Podcasts about grand ave

05-05-25 - Shooting In West Valley Shuts Down Grand Ave - Stories From A Fun UFest Weekend Including Bret's Dude Soup In The Meat Tube Reference And Meeting Valerie Bertinelli BackstageSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Gold Roofing, Inc. (970-593-3080), serving Grand Lake and Northern Colorado, has officially opened its spring roof repair schedule. Booking now means faster service and a better chance of catching minor damage before it escalates. Click https://goldroofing.com/ now. Gold Roofing in Grand Lake, CO City: Grand Lake Address: 916 Grand Ave - 2177 Grand Lake, CO 80447 Website: https://www.goldroofing.com Phone: +1-970-593-3080 Email: goldroofing@gmail.com

Meet Logan McQuaig. He's a down-to-earth, humble kind of guy who calls himself the "maintenance boy" around Redlight Kitchen & Bar, his popular establishment on Grand Ave. Logan grew up in hospitality, from delivering pizza all around Bellingham to serving up pints at Uisce. Today, he's the owner of one of Bellingham's hotspots, known for its extensive drink menu, Asian-fusion dishes, and a warm atmosphere. In this episode, he talks all things restaurant management, the importance of key leaders, and the future of their old space on State Street.   Follow the show: https://www.instagram.com/building.bellingham/

In Episode 22 of The Halloween Podcast, join host Lyle Perez as he explores the haunted history of Michigan, a state known for its stunning Great Lakes and dense forests but also for its restless spirits. From grand hotels to eerie hospitals, Michigan holds some of the most spine-chilling tales in the country. Featured Haunted Locations: The Grand Hotel Address: 286 Grand Ave, Mackinac Island, MI 49757 A historic hotel where ghostly apparitions, including a woman in Victorian dress and a soldier from the War of 1812, roam the halls. Guests have reported mysterious footsteps and the sound of horses' hooves on stormy nights. The Whitney Mansion Address: 4421 Woodward Ave, Detroit, MI 48201 This opulent mansion, now a restaurant, is haunted by its original owners, David and Sara Whitney. Guests often encounter cold drafts in the elevator and the sound of sobbing from empty rooms. Fort Wayne Address: 6325 W Jefferson Ave, Detroit, MI 48209 A historic fort where the ghost of a Civil War soldier patrols the grounds, and the weeping spirit of a soldier's wife has been seen wandering near the barracks. The Traverse City State Hospital Address: 830 Cottageview Dr, Traverse City, MI 49684 Once a mental asylum, this sprawling hospital is haunted by the spirits of former patients. Disembodied voices and ghostly nurses have been spotted walking the halls and tunnels. The Paulding Light Address: Near Robbins Pond Rd, Paulding, MI 49912 A mysterious glowing light that appears at night, believed to be the lantern of a brakeman killed while stopping a runaway train. Witnesses report seeing the light and hearing the faint sound of a train whistle. Henderson Castle Address: 100 Monroe St, Kalamazoo, MI 49006 A grand castle haunted by its original owners, Frank and Mary Henderson, whose spirits have been seen in the tower room and garden. The ghost of a young girl also giggles in the halls. The Michigan Bell Building Address: 50 Louis St NW, Grand Rapids, MI 49503 Built on the site of a mansion where a brutal murder took place, the building is haunted by strange phone calls and the sound of chains dragging in the basement. The Felt Mansion Address: 6597 138th Ave, Holland, MI 49423 This stately home is haunted by the ghost of Agnes Felt, who wanders the halls after her sudden death. Visitors report the scent of roses and the sound of children laughing in the attic. Eloise Asylum Address: 30712 Michigan Ave, Westland, MI 48186 Once a psychiatric hospital, this abandoned asylum is known for its oppressive energy, with visitors hearing distant screams, cries, and seeing a wheelchair moving on its own. The Holly Hotel Address: 110 Battle Alley, Holly, MI 48442 A Victorian hotel haunted by former owner Mr. Hirst and a maid who died in a fire. Guests report seeing apparitions and hearing eerie sounds in the kitchen and dining room. Like Our Facebook page for more Halloween fun: www.Facebook.com/TheHalloweenPodcast ORDER PODCAST MERCH! Website: www.TheHalloweenPodcast.com Email: TheHalloweenPodcast@gmail.com X: @TheHalloweenPod Support the Show: www.patreon.com/TheHalloweenPod Get bonus Halloween content and more! Just for Patreon supporters! Check out my other show! Find it on iTunes - Amazing Advertising http://amazingadvertising.podomatic.com/ Keywords: Haunted Michigan, Michigan Ghost Stories, Haunted Locations, Paranormal Michigan, Haunted America, Grand Hotel, Whitney Mansion, Fort Wayne, Traverse City State Hospital, Paulding Light, Henderson Castle, Michigan Bell Building, Felt Mansion, Eloise Asylum, Holly Hotel Tags: #HauntedAmerica #GhostStories #MichiganHaunts #ParanormalPodcast #HauntedLocations #MackinacIsland #StaySpooky

Jason talks with Peter Kenefick and Executive Chef Noe Frausto from Saji-Ya and  Emmett's Public House about the dining scene in St. Paul and trying to revive Grand Ave. in St. Paul. 

Hour 2: Jason talks about Grand Ave in Saint Paul with Peter Kenefick and Executive Chef Noe Frausto on DeRusha Eats. Then Joe Fowler and John Schafferbilling join him to talk about a job fair for positions in the trades being combined with a ribfest this weekend. 

Concerned about whether your roof will withstand another Grand Lake winter? Call Gold Roofing at (970) 593-3080 to get it fixed today! Learn more at https://goldroofing.com/ Gold Roofing in Grand Lake, CO City: Grand Lake Address: 916 Grand Ave - 2177 Grand Lake, CO 80447 Website: https://www.goldroofing.com Phone: +1-970-593-3080 Email: goldroofing@gmail.com

On looking for, searching for, and making up meaning.

Gold Roofing - Grand Lake is a roofing installation and repair company that provides a variety of roofing services to both residential and commercial customers across Colorado. This company was established in 1996 with the intent to change the damaged reputation of the roofing industry. Gold Roofing in Grand Lake, CO City: Grand Lake Address: 916 Grand Ave - 2177 Grand Lake, CO 80447 Website: https://www.goldroofing.com Phone: +1-970-593-3080 Email: goldroofing@gmail.com

Target dropped another huge collaboration and collection! Self-checkout or no self-checkout? Target limits self-checkout to 10 items. Madeline Nachbar joins the show to discuss the closures on Grand Ave. As Mpls.St.Paul Magazine's Trend & Style editor, Madeline draws on her passion for travel, fashion, and the arts to keep a close pulse on the next big trends. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Target dropped another huge collaboration and collection! Self-checkout or no self-checkout? Target limits self-checkout to 10 items. Madeline Nachbar joins the show to discuss the closures on Grand Ave. As Mpls.St.Paul Magazine's Trend & Style editor, Madeline draws on her passion for travel, fashion, and the arts to keep a close pulse on the next big trends.

We are back for another season of The Phoenix Film Revival Podcast! And what better way to start it off than to hear from various film photographers in the Phoenix community?! On Sunday, January 28th we hosted our first film photography meetup of the year and had over 90 people come out to celebrate. Stacy and I opened up the lab to hang out and connect with the community. Our friend Aaron Markus (@8amfilms) came through to DJ in the back courtyard. Stacy coordinated a photo scavenger hunt along Grand Ave. I put together a slideshow with photos from various photographers and Tonissa helped check everyone in for the giveaway.  We also wanted to hear from the community and let folks hop on the podcast for a few minutes to share what camera they brought, what film they were shooting and what their film goals are for 2024. Special thanks to our guest for joining us! Be sure to follow them on Instagram. https://www.instagram.com/variablevacancy/ https://www.instagram.com/devoncadams/ https://www.instagram.com/kobe.ojeda/ https://www.instagram.com/ascholfield66/ https://www.instagram.com/emile_eich150/ https://www.instagram.com/slimsnapped/ https://www.instagram.com/aidanjeephotography/ https://www.instagram.com/longtimeryan/ https://www.instagram.com/faunivore/ https://www.instagram.com/lucindaguarderas/ If you enjoyed this episode please consider becoming a guest sponsor! Visit our Patreon for more details.  https://www.patreon.com/phxfilmrevival Don't forget to follow us on our socials!

Hour 3: Jason and Laura talked about the troubles on Grand Ave. Then on the DeRush-Hour: a pop-up IKEA? And Dave Schwartz on Mauer, the NFL and trough urinals

The roofing installation and repair company Gold Roofing Grand Lake offers various services to residential and commercial customers using trustworthy, high-quality products installed by friendly, experienced roofing professionals. They are located at 916 Grand Ave - 2177 Grand Lake, CO 80447. Gold Roofing in Grand Lake, CO City: Grand Lake Address: 916 Grand Ave - 2177 Grand Lake, CO 80447 Website https://www.goldroofing.com Phone +1-970-593-3080 Email goldroofing@gmail.com

If your home needs a new roof, get it installed before the fall and winter. Call the experts at Gold Roofing, Inc. (970-593-3080) in Grand Lake, CO. Go to https://goldroofing.com to find out more. Gold Roofing in Grand Lake, CO City: Grand Lake Address: 916 Grand Ave - 2177 Grand Lake, CO 80447 Website https://www.goldroofing.com Phone +1-970-593-3080 Email goldroofing@gmail.com

This company is proud to be known for their dedication to hard work, excellent service, and competitive pricing. They meet the needs of Northern Colorado's finest builders and residential customers alike. Gold Roofing in Grand Lake, CO City: Grand Lake Address: 916 Grand Ave - 2177 Grand Lake, CO 80447 Website https://www.goldroofing.com Phone +1-970-593-3080 Email goldroofing@gmail.com

We are continuing the fun from the WHO Radio Crystal Studio at the west end of Grand Ave at the Iowa State Fair! Iowa State 4-H Council Member Sydney Schilling from Worth County tells us what events are taking place at the 4-H Building today including Clover Kids Day and tells us how the renovations a couple of years ago have improved the experience for 4-H Communications competitions. FFA State Officers Will Vlasek and Josie Kelly fill us in on the turnouts for recent FFA competitions at the Fair and about the prep work that it takes to make it all happen. They also remind us about the milk vending machine run by FFA in the Ag Building. Iowa Cattlemen's Association Director of Member Services in Northwest Iowa Tanner Lawton shares the good news with the grand total of money raised at the Governor's Charity Steer Show on Saturday, more than $500,000 for Ronald McDonald Houses of Iowa! Bondurant-Farrar FFA Instructor Caitlin Remington and student Izzy Juhl talk with us about the operations of their garden at the northeast corner of the grounds. Today's show wraps up with Farm Rescue's Terry Johnston with us on behalf of the Iowa Farm Bureau talking about their non-profit organization helping out farmers and ranchers who after suffering illness, injuries, and natural disasters.

We continue from Day 1 on the 2023 Iowa State Fair! Bob Quinn is at Farm Bureau park today to begin the celebrations. He is joined throughout the hour by Iowa Farm Bureau President Brent Johnson talking about how agriculture has progressed in Iowa over the years, the festivities taking place during the Fair at Farm Bureau Park, and what the Iowa Farm Bureau is up to outside the Fair. Also today, David Geiger is at the west end of Grand Ave at the Crystal Studio! He talks with 4-H State Council Member Pacey Bogue about the events at the 4-H building today, getting the final touches in order for the exhibits there, and the other 4-H competitions that are underway. Pacey also talks about his path in 4-H and the Clover Kids program!

Gold Roofing, Inc. responds to shingle and structural damage caused by extreme weather conditions - call +1 970-593-3080 to speak to the team and book an inspection!Find out more about its roofing services at https://www.facebook.com/goldroofinginc Gold Roofing in Grand Lake, CO 916 Grand Ave - 2177 Grand Lake, CO 80447, Grand Lake, CO 80447, United States Website https://www.goldroofing.com Phone +1-970-593-3080 Email goldroofing@gmail.com

Today I sit down with Jiu Jitsu black belt Eddie Bravo and dive deep into Rock n Roll, Heavy Metal, UFC and Stand Up Comedy. Eddie is the current owner of the great 10th Planet Jiu Jitsu gym located at 1314 S.Grand Ave in Los Angeles. Do yourself a favor and tune into this episode and hear us talk about our love of Kiss and Metallica, Old School UFC and how he got into Stand Up Comedy. This episodes ending got cut off due to a equipment malfunction. Thanks for tuning in. This episode is brought to you by Migos Dog Food. Hit the link https://migosdog.com

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

This podcast episode is cross branded with a weekly podcast I host and produce on behalf of Bridge Association REALTORS®: The Bridge Association of REALTORS® PodcastRuth Stroup is a 17 year insurance agent with Farmers®, and founder of the Ruth Stroup Insurance Agency in Oakland. In our conversation Ruth educates me on many aspects of property insurance and the changes she has seen in her 17 year career. Topics include a brief history of property insurance since the 1980's and the unintended consequences of 1988's Prop 103; State Farms May 27th announcement that it has discontinued writing new policies on California property; The reinsurance market; Population growth and property development; Insurance company formulas - loss ratio, combined ratio; Firelines and the 3 factors that comprise fireline scores; Types of insurance carriers in California; FAIR plan; Insurance coverage and purchase contract contingencies; Property insurance inspections after the policy has been written.Ruth Stroup Insurance Agency, 3560 Grand Ave, Oakland, CA 94610 License #0M13985 Declan Spring is a licensed CA REALTOR® DRE#01398898

  Senior Health Insurance Information Program for Arkansas is a federally funded program that helps connect Medicare / Medicaid  users with providers who are trusted, trained and certified to offer insurance solutions. This free referral program is available year round in all 75 counties of Arkansas. West Central AAA “The Senior Specialists” 905 W. Grand Ave. Hot Springs, AR 71913 501-321-2811 1-800-467-2170 Thanks to our exclusive media partner, KVRE • Join Our Free Email Newsletter • Subscribe To The Podcast Anyway You Want • Subscribe To Our YouTube Channel (click that bell icon, too) • Join Our Facebook Group • Tell Your Friends About Our Show • Support Our Sponsors (click on the images below to visit their websites) __________________________________________

Chef Justin Sutherland is getting set to open a new egg sandwich shop on Grand Ave. and some folks on Twitter are losing... their... minds... over the menu price of his offerings. Jason wants to know why we're so obsessed with "knowing" what something should cost?

Family Owned and Operated roofing company has expanded its operations to Granby, Colorado. They provide residential and commercial roofing services, including installation, replacement, repair, and general maintenance. Gold Roofing in Grand Lake, CO 916 Grand Ave - 2177 Grand Lake, CO 80447, Grand Lake, CO 80447, United States Website https://www.goldroofing.com Phone +1-970-593-3080 Email goldroofing@gmail.com

This is audio ripped from the Live Service video. Look on our Facebook page for the videos. For more information follow us on Instagram @thetablefmc or find us on Facebook. And join us in our new building at 360 Grand Ave. in Oroville! Text Pastor Jaymes questions or comments on the message at (530) 871-9985. Thank you for Listening!

This is audio ripped from the Live Service video. Look on our Facebook page for the videos. For more information follow us on Instagram @thetablefmc or find us on Facebook. And join us in our new building at 360 Grand Ave. in Oroville! Text Pastor Jaymes questions or comments on the message at (530) 871-9985. Thank you for Listening!

Hello Travelers! Journey with host Jeremy this week for a classic Walkabout stroll through the Hollywood that never was and always will be - Disney's Hollywood Studios. Get a taste of Hollywood Blvd and Sunset Blvd, Echo Lake, and finally Grand Ave. You might even hear some AT-AT blasters and screaming Ewoks. Enjoy!   As always, use good listening devices as we always record in 4 channel surround sound. We hope you enjoy the episode and thanks so much for following along!    Look us up at @WalkaboutWDW on Instagram and drop us a note to say hi! Find our producer Josh also on Instagram at @TheSteele. Say hi to our west coast correspondent Ric at @opticaljedi. Lastly give a shout to our Orlando correspondent Pete at @neverlandlocal.   You can now also drop us at line at contact@walkabouttheworld.com. Say hi, tell us how you found us, and give us some suggestions on things you'd love to hear.   Walkabout The World is a weekly Disney podcast, always recorded on property at Walt Disney World or Disneyland Resort with the simple goal of making you feel like you are in the middle of the magic. 

**Note the sound is terrible on my end as the connection was bad, but we've fixed that for all future episodes moving forward. Mike's sound is fantastic though and should be good to go** From having everything, to losing it all, to now making it back and sharing his knowledge with the rest of us.  Mike Gibson is a retired NFL lineman, and now the Director of Community Outreach at The Mental Health Center of San Diego and Healthy Life Recovery. (mhcsandiego.com )  In our interview, Mike will be chatting with us regarding his football career. The ups and downs. The Junior College to D1 route he took. What he learned through that process, and what the transitions were like from JUCO to D1, and then we will also learn of the transition to the NFL where Mike played for 6 years.  In Mike's third year in the NFL, he suffered an injury that required a big recovery. This is when Mike's story took a turn as he became addicted to pain killers. This addiction continued to get worse and worse, as his body became chemically dependent on some of these substances and he found himself in a downward spiral that continued not only through the remainder of his NFL career, but after he retired from the game as well.  This is a story of addiction, of perserverance, of recovery, and redemption! It also goes to show that it can truly happen to anyone at any moment, so it's wise to become familiar with the situation and with Mike's story as it has the potential to help thousands of listeners out there!  Share this episode with any athlete you know, and anyone you feel could benefit! Thank you for tuning in! Make sure to follow Mike on his social media platforms:  Instagram: @mike.gibson69 You can find out more about what he and his office have to offer for you if you are battling something similar, so make sure to head to: mhcsandiego.com  If you live in Southern California, and want to take part in their services, the address is:  960 Grand Ave. San Diego, CA 92109  __________________ Calling ALL entrepreneurs!! If you are a business owner, and you are interested in utilzing online sales, then you MUST USE this tool to help you with it!  ClickFunnels will allow you to have an enterprise account to do everything you need for your business! (Including: Websites, funnel building, emails, products, etc)  Make sure to get a solid deal by going HERE for your offer!    Ripp'd Nutrition is a locally owned and operated supplement store here in Boise, Idaho.  Hours of Operation:  Mon - Fri  9 - 6 Sat  10 - 5 Sun  10 - 4 Phone # 208-832-8781 If you have any questions just give me a call 208-965-1096 or DM them on Instagram They offer free one on one and group supplement consultations (Like high school sports teams for players and parents) If you wante to try out the Ripp'd Series you won't be dissappointed, but you can also check out the other brands that they offer like Hypd Sups, Insane Labz, Bucked Up, Innova Pharm, Chaotic Labz and many more!! Come check them out if you live in the Boise, Idaho region!  Address is:  1120 N Milwaukee St, Boise, ID 83704  

This is audio ripped from the Live Service video. Look on our Facebook page for the videos. For more information follow us on Instagram @thetablefmc or find us on Facebook. And join us in our new building at 360 Grand Ave. in Oroville! Text Pastor Jaymes with any questions or comments on the message at (530) 871-9985. Thank you for Listening!

This is audio ripped from the Live Service video. Look on our Facebook page for the videos. For more information follow us on Instagram @thetablefmc or find us on Facebook. And join us in our new building at 360 Grand Ave. in Oroville! Text Pastor Jaymes with any questions or comments on the message at (530) 871-9985. Thank you for Listening!

This is audio ripped from the Live Service video. Look on our Facebook page for the videos. For more information follow us on Instagram @thetablefmc or find us on Facebook. And join us in our new building at 360 Grand Ave. in Oroville! Text Pastor Jaymes with any questions or comments on the message at (530) 871-9985. Thank you for Listening!

This is audio ripped from the Live Service video. Look on our Facebook page for the videos. For more information follow us on Instagram @thetablefmc or find us on Facebook. And join us in our new building at 360 Grand Ave. in Oroville! Text Pastor Jaymes with any questions or comments on the message at (530) 871-9985. Thank you for Listening!

This is audio ripped from the Live Service video. Look on our Facebook page for the videos.For more information follow us on Instagram @thetablefmc or find us on Facebook. And join us in our new building at 360 Grand Ave. in Oroville! Text Pastor Jaymes with any questions or comments on the message at (530) 871-9985. Thank you for Listening!

This is audio ripped from the Live Service video. Look on our Facebook page for the videos.For more information follow us on Instagram @thetablefmc or find us on Facebook. And join us in our new building at 360 Grand Ave. in Oroville! Text Pastor Jaymes with any questions or comments on the message at (530) 871-9985. Thank you for Listening!

This is audio ripped from the Live Service video. Look on our Facebook page for the videos.For more information follow us on Instagram @thetablefmc or find us on Facebook. And join us in our new building at 360 Grand Ave. in Oroville! Text Pastor Jaymes with any questions or comments on the message at (530) 871-9985. Thank you for Listening!

#044 - Today we are talking with Nelson German who runs two beautiful establishments here in Oakland - alaMar Kitchen & Bar and Sobre Mesa.  Nelson also starred on Season 18 of Top Chef on Bravo - we even got into what that experience was like.Nelson calls alaMar Kitchen & Bar, located at 100 Grand Ave, his “1st baby”.  It is a family friendly seafood restaurant where the 90s hip hop beats flow.  He saw a niche - there were not many seafood restaurants around here other than big ones and the ones that were here, were closing.  He got the inspiration for seafood and the name while vacationing in Mexico.“It is a place that represents the neighborhood, really represents the community.  When you're there 90s hip hop is in the background, beautiful lighting, really cool diverse crowd, just a place you feel like home.  That was my intention with the place. And the menu really reflects my journey as a chef - from my childhood favorites to things I've learned along the way”.Sobre Mesa, located at 1618 Franklin St., is a beautiful cocktail bar that opened 9 days before the COVID shutdown.  It is an Afro Latin cocktail bar - you have to be 21, so leave the kids at home.  Sobre Mesa is super sexy and serves tapas and great drinks, making it great for a date night.  Nelson wanted a place to bring all of his roots together.“I am Dominican in nationality, so really representing the Afro Latino Diaspora - we are Black people who speak Spanish so really represent that and represent how beautiful the African Diaspora is.”When Nelson first got the call for Top Chef, he thought it was fake.  Good thing he returned the call.  Season 18 had the most Black chefs and was the most diverse season EVER!  They started filming in the fall of 2020 at the height of the pandemic. He describes the experience as amazing, but he was nervous like being a line chef again - it was hard and grueling.“I wanted to win, but what you do after coming out of Top Chef is what is most important.”Be Sure to listen to the whole interview to hear Nelson's story about being on Top Chef during the pandemic.

This is audio ripped from the Live Service video. Look on our Facebook page for the videos.For more information follow us on Instagram @thetablefmc or find us on Facebook. And join us in our new building at 360 Grand Ave. in Oroville! Text Pastor Jaymes with any questions or comments on the message at (530) 871-9985. Thank you for Listening!

This is audio ripped from the Live Service video. Look on our Facebook page for the videos.For more information follow us on Instagram @thetablefmc or find us on Facebook. And join us in our new building at 360 Grand Ave. in Oroville! Text Pastor Jaymes questions or comments on the message at (530) 871-9985. Thank you for Listening!

This is audio ripped from the Live Service video. Look on our Facebook page for the videos.For more information follow us on Instagram @thetablefmc or find us on Facebook. And join us in our new building at 360 Grand Ave. in Oroville! Text Pastor Jaymes questions or comments on the message at (530) 871-9985. Thank you for Listening!

This is audio ripped from the Live Service video. Look on our Facebook page for the videos.For more information follow us on Instagram @thetablefmc or find us on Facebook. And join us in our new building at 360 Grand Ave. in Oroville! Text Pastor Jaymes questions or comments on the message at (530) 871-9985. Thank you for Listening!

Tom McPheeters, a long time fixture in the Albany activist community, will soon to move to Maine. Most recently he has been the convener of the South End Community Collaborative. He has also been involved with FOCUS Churches, the Grand Ave. Arts Center, AVillage, the Spotlight, and much more. He will speak at Westminster Church on Jan. 15. He talks with Mark Dunlea of Hudson Mohawk Magazine about his efforts to promote economic and environmental justice in Albany.

Reviewing Inbound's Fruit of the Loop - West Coast IPA. For more info on Inbound, visit: inboundbrew.co I picked this up at First Grand Avenue Liquors (918 Grand Ave, St Paul, MN 55105). Inbound is their brewery of the month, go check 'em out and save a few bucks! Under $10 for a 4 pack of delicious local craft beer! Checking out Inbound's site, now. They're on the list to visit soon! The best way to support the podcast is a 5 star rating, so please do so if you haven't already! And be sure to subscribe to get notified when I release more content. Endless thanks and cheers to you all. -Jon --- Send in a voice message: https://anchor.fm/upbeatbrewreview/message

Happy 3rd Birthday to Korean American Restaurant Bap and Chicken!!! KADStories.com interviews John Gleason, Korean Adoptee, Founder of Bap and Chicken and to help celebrate Bap and Chicken's 3rd Birthday we have our first KAD Mukbang! - Daily Hours: 11:00am - 8:00pm ​ Phone: (651) 333-0929 Address: 1328 Grand Ave. St. Paul, MN 55105 - LINKS: Korean American Restaurant, Bap & Chicken: Web site: http://www.bapandchicken.com Instagram: http://www.instagram.com/bapandchicken/ FaceBook: http://www.facebook.com/BapandChicken John Gleason: FaceBook: http://www.facebook.com/jdgleason Twitter: http://twitter.com/gleason80 ~ Key Topics Covered: 0:00 – Intro 0:25 – Interview with Bap and Chicken's John Gleason 2:01 – Bap and Chicken Tour 3:14 – Ordering from the Menu 4:08 – Eating Birthday Cupcakes 4:36 – Goodbye to GM, Amber and Drawing 6:35 – Introducing KAD Anna, Bap and Chicken's Cook 7:08 – A KAD Mukbang trying Bap & Chicken Food 10:07 – Pranking the Boys 12:02 – Outro - YouTube Video Can Be Viewed Here: https://youtu.be/R6aT65ILowE ~ Check Out Our Amazing Reunion Documentary!: https://youtu.be/A4z9PKm_f7I ~~~ Interested in sharing your story? Contact us at: KoreanAdopteeStories@gmail.com Tel: 1 (651) 491-8441 Alt: krbalitz@gmail.com http://www.kadstories.com http://www.koreanadopteestories.com ~ LINKS: Korean Adoptee Stories: Podcast: https://anchor.fm/korean-adoptee-stories YouTube: https://www.youtube.com/KoreanAdopteeStories FaceBook: https://www.facebook.com/KoreanAdopteeStories Twitter: http://www.twitter.com/KADStories Portfolio: http://www.TravisBalitz.com http://www.KyleBalitz.com © 2022 Korean Adoptee Stories. All Rights Reserved. ~ #adoption #korea #bapandchicken #interview #kad #koreanadoptee #adopteevoices #documentary #kimchee #bibimbap #bulgogi #food #restaurant #mukbang --- Send in a voice message: https://anchor.fm/korean-adoptee-stories/message Support this podcast: https://anchor.fm/korean-adoptee-stories/support

Nate and Bobby are back at the former downtown Boston Store, this time with an update on its new tenant. Fiserv is moving its corporate headquarters from Brookfield to the former retail space, the company announced last week. Nate and Bobby discuss the move with the backdrop of the Westown neighborhood and its surge of recent developments.Read Bobby's complete story: https://onmilwaukee.com/articles/fiserv-downtown-milwaukeeOriginal Boston Store episode: https://radiomilwaukee.org/story/urban-spelunking/former-downtown-boston-store-reopens-as-business-space-hub-640/

In the 3rd hour of MCMS, Marc discusses issues he ran into in New York before we get a call from Jacqui Heinrich from FOX News, who tells us about how the current failing economy could lead to a red wave this November. It's 2A Tuesday, and Marc is talking with Cam Edwards, editor at BearingArms.com, host of NRA News Cam & Company & 40 Acres, about how Democrats have tried to criminalize the 2nd amendment. Later, Mayor Jones wants to increase police on Grand to make the area safer, but has consistently said she wants to defund the department? 

Today I am joined by Natalia Garcia. Natalia is the owner of Plant House, a plant shop located in Waukegan, Illinois. Plant House was created during quarantine after Natalia realized the impact of plant care for her mental health. She wanted to create a safe space for the community where we all learn, grow together and benefit from the love of plantitas. Plant House has become the community's local house plant dealers, a team made up of Natalia and her husband. Whether you're a newbie or an avid plant collector, rest assured, you will find the right plant and plant care items to ensure a successful plant parenthood journey! Tune in to learn more about Natalia's journey! Follow Plant House Instagram: https://www.instagram.com/plantthouse/ Website: https://plant-house.square.site Shop Plant House: 2221 Grand Ave., Waukegan, IL 60085 Follow Werk Mija on Social Media TikTok: @werkmija Instagram: @werkmija Facebook: @werkmija Website: https://www.werkmija.com Music By: The Rewrites

Kerry Alexander is a songwriter and musician, and the front-person of indie rock band, Bad Bad Hats. She was born in the Twin Cities, but grew up in Birmingham, AL. Alexander returned to Minnesota to attend Macalester College, which is where she first started to perform live the songs. She performed at open mic nights at the Dunn Bros on Grand Ave and posted her music to MySpace, eventually meeting Chris Hoge, with whom she started a band in her senior year. A performance at the Macalester Battle of the Bands (they lost) led to a record contract and the start of a now decade-long Bad Had Hats journey. As part of Bad Bad Hats, Alexander has written and released three full-length albums, two EPs, and traveled the country (and Canada!). A lover of radio and making playlists, she has also been a guest DJ on 89.3 The Current.

It's Istvan's birthday! Well his birthday is on April 17 and this is as close as we will get so let's party!. It's extra special too because this year April 17 is also Easter Sunday. Toby and Alex are very excited and insist on celebrating and have a few surprises for the birthday boy. So get ready to have fun and learn about a couple of Istvan's favorite places to get delicious gluten free foods to celebrate your special day.Sweet Ali's is located at 13 W 1st Ave. Hinsdale Il 60521Da Luciano's is located at 8343 Grand Ave. River Grove Il 60171Links: Sweet Ali's: www.sweetalis.comDa Luciano's: http://dalucianostogo.com/Istvan's YouTube: www.youtube.com/imaginarykidsongs