all got to do better when it comes to recycling and taking care of the environment. We just had Earth Day, but that's not enough. And unless you're Bezos or Elon, you're stuck here on Earth with the rest of us, so clean up after yourself. If you can make every day 4/20, you can make every day Earth Day.  It's a fun conversation and it's an important and interesting theme. What does it mean to be progressive? Does anyone ever think that they are regressive? Doesn't everyone think they are progressive in some ways? This is what it's all about. A smart, fun, educated conversation that doesn't take itself too seriously. This is the B Dorm podcast. Pour yourself something. #drinksexy.  Every episode of The B Dorm Podcast is an entertaining and thought provoking experience that will make you laugh, and make you feel. That's what B Dorm is all about. We hope you enjoy the ride. And while you're at it, go ahead and give us five stars and subscribe at bpod.us. Questions, comments or just something to share? Send it to us at info@righteous.us and be sure to visit bdorm.us for videos, B Dorm merch and more great content. And if you like what you're hearing, jump on over to patreon.com/bdorm and join our Patreon crew and support the show. Every bit helps and the whole team  really appreciates your support.  The B Dorm Podcast is bringing the power of the Righteous Media 5 I's: Independence, Integrity, Information, Inspiration and impact.  You can also watch a video of this entire episode here. The B Dorm Podcast connects, informs and inspires--and is powered by Righteous Media. On social media @bdormpod or visit www.BDorm.us. Learn more about your ad choices. Visit megaphone.fm/adchoices

Joel Martin Mastery
#56 - Alf Annibalini (Envy of None)

Joel Martin Mastery

Play Episode Listen Later Apr 28, 2022 130:59


On today's episode I interview Alf Annibalini. He's the guitarist for the new supergroup Envy of None which features Alex Lifeson of Rush. He's also one of Canada's most accomplished recording engineers with credits on a who's who of multi-platinum artists including Arkells, The Tea Party, Our Lady Peace, DMX, Danko Jones, Big Sugar, Nelly Furtado, Blue Rodeo, Leanne Rimes, The Trews, I Mother Earth, and Kardinal Offishall. https://envyofnone.com/ If you prefer to watch the episode instead of listen to it, you can do so on Youtube at: https://youtu.be/BlnoJyF23C8 Leaving a like, a comment, a subscribe or a review would really help the podcast to gain momentum and be a source of daily positive content for as many people as possible! Thank you for your support! You can find all my social media links to connect with me at: https://linktr.ee/joelmartinmastery Your friend and ally, Joel Martin We've Got Time by LiQWYD | https://www.instagram.com/liqwyd Music promoted by https://www.free-stock-music.com Creative Commons Attribution 3.0 Unported License https://creativecommons.org/licenses/by/3.0/deed.en_US

Sports and Hip-Hop with DJ Mad Max
Gunplay talks ALL B******t Aside, Rick Ross, A$AP Rocky, & more ”Sports and Hip-Hop with DJ Mad Max”

Sports and Hip-Hop with DJ Mad Max

Play Episode Listen Later Apr 26, 2022 74:48


Big thank you to Carol City's own Gunplay for coming on my show for an interview! Gunplay discussed his new album ALL B******t Aside, his studio session with Jim Jones for their song Oath, and having his own independent label distribution deal as well as ANML SHLTR. He talked about his early life of being born in El Paso, Texas, growing up in New York during the crack epidemic, and moving to Carol City. He got into meeting Rick Ross when he was in 10th grade, building Maybach Music with him, and the difficult hurdles he went through when the foundation of MMG was being built. He spoke about why he felt comfortable opening up about his overdose on drugs the day that DMX died, meeting DMX, and the studio session between him and Busta Rhymes. He mentioned that his song with the legendary Hip-Hop duo Capone-N-Noreaga will be releasing on his upcoming album. He also talked about his collaboration with Kendrick Lamar on their song Cartoon & Cereal, his collaboration with A$AP Rocky on Ghetto Symphony, and being backstage on tour with Jay-Z & Beyoncé in Dublin, Ireland. Gunplay also discussed his upcoming podcast about fishing and hunting, wanting to get into film, and being able to tour internationally soon. Stay tuned! Gunplay's new album ALL B******t Aside is available on all platforms, including Apple Music: https://music.apple.com/us/album/all-b-t-aside/1617721945. Follow Gunplay on Instagram: @gunplay2.0 and Twitter: @gunplaymmg Follow me on Instagram and Twitter: @thereelmax. Website: https://maxcoughlan.com/index.html. Website live show streaming link: https://maxcoughlan.com/sports-and-hip-hop-with-dj-mad-max-live-stream.html. MAD MAX Radio on Live 365: https://live365.com/station/MAD-MAX-Radio-a15096. Subscribe to my YouTube channel Sports and Hip Hop with DJ Mad Max: https://m.youtube.com/channel/UCE0107atIPV-mVm0M3UJyPg.  Gunplay on "Sports and Hip-Hop with DJ Mad Max" visual on YouTube: https://www.youtube.com/watch?v=q-333jnNGqA. 

The Jay King Network
WOMEN WHO JAM RADIO (WWJR) / MS JOHNNIE WALKER

The Jay King Network

Play Episode Listen Later Apr 25, 2022 61:00


Johnnie Walker began her career as a country music radio personality. She later segued to Black radio holding numerous positions, and in 1989 she joined Def Jam Recordings as a regional marketing rep. Within one year Walker was promoted to National Director of Promotion. The Sr. National Director position soon followed and positioned Walker to be instrumental in launching the careers of Redman, Method Man, Onyx, Montell Jordan, Ashanti, Sisqo, and Foxy Brown! Making the move to New York City in 1997, Walker was named Vice President of Promotion for Def Jam. A year later, after restructuring the company's promotions department and its field staff, Walker was named Sr. Vice President. During her tenure, her team successfully marketed Def Comedy Jam, Phat Farm clothing, Russell Simmons' co-produced movies, "The Nutty Professor,” Jackie Chan's “Rush Hour 1 and 2” plus several #1 Gold and Platinum albums from Jay-Z, Sisqo, Kelly Price, Ashanti, Ja Rule, DMX, LL Cool J, Musiq, Dru Hill, and others.

Haunted Attraction Network
What is DMX and do you need it for your haunt lighting?

Haunted Attraction Network

Play Episode Listen Later Apr 23, 2022 6:40


Today Julia from Gantom lighting will give you some suggestions on DMX alternatives and simple uses for DMX. DMX is a is a protocol used to control lights in your haunt. DMX can be used for many more things such as fog machines and triggers, but we're only focused on the lighting today. You need something that generates a signal, and then that signal travels to the light to tell it what to do. The signal can be pre-programmed or controlled live. So, DMX can be simple and run a few fixtures, or complicated to run a large show; it scales to the need. And that need is why we recommend you decide whether to get into DMX. Do you need them to perform a timed show or just a single effect over and over (like a heartbeat)? Would the guest notice lighting that's in time with other effect? So you see how DMX is highly dependent on your haunt's experience. If you want to setup a time to discuss your needs with Gantom's Designers, they're offering a free 30-minute demo at www.gantom.com/demo

MOCRadio.com Podcasts
MOC Old Skool Mix Party (Like Sugar) (Aired On MOCRadio 4-16-22)

MOCRadio.com Podcasts

Play Episode Listen Later Apr 21, 2022 117:55


This week on the 'MOC Old Skool Mix Party', Metro Beatz takes you back with music from Lil Kim, Black Coffee, Chaka Khan, DMX, Ludacris, Rick Ross and more!! Listen live every Saturday at 6pm (EST) on mocradio.com

On The Radar
NANA On DMX, Mac Miller Inspiring "Save Yourself", From The District To The World, Working W/ Buddy

On The Radar

Play Episode Listen Later Apr 20, 2022 17:50


Watch the freestyle here: https://youtu.be/lwyufS4dokAToday on On The Radar we welcome West Coast rapper NANA ahead of the release of his new EP "From The District To The World"! The rapper who just dropped off his freestyle yesterday is currently gearing up for his new EP which is set to feature the likes of fellow West Coast rapper Buddy. Stopping by On The Radar, NANA spoke about his early influences from DMX, how Mac Miller inspired his last project, saving someone's life with his music + more. Follow Gabe on IG: https://bit.ly/3cpvsEM​​Follow On The Radar On IG: https://bit.ly/3n3tP1Q​​Follow On The Radar On Twitter: https://bit.ly/2VYj8lm​​Follow On The Radar on Facebook: https://bit.ly/2VWjJnB​​Follow On The Radar on Tik Tok: https://bit.ly/2JNPcWI​​Follow On The Radar On iHeartRadio: https://ihr.fm/39UZUW1​​Follow On The Radar On Apple Podcasts: https://apple.co/370ITYD​​#Ontheradar #Interview #Nana

The Jay King Network
WOMEN WHO JAM RADIO (WWJR) / MS JOHNNIE WALKER

The Jay King Network

Play Episode Listen Later Apr 18, 2022 61:00


Johnnie Walker began her career as a country music radio personality. She later segued to Black radio holding numerous positions, and in 1989 she joined Def Jam Recordings as a regional marketing rep. Within one year Walker was promoted to National Director of Promotion. The Sr. National Director position soon followed and positioned Walker to be instrumental in launching the careers of Redman, Method Man, Onyx, Montell Jordan, Ashanti, Sisqo, and Foxy Brown! Making the move to New York City in 1997, Walker was named Vice President of Promotion for Def Jam. A year later, after restructuring the company's promotions department and its field staff, Walker was named Sr. Vice President. During her tenure, her team successfully marketed Def Comedy Jam, Phat Farm clothing, Russell Simmons' co-produced movies, "The Nutty Professor,” Jackie Chan's “Rush Hour 1 and 2” plus several #1 Gold and Platinum albums from Jay-Z, Sisqo, Kelly Price, Ashanti, Ja Rule, DMX, LL Cool J, Musiq, Dru Hill, and others.

The Last Row: A Pretty Good Movie Podcast

The Last Row Podcast welcome Steven Seagal back for his fifth appearance on our watch list, this time alongside the late/great DMX in Exit Wounds. Drew and Badway are talking Seagal behind the scenes tantrums (of course), the underrated Tom Arnold, waterbeds in houseboats, the physics of shooting a bullet downward vs upward, and Michael Jai White's undersized skin for his ripped bod. Finally, the guys stumble upon the perfect plan to both get crooked cops rich AND get the drugs off of the streets. --- Our other Steven Seagal Episodes: Out for Justice (EP 86) Hard to Kill (EP 53) Marked for Death (EP 33) Under Siege 2: Dark Territory (EP 10) Subscribe & Follow Us: Spotify Apple Podcasts Google Podcasts Twitter Facebook Instagram YouTube We'll see you again on Thursday, April 28th.

Sports and Hip-Hop with DJ Mad Max
TK Kirkland talks Will Smith Oscars Incident, N.W.A., & Eazy-E ”Sports and Hip-Hop with DJ Mad Max”

Sports and Hip-Hop with DJ Mad Max

Play Episode Listen Later Apr 14, 2022 45:57


Big thank you to the comedy legend TK Kirkland for coming on my show for an interview! TK Kirkland talked about opening up for acts such as: Patti LaBelle, N.W.A., DMX, The Whispers, MC Hammer, and Tone Loc. He discussed when he found his rapport on stage as a comedian, getting banned from the N.W.A. tour, and plans of him and Eazy-E starting Ruthless Comedy before Eazy-E passed away. He got into being selected for a scared straight program when he was younger, starting out doing skits in college at Arizona State, and raising money for Maxine Waters. He also talked about performing for 50 Cent and Eminem on MTV, Jay-Z performing at his birthday in Harlem in 1995 before Reasonable Doubt released, and working with Vin Diesel in the 1997 movie Strays. He closed out the show giving his reaction to and thoughts on the Will Smith Oscars incident as well as what he has coming up in the near future. Stay tuned! Follow TK Kirkland on Instagram and Twitter: @tk_kirkland Follow me on Instagram and Twitter: @thereelmax. Website: https://maxcoughlan.com/index.html. Website live show streaming link: https://maxcoughlan.com/sports-and-hip-hop-with-dj-mad-max-live-stream.html. MAD MAX Radio on Live 365: https://live365.com/station/MAD-MAX-Radio-a15096. Subscribe to my YouTube channel Sports and Hip Hop with DJ Mad Max: https://m.youtube.com/channel/UCE0107atIPV-mVm0M3UJyPg. TK Kirkland on "Sports and Hip-Hop with DJ Mad Max" visual on YouTube: https://www.youtube.com/watch?v=iuA8sq19GWk&t=365s. 

The Jay King Network
WOMEN WHO JAM RADIO (WWJR) / MS JOHNNIE WALKER

The Jay King Network

Play Episode Listen Later Apr 11, 2022 61:00


Johnnie Walker began her career as a country music radio personality. She later segued to Black radio holding numerous positions, and in 1989 she joined Def Jam Recordings as a regional marketing rep. Within one year Walker was promoted to National Director of Promotion. The Sr. National Director position soon followed and positioned Walker to be instrumental in launching the careers of Redman, Method Man, Onyx, Montell Jordan, Ashanti, Sisqo, and Foxy Brown! Making the move to New York City in 1997, Walker was named Vice President of Promotion for Def Jam. A year later, after restructuring the company's promotions department and its field staff, Walker was named Sr. Vice President. During her tenure, her team successfully marketed Def Comedy Jam, Phat Farm clothing, Russell Simmons' co-produced movies, "The Nutty Professor,” Jackie Chan's “Rush Hour 1 and 2” plus several #1 Gold and Platinum albums from Jay-Z, Sisqo, Kelly Price, Ashanti, Ja Rule, DMX, LL Cool J, Musiq, Dru Hill, and others.

Dre’s State of Mind
A 10 year ban for a slap?

Dre’s State of Mind

Play Episode Listen Later Apr 9, 2022 41:57


A man cheats on his wife on their wedding day. The one year anniversary of the passing of DMX. My thoughts on the Oscar slap & the tragic passing of Dwayne Haskins. --- Send in a voice message: https://anchor.fm/andre-leon-andrew-gaynair/message Support this podcast: https://anchor.fm/andre-leon-andrew-gaynair/support

Get Ya Bars Off Network
Get Ya Bars Off Podcast Ep.135 | " Corny or Consistent? "

Get Ya Bars Off Network

Play Episode Listen Later Apr 8, 2022 158:04


Stamps (0:01) - Los say Tyler The Creator is a better rapper than Drake (8:29) - Intro Song - " Too Bad That I Forgot " by Alex Isley (11:38) - DMX in Belly vs DMX in Never Die Alone/Steven Seagal Vs Nicholas Cage (16:00) - Thoughts On Therapy (19:25) - Russell Wilson “Corny” Comments (32:10) - Grammys diminishing Virgil Abloh's legacy as just a " Hip Hop Designer " (37:10) - Snowfall Ep.8 Recap (1:05:00) - Jarrod of " Conversations At The Shop " pulls up to tell us about his time at Wrestlemania 38 (2:16:17) - Arri lists his favorite Non-WWE matches from Mania weekend (2:18:18) - Cody Rhode's Media Scrum (2:20:15) - Raw After Mania was mid (2:21:00) - New Music Friday Releases (2:25:20) - Waves Of The Week Los - " Master Your High " by 38 Spesh Arri - " Mental " by Denzel Curry Ft. Saul Williams & Bridget Perez Su - Welcome Home DMX by Dave East & Jonesey) 2:38:02 - sign off --- Send in a voice message: https://anchor.fm/gybo/message Support this podcast: https://anchor.fm/gybo/support

Sixteen:Nine
Jonathan Labbee, SACO Technologies

Sixteen:Nine

Play Episode Listen Later Apr 6, 2022 38:23


The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT Montreal's SACO Technologies doesn't have anywhere near the mindshare of the largest LED display manufacturers in the pro AV industry, but it's nonetheless the supplier behind some of the biggest and most interesting display jobs lighting up these days. That is SACO's LED light stick technology cladding the world's tallest building - the Burj Khalifa in Dubai - and turning it into a colossal media display that can do everything from mood lighting and still images to motion ads for movies, like this recent spot for the new Batman blockbuster. While the other major players in big direct view LED displays work with pro AV consultants and integrators, and media owners, SACO engages with architects and building engineers to fully integrate active, addressable LED lighting into the facades of buildings and, in some cases, the overall structure of the building. For example, the home grounds of the new MLS team in Cincinnati designed active, changeable lighting into the entire stadium exterior, as opposed to bolting a big conventional display to its side. That huge low rez LED display on the top of SoFi Stadium in LA - where the Super Bowl was just held - that's SACO, too. The back-story of SACO is super-interesting and super-different. The company's roots are in supplying the blinking indicator lights you'd see in old school control rooms, like the walls in power plants. Back in the mid-90s, one of SACO's founders wondered if the colored LEDs could be put together and controlled to create a video display. A small reference design proved the concept, and within a couple of years, SACO was providing a massive version as a digital backdrop for U2's PopMart tour. That led to more concert tours, and by the mid-2000s, the company was also a major player for large format stadium and arena displays. These days, much of SACO's work is custom and specialized, and not the kind of work suited to the more mainstream, high-volume LED guys. I had a really interesting chat about SACO with Co-CEO Jonathan Labbee. Subscribe to this podcast: iTunes * Google Play * RSS TRANSCRIPT Jonathan, thank you for joining me. Can you describe what SACO as a company does and how long has the company been at it?  Jonathan Labbee: Yes, absolutely. SACO was founded 1987 by the Jalbout brothers, Fred and Bassam Jalbout, and originally started off as a company that specialized in nuclear controlled room equipment. So SACO actually stands for Systems Automation Control, a very far cry from what we're doing today, but essentially if you've watched a Steven Seagal movie and you see these big control room panels on these oil rigs and all that kind of stuff, that's the type of stuff that SACO used to do. And in those panels are a lot of little tiny blinking indicator lights, and some other control equipment that SACO used to manufacture, and eventually they started experimenting with LED technology, and one of the brothers, Bassam, came up with the idea of creating a display using these solid state lights. At the time it was only red and green and eventually was working with one of the premier LED manufacturers still to this day, and when they invented the blue LED, they provided that to the team back in Montreal, and essentially created the very first video display on earth. It was a small little sample. It was maybe like a one foot by two foot sample. It was quite small, but it was able to demonstrate the capabilities of putting up an image and eventually a moving image, and this caught the eye of certain advertising companies and more importantly at the time a rock band, and we got a challenge from the band U2 to create this 50 foot by 150 foot wide video stage, a backdrop to replace Sony jumbotron that they were planning on putting on PopMart. And we took up the challenge, designed and built this thing and deployed it with success on the PopMart tour, started in Las Vegas, and then we toured with U2, essentially showing off these new capabilities.  This was in 1997.  Wow. So that first reference design that you talked about, was that 97 or a little bit before then obviously?  Jonathan Labbee: The reference design was in 93, that's when the blue LED was invented. We had, at that time, already created a red, green display as a prototype. But then eventually we did build a red, green and blue version. So an RGB version, a full color version and I think we met the band maybe like the end of 1994.  That's quite a transition from doing a control room to working with Bono.  Jonathan Labbee: It completely changed the company. At the time we called the technology, smart vision. We did a tour with success and picked up a bunch of other bands and then eventually started doing permanent installations, like the Baltimore Ravens stadium and Washington Arena and so on. And then if we fast forward a little bit, we end up in 1999 when we built the very first NASDAQ screen in Times Square.  So the sort of curved one with the knockouts for all the windows, that's you guys?  Jonathan Labbee: That's us, and that's actually a really interesting story. Already making a curve was going to be a big deal, no one had ever seen a curved video screen of that magnitude, and then we had gotten the project. It was a full display at the time, and then the client, NASDAQ came to us and told us that the main tenant in the building was no longer willing to have their windows covered. So we created his knockouts and everybody was worried about how it would look, I guess it would look odd with these holes in it. With a little bit of convincing, everybody went with it, and the very first piece of content that we put on there for testing was Pac-Man.  Which makes sense, because it would work around the hole. Jonathan Labbee: Exactly. Interesting. So you started out doing, I guess, almost like mesh LED curtains, and then the NASDAQ's display was quasi conventional LED cabinets, although albeit a little bit curved and all that, and in the past seven years, really, all these other LED companies have come on the market with their own cabinets on all that and you guys haven't really stayed in the conventional LED cabinet business. You've gone in other directions, right?  Jonathan Labbee: Yeah, that's correct. We still have some “standard” type products. Although they're really more there to support some of the iconic projects that we're doing, and some of the more complex projects that we're doing. So for example, if we have a client that wants to do this kind of nighttime identity thing on their building, that highlights the architecture, and so on, like some of the projects like FC Cincinnati, in some cases, they may require some video screens down at the bottom on the marquee or inside and stuff like that and so we do have offerings to be able to support them with it.  So is a lot of what you do custom then?  Jonathan Labbee: Yeah. I would say most of what we're doing today is highly customized, not full custom, but highly customized, and there's a difference there, in the sense that our product is really the technology itself and then how we package it is the customized portion of it for the client. A lot of the reason that you get attention, I gather at least, is that unlike the vast majority of the companies who are selling “conventional LED products”, they're working with AV integrators, whereas you guys, by the looks of it, at least tend to work with architects.  Jonathan Labbee: Yeah, that's a very good observation. So our main drive is really with architects. We have seven architects on staff here at SACO. We have mechanical engineers, of course, electronics engineers, but also structural engineers. So when we go into a project and usually the earlier, the better, because we're able to detail down to the level of the building and at the same time, we're able to influence how things get integrated, because we know how we can make things.  We're able to work with the architects to integrate the product in the building facade or wherever it's supposed to go where it looks integrated and not bolted on, and that subtle difference makes all the difference in the world. It also makes a difference in terms of the engineering, right? Because even though the individual light rods probably aren't all that heavy, if you have thousands of them, it adds weight to a building, right?  Jonathan Labbee: It does, and so if we were to come on, say after a building's already up, we would normally be adding not just a product but we'll be adding, like the bracketing and whatever else that we're doing. If we're there early enough in the early stage, maybe the extrusion for the window will be designed differently to accommodate the product.  So there's some savings in terms of weight and potential costs, but also the final look is very different.  Going back in the past decade or so, you started to see signature buildings in a landscape that would be lit at night for different purposes. They might have a certain kind of baseline set of colors that they use. But if like right now there would be buildings that are in blue and yellow because of the situation Ukraine has.  That seemed to be the way things were being done for quite some time now, but with the Burj in Dubai, that's more than just a sort of ambient lighting. It's a media facade. Was there a moment when it changed and you're able to do that or has that always been possible and it just hadn't been done?  Jonathan Labbee: We've always been able to do that. I think that the market and the clients, as they evolve and they see things and they have ideas and then we start exploring ideas with the clients, then I think that's truly when things get revealed, right?  So we may have the capability to do something, but then you also need to get the client that has a vision that allows that to happen.  Okay. So with the Burj, the world's tallest building, at least I think it still is, but with that one, you've got your product on at least one side of the building. Is it just on the one side kind of facing the mall and all that, and that goes from top to bottom, was it built in or was it added after the fact? Jonathan Labbee: So this was added after the fact, and actually what happened there is that the client had tried something, they had acquired some products, I don't know exactly where and had put it up. So they had this idea of wanting to do this. I believe it was a DMX based system. It did what it was supposed to do, but the problem is that I don't believe that it lasted as long as they needed it to. So a year and a half in or something, we connected with them and then we designed for them a system that would fully integrate with the fin, we have these really beautiful stainless steel fins on the building. That's what gives it shine during the day.  So we wanted to respect that, but it was also the perfect area to attach these things. So we designed this kind of fin, like a nose piece for the fin that integrated the product, all the cabling and everything, and then we installed that at the end of 2007.  Okay. So with that building, as huge as it is, you can actually do a full motion ad, like the recent one for the new Batman movie from street level, all the way to the top, right? Jonathan Labbee: Oh, absolutely. Everything that we do is basically either a full video screen or a deconstructed video screen, and in the case of Burj Khalifa, it is what we would refer to as a deconstructed video screen. So it has a twenty five millimeter pixel on the height, but then a meter and a half on the width. So it goes in between the windows and obviously with distance and so on, your brain is able to put the image together.  It's interesting, in the past four or five years with LED marketing, it's all been about finding pitch pixel pitch, and it's 0.9 versus 1.2, and oh my God, 1.2 is awful by comparison, and you're talking about a meter and a half pixel pitch.  Jonathan Labbee: Yeah. Everything has to do with distance and contrast, at the end of the day it can be broken down as that. It's in the distance and contrast.  So what's involved in putting up something like that? God knows, I wouldn't want to be one of the technicians who told me to go up to the 110th floor and go outside and put this on. Jonathan Labbee: It's a really interesting process and much like other projects that we've done, it was the first time that we were doing something. Like this and by like this, I mean, at that height with no cranes and difficult to access and so on, the building itself is almost a kilometer tall. Everything is done with rope access people.  And then the other complexity that comes into play is time. So between when we got the contract and we turned the screen on, It was seven months. So that's not a lot of time to design a new product. We actually had to design a new product for this project, did the engineering, the testing validation, certifications. So essentially what we did is, we had our factory in Montreal. We design and manufacture everything in Montreal by the way, and then we replicated a portion of our factory in Dubai, and we did a lot of final assembly and insulation within the extrusion pieces and so on, and the cabling, everything we did there in Dubai.  The client was very instrumental in helping us set up all of that capability there, and then we just staged everything everywhere that we could in every empty space of the building, and then started deploying these via rope access team, and obviously part of it is a hotel, part of it is are residences. So you are very limited in the amount of time that you can spend. At night, you can't be in front of the hotel portion, during the day, you can't be in front of the residences. So we needed to plan across a whole building how to get these things in place.  And is it set up in such a way that if you're in one of these residences, you don't see the light emitting from these fins that it's just pointing out?  Jonathan Labbee: Correct, so you have no idea if you're inside the residence that there's actually lighting on the building. Which is a problem for some of the media facades I've seen that are just mesh LEDs because you're now looking through this grid system to see outside. You've still got your view, but it's compromised.  Jonathan Labbee: Yeah, exactly, and that's actually one of the reasons why the horizontal pixel pitch had to remain at one and a half meters was because we didn't want, nor our client, didn't want anything in front of the windows.  These media facades on buildings seem to be a thing certainly in China, but I'm starting to wonder when we'll start to see more of them in North America. Are you seeing the demand there to do this?  Jonathan Labbee: Yes, absolutely. Although things have shifted, I think that with the introduction of the Burj, FC Cincinnati, SoFi Stadium on the roof, I think clients and architects are realizing that a media facade doesn't need to be just a rectangular or square video that takes up all their front real estate. They're starting to look at it more as a way to enhance the architecture that can also do media, and being able to prove that you don't have to have the same pixel pitch on the vertical and horizontal. You can do different things and it just makes it more unique and interesting to the building while you're still communicating the message that you want to from the advertiser or from whatever you're trying to communicate.  Is it your control system as well for the software that's driving it?  Jonathan Labbee: So we do everything up to the video processor. So the video processor, what takes a signal and then we work with a variety of companies like Disguise or Seventh Sense depending on the type of project. But anything that has a very complex geometry, we usually work with this Disguise.  Yeah, you're not going to get a setting out of the box for a client or a building.  Jonathan Labbee: No, not all, however, our team does produce all of the 3d coordinates for the software to understand it. So you don't have to have a human sitting there trying to figure out the map, because we already have the map created with a tool set that allows us to take the map and turn it into the coordinates for the systems that we work with. So mapping a building is actually fairly simple, and if you were to change something or you had to adjust something in your final drawing sets, you can just re-upload that file to the server, and the server will change the pathways for the video image. image. Now, when you're working with a giant scale surface like that, because the pixels are a meter and a half apart, at least in that job, does that limit the amount of light that's coming out? One of the things I wonder about with city bylaws and all that is, if you tried to do something like this on a building in New York or Montreal, what would be the citizen reaction? Would they say, “We can't tolerate this. It's going to blind us. It's going to feel like a tanning salon in our house”? Jonathan Labbee: Yeah, actually a very valid point. We went through that exercise just recently with a client, and that really becomes more about being a responsible corporate citizen. That onus falls on the client, but also on us to provide the tool set to their client for that. But again, if you remember what I was talking about contrast earlier, if something's too bright anyway, then I'm sure you've driven on the highway and seen digital signs for where their brightness wasn't turned down at night and it hurts your eyes. So I bet you don't remember the ad that was on that screen because your brain was too busy hurting. So in any case, to be able to show off the very best of that building and what you're trying to show, you have to have the right level of contrast. So if it's very bright outside, obviously it could be just light pollution, then you'd want to pump up the power, but if you don't have a lot of competing lights, you would want to j, drop the power down and then the brightness. So we can do it in a few ways. Obviously we can set levels based on time of day and with light sensors and so on which we do for several clients, or there's just just bypass where the client can select it or at night it's just that level. The Burj is a special case, but if there were other tall buildings in major cities that wanted to do this sort of thing, would they be looking to do it as a media model or do they see it as a way to distinguish their building with ambient lighting that's interesting to look at?  Jonathan Labbee: Yeah, that really depends on the client. I think that some clients go in with the idea of wanting to create a media building. So if you look at the Hard Rock hotel, for example, like the Guitar hotel in Hollywood, Florida, their intent was clear of what you want it to do. It is media focused from the very beginning.  Some of our other clients, I'm thinking of one of the embassies that we did in New York, for example, originally started off as a way to highlight the building. So there was more kind of a highlight on the edge of the building. But when they saw us testing, they realized, wow, I think there's more capability here, and I think that each client goes through a level of evolution on how to utilize the product.  And I guess there's a delicate balance that they have to reach as well that you were saying earlier, you can be good corporate citizens and do something visually interesting with your building, but then you can cross the line and start selling mortgage broker services  Jonathan Labbee: You could do that or you could strobe and there's a lot of things that you could do that you wouldn't necessarily want to do and some of the clients, obviously we have some very sophisticated clients that have a media strategy for that, and they have a team, but some of the other clients just want to do something beautiful, and when that happens, we have a division inside of SACO called the Media Collective, with a Creative Director and so on, and we usually put together a base package for them, just to be able to kinda understand how to utilize your building.  Is the Media Collective in-house designers, or is it a collective of people who have the skill sets and experience to work with your technology? Jonathan Labbee: So we have some animators in-house but the whole reason we have a media collective is really to build a collective of external firms that we work with because we actually get a lot of work through design firms. So we don't want to end up competing with them so if we do end up having a project that requires some content, Burj was a perfect example. In the beginning, we built a bunch of content for them. So we directed the whole thing, but we had, I think, six firms that worked with us to provide different flavors.  When you have a specialized project, somebody like another Montreal company, Moment Factory might come to you guys and say, “Hey, we need to do something on this monumental surface. Can you help us?”  Jonathan Labbee: Yeah, correct. Actually Moment Factory, there are several projects where we've collaborated together. One of them being the AT&T project in Texas. We have our product inside of the A looking thing.  Yeah, that kind of a spherical walkway thing that kind of leads you to the building? That's a very cool project. So when you are working with these different companies, are they coming to you directly or does it tend to come through an architect?  Jonathan Labbee: No, when we're working with these with design firms, they'll usually either contact us or again, vice versa, if we have a media request, we'll contact them.  There are any number I would imagine of companies out there that have LED light sticks that can do kind of mood lighting for a building. Do you compete with them or their control systems really meant to like, change this block to blue and change this block to yellow so we can have the Ukrainian flag? Jonathan Labbee: I would say that in certain times, we'll see them on projects, but those companies are usually DMX based, whereas we're video based and there's a really big difference there in the overall approach and also in the ability to display color and bitrate and stuff like that. So just coming from a video background, the type of clients that usually seek us out, or that we seek out have a vision for media, not just for lighting.  Do they also come to you because of the scale that you've done these ginormous projects?  Jonathan Labbee: Absolutely, because you also have to be game to do this. These challenges are filled with unknowns, and I think that the team at SACO thrive on them.  Yeah, I'm sure there are all kinds of companies who, if they were approached to do some of these large scale projects, they'd go, sure, and then they'd go back to the engineering team and look at each other and go, okay, now what?  Jonathan Labbee: Yeah. We've had a few instances where, let's call them competitors, in certain spaces that got a project and had no idea how to do it and they came to us and we worked with them. It's a small industry, so we're friendly with everybody,  You mentioned earlier the idea of shape and you worked with FC Cincinnati on this new MLS stadium, right? Could you describe that?  Jonathan Labbee: The working part or the project part? The stadium is a curved kind of bowl thing, and the whole outside of it is a bit like the Bayern Munich stadium in that you could eliminate the whole thing. Jonathan Labbee: Yes, exactly. Here the architect is Populous, a company with whom we worked with in the past, and we have a very good working relationship there. So when they took over that project, I believe it was with a different architect prior, and they came up with this kind of vision of these angled fins where you could see through the building and so on, they created this very light structure which at night needed to be highlighted.  So when they brought us on board to start taking a look at the designs and giving our ideas and stuff like that, obviously it made a lot of sense to highlight the edge of that. The product is very much recessed inside of the fin. So it's completely invisible during the day or when it's not on, and I guess there were several ideas there, but I guess one of the guiding principles there is that it needs to be integrated and needed to highlight the architecture at night and keep that sense of emotion like that whole stadium has this static motion to it. So based on that, we ended up designing a solution for it, and also created the base content for the client and it's been highly efficient for the client.  Is it actually less costly to do it the way you're describing as opposed to doing like a full LED mesh curtain and all that, just because there's less hardware, fewer LED diodes and so on, or it does balance out because this is custom engineering? Jonathan Labbee: Yeah, I think I think maybe it balances out. It's probably overall it's maybe a little cheaper because you're integrating early but that only happens if you're integrating early, if you're retrofitting, it's usually it usually balances. But the big thing that it does though, is that it does become unique to that property.  When you just start adding video screens, and again, I'm a big fan of video screens. That's what we do for a living. But video screens, like what we refer to as traditional video screens, have their place. But on a building, it just ends up looking like advertising, if you just put it up a building, right? So if you really want to enhance the building and kind of blend art and media, I think that's a highly effective way of getting your message across because then there's no mistake in if someone takes their Instagram shot or whatever, there's no mistake in where that is.  And I'm sure that you spend the time with the clients, for them to understand, look, this is low resolution. This is in a lot of cases meant to be seen from a hundred meters away or further away. If you want to put pricing propositions on the screen, that's probably not going to work, but logos and things like that's going to work well.  Jonathan Labbee: Yep. Exactly. And again and as you approach the building or as you approach a property or as you're walking through a property, your experience is going to change. So that video element will now become more of a lighting interesting kind of ambient element, but then you'll have something else in the Causeway or whatever with maybe that has a tighter pixel pitch or something to just continue that whole experience as you walk through the property. Do you strictly work with outdoor products or are you doing anything indoor?  Jonathan Labbee: Oh no, we do lots of indoor stuff.  Is that more conventional, like LED modules, cabinets, that sort of thing?  Jonathan Labbee: Yes, actually, in its construction, I would say yes but in its deployment oftentimes it's different. We did this art piece, which is actually a media piece with Jenny Holzer, which sits inside of the Comcast headquarters in Philadelphia, and there are custom tiles that are 6.32 millimeter pixel pitch at the exact 8 inches wide, and they needed to fit in between these wood slabs on the ceiling and the entire ceiling has video strips going right through it, right through the escalator and everything.  Oh, so is this tied in with the big LED wall it's already in the lobby there?  Jonathan Labbee: The LED wall is in the other building.  Gotcha. The other building is fantastic, what they've done there.  Jonathan Labbee: Yeah, exactly. So we'll also deploy, like we have a project right now going on, I can't really say what it is yet, but it has a bunch of really high res stuff, and these kinds of monuments in a curved fashion, all interactive. So high res video screen type stuff that we do a lot, and we do a lot of touring also. All tier one, so the Paul McCartney's of the world and Lady Gaga's utilize a lot of SACO equipment on their tours.  And these again, would be stuff that you can put up and take down pretty quickly. They're lightweight and there's a pastor, so you can see it and behind it, all that? Jonathan Labbee: Yeah, exactly. So what we do for touring is actually use our frames called Fast Frames and they're very fast to set up and rugged. And, in touring speed is extremely important because time is money there, as you're loading and unloading, others are waiting on you. So we came up with this system that's very fast.  I'll give you an example. When we came up with this new product called the S series. One of our very first clients was Bruno Mars, and this is obviously through some partners, rental partners, and it was a 50 foot wide video screen by 20 feet tall and that took 13 minutes and 13 seconds to set up, from the carts to image on. We actually made t-shirts that said 13:13.  Yeah. That's a good thing. Cause somebody's going to ask, what does that mean? And then you're immediately pitching,  Jonathan Labbee: Well, exactly, and also touring does allow us to have a customer base there that is always hungry for the latest in things. Although we have more standard products there that can do their main elements, we'll build a lot of custom stuff for touring as well, and so on the Taylor Swift tour, for example, we had a bunch of 12 millimeters and some 9 millimeters, but because the thing went up like a half pipe in certain areas. We designed these custom triangular tiles to fill in the gap to provide a monolithic look and so on. So we have clients that are willing to try new things there, and then we take all of that knowledge and then we apply it to our more permanent projects afterwards.  You're obviously pretty well known in the live events community and I guess in architectural design, not really in the digital signage or LED display community or at least the conventional side of that. Does that matter, or are you quite happy with just stealthily building up your business?  Jonathan Labbee: Very good question. I would say that in the beginning more, more on like the 2000s stuff, we were doing a lot of arenas and stadiums, like the traditional center hongs or ribbon boards, we were heavily heavily involved there. But when so many companies came out with offerings, there were some differentiators of course, between what we offered and what other people offer, but the cost just kept getting driven down and down, and all of a sudden, you're now operating in a commodity based business. That's not where we necessarily like to be, we're innovators at heart, so we like to focus on areas where our talents can be fully exploited, and so as soon as you introduce a little bit of complexity and there's a lot of clients that want something complex and context could be something as simple as a curve, an angle, a shape, an installation, we ended up finding ourselves almost alone.  Yeah. Interesting. I know there's a big project that you're not able to talk about yet but I'm sure maybe we'll get back together in a year or so when you're allowed to talk about this thing running and it's amazing, and unfortunately we can't talk about it at the moment. Jonathan Labbee: No, but I'll be happy to speak with you when we can.  Absolutely. All right. Thank you very much for spending some time with me. That was terrific. Jonathan Labbee: It was a pleasure.

The Jay King Network
WOMEN WHO JAM RADIO (WWJR) / MS JOHNNIE WALKER

The Jay King Network

Play Episode Listen Later Apr 4, 2022 61:00


Johnnie Walker began her career as a country music radio personality. She later segued to Black radio holding numerous positions, and in 1989 she joined Def Jam Recordings as a regional marketing rep. Within one year Walker was promoted to National Director of Promotion. The Sr. National Director position soon followed and positioned Walker to be instrumental in launching the careers of Redman, Method Man, Onyx, Montell Jordan, Ashanti, Sisqo, and Foxy Brown! Making the move to New York City in 1997, Walker was named Vice President of Promotion for Def Jam. A year later, after restructuring the company's promotions department and its field staff, Walker was named Sr. Vice President. During her tenure, her team successfully marketed Def Comedy Jam, Phat Farm clothing, Russell Simmons' co-produced movies, "The Nutty Professor,” Jackie Chan's “Rush Hour 1 and 2” plus several #1 Gold and Platinum albums from Jay-Z, Sisqo, Kelly Price, Ashanti, Ja Rule, DMX, LL Cool J, Musiq, Dru Hill, and others.