Podcast appearances and mentions of Greg Oden

Tobin and Leroy reflect on the final tense moments of the matchup between the Canes and Panthers We then turn our attention to a Key Penalty Kill and clutch 2nd period by the Cats Leroy reveals the 2 most upsetting things in sports for him Tobin informs us why we should hate Matt Larkin and all those complaining about State Tax We praise the Gangster that is Bill Zito We do a deep dive to determine where exactly our state tax benefit has been helping us Tobin blasts Toronto and labels them as a "tortured" Fan base What could be a first in show history, Tobin gets the Goosies over Cap Space Tobin is tired of haters like Matt Larkin attempting discredit the Cats Tobin wants more respect for his team while Leroy refuses to value respect given by critics The guys get into a patented quibble about how important the public perception of the Cats is or not Who is the most recent player that we did not want, but still ended up working out We jog our memory on the brief history of Greg Oden in a HEAT Uniform Marcos Mixed Bag - Tyreek Hill makes Leroy Blow a Gasket

(HR.1) Panthers reach 3rd Straight Stanley Cup Finals! The guys celebrate the Panthers reaching their 3rd straight Stanley Cup Finals! After a slow start the Cats Pile it on in the 3rd to take a lead An incredible performance from the Panthers sends out Cats to Finals in Gentlemanly fashion Leroy does an Autograph signing mid segment as Omar Kelly forces his hand David Dwork describes the Atmosphere in Carolina as the Panthers advance for the 3rd straight year Hockey Hornet David Dwork gives us details about the Panthers Business as usual mindset Frog Boy throws a speed bump in the interview when attempting to bring back his "Better than Big 3" take Toronto Whines about state tax in an attempt to catch up with the Cats We interpret Randy Moellers 1 word tweet "Bob" David and the Guys reflect on yet another excellent performance from Sergei Bobrovsky We reflect on the Chemistry Brad Marchand has had with the team David Dwork describes the perfect fit Marchand has been The guys praise Bill Zito's impeccable run and how he's made 0 wrong moves in the past 5 years David shines when discussing his meeting with "Hootie" at yesterday's Panthers game We hear the Final Call from yesterday's Panther's game Cats Fans call in to get their Cat Fever Diagnosed (HR.2) Tobin demands Tobin and Leroy reflect on the final tense moments of the matchup between the Canes and Panthers We then turn our attention to a Key Penalty Kill and clutch 2nd period by the Cats Leroy reveals the 2 most upsetting things in sports for him Tobin informs us why we should hate Matt Larkin and all those complaining about State Tax We praise the Gangster that is Bill Zito We do a deep dive to determine where exactly our state tax benefit has been helping us Tobin blasts Toronto and labels them as a "tortured" Fan base What could be a first in show history, Tobin gets the Goosies over Cap Space Tobin is tired of haters like Matt Larkin attempting discredit the Cats Tobin wants more respect for his team while Leroy refuses to value respect given by critics The guys get into a patented quibble about how important the public perception of the Cats is or not Who is the most recent player that we did not want, but still ended up working out We jog our memory on the brief history of Greg Oden in a HEAT Uniform Marcos Mixed Bag - Tyreek Hill makes Leroy Blow a Gasket (HR.3) Paul Maurice keeps it even Keel following their Gentlemen's sweep of the Hurricanes Maurice discusses the magic behind Barkov's beautiful move to set up Carter for the win Goosies or No Goosies! Mike McDaniel on Tua and the mastering of his Skill Evan Rodrigues getting the puck after Anthony Edwards saying he's not hurt by playoff exit because he's only 23 (HR.4) We kick off the hour continuing our Cats Celebration The Gang listens back to all the Goals that lifted us to Victory Brad Marchand speaks after the victory and continues his incredible run Paul Maurice discusses the "Post Game Handshake" and his feelings on it as a tradition Will others follow suit after seeing Paul Maurice start a trend? Tobin reads a few Salty Tweets from Hockey Fans blasting Paul Maurice for not shaking hands We take a look at Ben Stiller's Career after he complains about Pat Macaffee

Yeah, yeah, yeah! We're back this week with the 2007 No. 1 overall pick, THE Greg Oden! The fellas take it way back, talking about Greg's rise through high school hoops, his time at Ohio State, the hype leading up to the draft, and his NBA journey. Y'all know you gotta tune in to this one!About Our Hosts:NBA veterans Quentin Richardson and Darius Miles are lifelong friends and bona fide truth-tellers. Listen as they invite special guests, high-profile athletes, musicians and entertainers to get brutally honest about everything from current events to untold stories from the golden era of sports and culture. Named for the on-court celebration they made wildly popular, this unfiltered, hilarious and surprising podcast is like playing NBA 2K with no fouls.Other places to find Knuckleheads: Subscribe on YoutubeFollow on InstagramFollow on Facebook

Una conversación profunda y reflexiva con Greg Oden, leyenda del college basketball y ex primera selección del draft de la NBA. Oden nos habló sobre sus días en el baloncesto universitario, la increíble longevidad de la carrera de Al Horford y cómo logró superar las adversidades de las lesiones. Con una madurez admirable, nos cuenta cómo aceptó mentalmente que su historia en la NBA fue diferente a la que soñó, pero que forma parte de su proceso de vida.

Amin and Izzy bring fan takes straight from the streets in today's episode of Oddball. Is Shai Gilgeous-Alexander truly the MVP favorite over Nikola Jokić? Are Warriors fans justified in believing Draymond Green's championship guarantee? Should Anthony Edwards leave Minnesota? Plus, we break down Ja Morant's legacy, Jayson Tatum's leadership in Boston, and Mac McClung's potential dunk contest three-peat. Also, Frank Isola weighs in on Kevin Durant's future and a possible overtime rule change, while Greg Oden makes the case for bringing ELAM endings to the NBA. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Amin and Izzy bring fan takes straight from the streets in today's episode of Oddball. Is Shai Gilgeous-Alexander truly the MVP favorite over Nikola Jokić? Are Warriors fans justified in believing Draymond Green's championship guarantee? Should Anthony Edwards leave Minnesota? Plus, we break down Ja Morant's legacy, Jayson Tatum's leadership in Boston, and Mac McClung's potential dunk contest three-peat. Also, Frank Isola weighs in on Kevin Durant's future and a possible overtime rule change, while Greg Oden makes the case for bringing ELAM endings to the NBA. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this edition of The Blazers Balcony, Brooke Olzendam and Casey Holdahl discuss...• The Trail Blazers going 2-1 in the last week of 2024• The recent play of Shaedon Sharpe and Deni Avdija• The changing landscape of college football• The return of the Guerschon Yabusele's of the world• Brooke sees a fight• Nicknames are not creative enough anymore• Frustration with timeout game contestants • The "miss two free throws in the fourth quarter" promotions and why the Trail Blazers need one (or don't)• Brooke meets Kato Kaelin at Nobu • Nancy Kerrigan turns down Brooke for an autograph• Tonya Harding is a TRUE Oregonian (and would have signed an autograph)• Ice skating is hard and let people sleep in Lloyd Center• Scratch-off tickets and why the crossword versions are the worst• Staind/Disturbed vs. Jelly Roll• Happy Gilmore 2 and whether "Shooter" is a good name Brooke's next child• Greg Oden's great return to Moda Center

Send us a textOn this edition of The Brief Case, presented by Spirit Mountain Casino, Trail Blazers beat reporter/Insider Casey Holdahl discusses...• Finishing up 2024 with an ugly game versus the 76ers Monday night at Moda Center• Portland's starting lineup having one of their best games of the season in a victory versus the Mavericks on Saturday• The recent play of Deni Avdija, Shaedon Sharpe and Scoot Henderson• Nate Bjorkgren filling in for Chauncey Billups• One last reminder about New Year's Eve at Spirit Mountain Casino• Greg Oden's return to Portland, his visit to the practice facility and his thoughts on how he looks back on his time with the Trail Blazers 

After basking in the glow of a two game winning streak (the Blazers will never lose again, we're certain) we go over some of the things that we manifested for the team at the beginning of the season. We might be making progress! Plus, Scoot's game winner in front of his biggest fan, Greg Oden returns to Moda Center, Matisse might live at Moda Center and will the Blazers be able to make any trades? 1:00 Scoot makes children's dreams come true - an eyewitness report on Scoot's game winner  19:45 Early Nate Bjorkgren era thoughts 28:00 Ways that Deandre Ayton could be impactful with the younger players 36:00 Revisiting some of the things we said we were going to manifest this season:  Greg Oden being as big man coach (a bit of background on his journey) 44:00 Backwards dunks for Donovan Clingan 45:15 Anfernee trash talking 47:50 Scoot slowing down on offense 54:00 Jabari Walker's uniform on the website, health and playing time for Shaedon Sharpe and Robert Williams 55:00 Matisse Thybulle making the Moda Center his home home.  Ryan Rupert handle and reduced reliance on Eurostep 59:55 Jermai Grant topic of discussion for his play rather than his fashion. Will the Blazers be able to trade him this season?  1:05 Outlet passes 1:14:00 Takes

The guys are in agreement that Christmas Day should always be the NBA's day! Greg Oden had a nice return to Moda Center...the Ticker goes to Columbus for a Buckeyes preview and are Ohio St. Players a little too cocky going into the Rose Bowl?

The guys are back from vacation and ready for football, are we all in on the Vikings, the NFL playoff picture coming into focus, non playoff bowl games need to go away, The NFL needs to let NBA have Christmas Day, Greg Oden was back in Portland, a Buckeye's preview in the Ticker...Blazers on a heater without Chauncey, Cougs hire a new FB coach, and some other NFL musings.

A complete NFC playoff look ahead. Greg Oden returns to Portland. Worst Day on the Web! More NIL issues.

Get all the top sports news of the day right here! Why is Greg Oden coming back to Portland? Also, find out which huge addition Oregon State landed in the transfer portal!

Gil's Arena Reacts To The Philadelphia 76ers Locker Room MELTDOWN as Gilbert Arenas, Greg Oden & The Gil's Arena Crew discuss to the 76ers atrocious 2-11 start this season and react to the recent report of the team's FIREY locker room meeting where Tyrese Maxey called out Joel Embiid's leadership and sent the team into turmoil just 13 games into this season. Next, they break down a classic battle between 2 NBA Legends in Steph Curry & James Harden as the Los Angeles Clippers defeated The Golden State Warriors in a shocking upset where Harden proved he could carry this Clipper team without Kawhi Leonard and made some history as one of the games' best scorers. They then break down Damian Lillard's return to the court for the Milwaukee Bucks where Giannis Antetokounmpo and his all star teammate look to be returning to form, winning 3 out of their 4 games and signaling that Doc Rivers may be figuring things out at last. Finally, Gil & The Crew react to Inside the NBA moving to ESPN and break down the ups and downs of Greg Oden's iconic basketball Career. Please leave us a like and subscribe!!! Gil's Arena Crew - Gilbert Arenas, Josiah Johnson, Nick Young, Kenyon Martin & Greg Oden Gil's Arena Merch is Available NOW at http://gilsarenamerch.com/ Use code GIL10 for 10% off your SeatGeek order https://seatgeek.onelink.me/RrnK/GIL10 Sign up for Underdog Fantasy HERE with promo code GIL and get up to $1000 in Bonus Cash and A FREE Pick: https://play.underdogfantasy.com/p-gil's-arena SUBSCRIBE: https://www.youtube.com/channel/UCAvjYgmwadC682OoC4Cc6TQ Join the Underdog discord for access to exclusive giveaways and promos! https://discord.gg/underdog Intro 0:00:00 Show Start 0:02:05 NFL Is Taking Over NBA Christmas Day 0:12:12 Inside The NBA Moves To ESPN 0:23:08 76ers MELTDOWN With Players-Only Meeting 0:28:50 Bucks Are Back On Track 1:02:49 Clippers Warriors Instant Classic 1:29:54 Will The 76ers Make A Splash Trade? 1:35:27 James Harden Makes History 1:41:31 Greg's Experience Playing with D-Wade and B Roy 2:01:41 Greg Reflects on His Playing Career 2:05:28 Greg Gets Real On Being A Bust 2:09:33 MostlyFans 2:18:18 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Gil's Arena CELEBRATES The Los Angeles Lakers' 5 Game Winning Streak as Gilbert Arenas & The Gil's Arena Crew react to LeBron James, Anthony Davis, JJ Redick & Co. ripping off 5 straight wins as the NBA's hottest team, sparking a debate on if the Lake Show should be considered a top 5 team in the NBA this season. Next, they react to Mike Tyson taking a L to Jake Paul in the Paul vs Tyson fight this weekend and discuss De'Aaron Fox cooking for the Sacramento Kings as the speedy guard dropped 109 points in 24 hours and still wants smoke with the Gil's Arena Crew. Finally, the show whips around the NBA reacting to James Harden's Historic Weekend, Inside The NBA leaving TNT For ESPN, and the NFL's plans to take over Christmas Day before welcoming former #1 Overall Pick Greg Oden into the arena as a member of the Gil's Arena Crew. Please leave us a like and subscribe!!! Gil's Arena Crew - Gilbert Arenas, Josiah Johnson, Brandon Jennings, Rashad McCants & Greg Oden Gil's Arena Merch is Available NOW at http://gilsarenamerch.com/ Use code GIL10 for 10% off your SeatGeek order https://seatgeek.onelink.me/RrnK/GIL10 Sign up for Underdog Fantasy HERE with promo code GIL and get up to $1000 in Bonus Cash and A FREE Pick: https://play.underdogfantasy.com/p-gil's-arena Try VIIA! HERE https://viia.co/gil and use code GIL! SUBSCRIBE: https://www.youtube.com/channel/UCAvjYgmwadC682OoC4Cc6TQ Join the Underdog discord for access to exclusive giveaways and promos! https://discord.gg/underdog Intro 0:00:00 Show Start 0:02:57 Mr B STILL Has Smoke For Spida 0:09:19 Jake Paul vs Mike Tyson Reax 0:14:10 Lakers Win 5 Straight 0:37:55 Best Celebration in The NBA 0:39:21 Are The Lakers' Top 4 In The West? 0:46:19 The NBA Is Scared To Challenge LeBron 0:48:21 Gil COOKS Rashad's LeBron Hate 0:59:18 Greg Oden's Experience Playing With LeBron 1:11:47 Draymond's Flagrant on Edey 1:16:28 DeAaron Fox's 109 Points in 24 Hours 1:29:34 Gil & Brandon Not Welcome In Sac 1:56:39 Cavs 15-0 Start To The Season 2:03:56 What's The Problem With The Bucks? 2:16:06 Why Coaches Don't Get A Fair Shake 2:17:48 The Problem With Kwame Brown 2:24:56 Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we got L.A., LaMarcus Aldridge on Knuckleheads. The Blazers legend joins Q and D to talk about growing up in Dallas, putting the horns up and dominating at Texas, and his time in the league. LaMarcus looks back at being a rookie in Portland with D and Zbo on the team, his stretch becoming one of the best big men in the league, and ultimately why he left for San Antonio. He also talks about playing with both Brandon Roy and Dame Lillard… and lowkey, LaMarcus just may have one of the best all-time starting 5's we've ever heard. Tap in! Going to the University of Texas (17:10)Entering the league with Brandon Roy on the Trail Blazers (25:30)Blazers drafting Greg Oden, what could've been in the front court (33:10)Jail Blazers stories, crazy car collections (38:04)Dame and LaMarcus combo, Blazers seeing success (43:53)LaMarcus deciding to go to San Antonio to play for Pop (53:41)Being teammates with his idol, Tim Duncan (1:01:35)About Our Hosts:NBA veterans Quentin Richardson and Darius Miles are lifelong friends and bona fide truth-tellers. Listen as they invite special guests, high-profile athletes, musicians and entertainers to get brutally honest about everything from current events to untold stories from the golden era of sports and culture. Named for the on-court celebration they made wildly popular, this unfiltered, hilarious and surprising podcast is like playing NBA 2K with no fouls.Other places to find Knuckleheads: Subscribe on YoutubeFollow on InstagramFollow on Facebook

NBA Legends and former teammates Udonis Haslem and Mike Miller welcome Greg Oden! Watch the guys talk about the Florida Gators, Draft day, Greg's coaching, LeBron's work ethic, and much more!Watch and listen to new episodes of The OGs with Udonis Haslem and Mike Miller every Tuesday & check us out on Instagram, Twitter and TikTok for all the best moments from the show.Save up to 60% off buying last minute for sports, concerts, comedy, theater, etc. Download the Gametime app, create an account, and use code OGS for $20 off your first purchase - terms apply. Download now: Gametime.coClick on the link below to get access to all 'The OGs,' socials and audio platforms:https://linktr.ee/theogsshow

Jake Fischer and Dan Devine talk their way through the late August NBA news cycle and list off their favorite under-the-radar moves from this NBA offseason.(05:50) - Steve Kerr not returning as Team USA basketball coach(08:40) - Zion's weight loss makes waves on social media(13:10) - Kevin Durant returns to University of Texas against the Spurs(18:40) - Joe Harris retires from basketball(27:05) - Who's this guy: Guerschon Yabusele(41:15) - Our favorite under-the-radar NBA offseason movesOn this episode of No Cap Room, Yahoo Sports senior NBA reporter Jake Fischer and Yahoo Sports senior NBA writer Dan Devine talk about all things NBA….and maybe a little bit about Charlie XCX and Love Island.The guys kick off the show with the news that Steve Kerr is not expected to return as the head coach of Team USA men's basketball after leading the team to a gold medal in France. All that's left is deciding if Spoelstra or Tyronn Lue are going to take over.Zion Williamson looks slimmed down in pictures on social media, which serves as a good reminder of just how great he played in the 2nd half of last season.Kevin Durant, arguably the greatest player in the history of the University of Texas, will be returning to Austin to play against the San Antonio Spurs in February. Dan explains how good Durant was in his only year in college, while Jake explains why he preferred Greg Oden.Joe Harris retired from basketball, leading to Jake telling stories about chatting with Joe in the Nets locker room and bumping into Joe around town in Brooklyn. Dan breaks down the numbers that argue that Joe was one of the best 3-point shooters in NBA history.Guerschon Yabusele was one of the stars of the French team at the Olympics, and he's been rewarded with a 1-year deal with the Philadelphia 76ers. The Sixers could really use a player like Yabusele, which means he could end up closing games for them. Dan tries to come up with comps to explain “Yabu” to people that haven't seen him play basketball before.We end the show with our favorite under-the-radar moves of the offseason, bouncing all over the league to do so.Subscribe to the Ball Don't Lie podcast feed on your favorite podcast app:

In this episode, our panelists dive into the world of NBA superteams, debating whether KD and Bird can be considered superteam architects and exploring the differences between KD's move to the Warriors and KG's shift to Boston. They also tackle why Damian Lillard might not be getting the respect he deserves and evaluate his standing among the all-time great 3-point shooters. The discussion shifts to whether Darius Garland is underrated, if Evan Mobley should transition to the center position, and whether Jayson Tatum qualifies as an elite scorer. Finally, the team analyzes the New York Knicks, considering if Julius Randle is a viable backup center. Join us for a lively and insightful basketball debate! Welcome to The Panel, the NBA debate show that brings the heat, sparks passionate discussions, and dives headfirst into the world of basketball like never before! If you're a hardcore NBA fan, a hoop junkie, or just someone who loves intense sports debates, you've found your weekly destination. Join us every weekday for a live, high-octane experience where we dissect, dispute, and celebrate all things NBA.

Nesta semana, Denis Botana e Danilo Silvestre apresentam um dos episódios mais esperados do ano, os Prêmios Alternativos da temporada 2023-24 da NBA! Discutir sobre quem é MVP ou Novato do Ano é coisa de fã CASUAL. O que vale é mergulhar em disputas mais essenciais como Melhor Jogador de Time Ruim, Frase do Ano e Momento "Aconteceu ou não aconteceu?" da Temporada. Prepare o traje de gala, grave um vídeo de "arrume-se comigo", sirva-se com um bom vinho e nos acompanhe nas premiações do ano. ... |OS PARÇAS DO BOLA PRESA| ASSINE O BOLA PRESA NO HOTMART E RECEBA CONTEÚDO EXCLUSIVOão planos de R$14 e R$20 reais e mais de 80 podcasts para apoiadoresAgora há a opção de um pagamento anual único via Pix, Boleto ou Cartão de Crédito parcelado =). O BOLA PRESA É PARCEIRO DA KTOReceba 20% de bônus no primeiro depósito com o cupom BPRESA e faça suas apostas ... NESTE EPISÓDIO Troféu Zach Randolph de Melhor Jogador em Time Ruim - 5:03Troféu Gary Payton de Jogador que Mais Involuiu - 9:05Troféu Kareem Rush de Melhor Atuação de Jogador Ruim - 14:45Troféu 8 ou 80 de Estatística Bizarra da Temporada -  17:52Troféu Kyrie Irving de Frase do Ano - 35:25Troféu Romarinho de Reserva do Nosso Coração - 56:30Troféu Take That for Data de Reclamação Contra a Arbitragem - 59:23Troféu Rogerinho de Trouxe Informação do Ano - 1:07:28Troféu Troca Furada do Ano -  1:09:42Troféu Time Arrumadinho de Time Bom que Deveria ser Ruim - 1:12:06Troféu Hakeem Olajuwon no Raptors de 'Aconteceu ou Não Aconteceu' da Temporada - 1:13:54Troféu KTO de Aposta do Ano - 1:25:35Troféu Greg Oden de Lesão Bizarra do Ano - 1:27:46Troféu Dennis Rodman de Personagem do Ano - 1:30:09Troféu Multiverso da Temporada - 1:32:44Troféu League Pass de Time Mais Divertido do Ano - 1:35:23

Why FIBA games are so close, Canada's impressive defence, how Canada overcame their lack of size, Jamal Murray coming off the bench, what to expect from Australia, dunking on Kevin love and Greg Oden, and more.

Ira On Sports - Greg Oden by Ira On Sports

Buckeyes Announce Hall of Fame Class | Celeste Taylor Waived by Fever | Ohio State Daily Blitz Support the network and our shows! https://www.buymeacoffee.com/dspmedia WEBSITE: https://www.dspmediaonline.com/show/the-buckeyes-daily-blitz/ Listen on the Go, 24/7! Download the NEW Fan Stream Sports APP on iOS and Android! Follow on Apple Podcasts: https://podcasts.apple.com/us/podcast/the-buckeyes-daily-blitz/id1583961229?i=1000616056598 Follow on Spotify: https://open.spotify.com/show/4VYsnQp97RkP36VSbahBJX?si=40e41a670d334387 Follow Jeff ‘Tito' Thitoff on X @ThitHappens Brought to you by Turf Life – The brand that celebrates the outdoors, at TurfLife.Club. Also sponsored Orion Management at OrionGolf.com, and Golf Central Magazine at GolfCentralMag.com. #buckeyes #buckeyesfootball #ohiostate #ohiostatefootball #ohiostatebuckeyes #ohiostatefootballrecruitingnews #collegefootball #bigtenfootball #bigtenrecruiting #collegefootballrecruiting #ryanday #halloffame #bigten #WNBA #Indianafever

Were the misfortunes of Sam Bowie and Greg Oden karma for the Blazers gross mismanagement of Bill Walton's feet? Did Michael Jordan really bring Charles Oakley into Wizards practice just to mess with Kwame Brown? The most notorious "busts" in NBA history deserve for their stories to be rewinded and analyzed. Follow Forgotten Seasons (@forgottenseasonsnba) for more. Learn more about your ad choices. Visit megaphone.fm/adchoicesSee omnystudio.com/listener for privacy information.

Were the misfortunes of Sam Bowie and Greg Oden karma for the Blazers gross mismanagement of Bill Walton's feet? Did Michael Jordan really bring Charles Oakley into Wizards practice just to mess with Kwame Brown? The most notorious "busts" in NBA history deserve for their stories to be rewinded and analyzed. Follow Forgotten Seasons (@forgottenseasonsnba) for more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, we're diving deep into the world of basketball, tackling some of the hottest debates and craziest NBA rule changes. Join us as we explore Jason Williams' craziest NBA rules, dissecting the differences between old-school NBA and the new-school era, and ponder whether the NBA is going soft. Plus, don't miss out on the explosive discussion surrounding Colin Cowherd's controversial take, where he claimed Greg Oden would be better than Kevin Durant – the debates are sure to get heated!   Hosts: Jason Williams, Jerry "Bubba Dub" Morgan, and Ashley Nevel Executive Produced by: Deron Guidrey and Collin Castellaw Producers: Joe Dorvil, Kendal Shell, and Trice High Additional Production Support: Jake Wilbur and Adrien Vielder Social: Alex Barten

It's easy to look back now and wonder how Oden ever could have been selected ahead of a superstar like Kevin Durant. After all, KD had averaged 25.8 points and 11.1 rebounds a game as a lanky freshman at Texas, leading the Big 12 in both categories, as well as blocks. Durant was a sure thing, like Michael Jordan was in the 1984 draft … so why draft Sam Bowie? Because Greg Oden was never supposed to be Sam Bowie. Oden was Hakeem Olajuwon. That narrative, that four-letter word, haunted him for a long time. It hurt to hear. It hurt to explain. But that word doesn't capture the spirit of his struggle, his journey, his resilience, his joy, and, most importantly, where his path has taken him today Article by Mirin Fader quoted: Greg Oden's Long Walk Home Music: Signal to Noise by Scott Buckley, all credit to him. --- Support this podcast: https://podcasters.spotify.com/pod/show/onceuponadribble/support

In this episode, our panelists dive into the controversial decision by the Blazers to pick Greg Oden over Kevin Durant in the 2007 draft and whether it was a mistake. They also analyze why Zach Eddie isn't projected to be drafted in the first round and discuss the physicality big guys face when driving to the basket in the Timberwolves vs. Nuggets game. Additionally, they rank NBA guards, debate whether Desmond Bane is superior to Bradley Beal, and discuss the comparison between Jalen Brown and Desmond Bane. The panelists also debate whether Anthony Edwards is currently outperforming Donovan Mitchell and share their insights on Luka Doncic's defensive abilities. Tune in for all this and more! Welcome to The Panel, the NBA debate show that brings the heat, sparks passionate discussions, and dives headfirst into the world of basketball like never before! If you're a hardcore NBA fan, a hoop junkie, or just someone who loves intense sports debates, you've found your weekly destination. Join us every weekday for a live, high-octane experience where we dissect, dispute, and celebrate all things NBA.

16-year NBA vet and 7x all-star, LaMarcus Aldridge, chops it up with Matt & Stak on the latest episode of ALL THE SMOKE. Aldridge talks about his long career, including his time playing with Brandon Roy & Greg Oden in Portland, his run with Kawhi in San Antonio, and his stint in Brooklyn. He opens up about his scary heart condition that almost ended his career, explains why Kawhi left the Spurs, talks current day NBA and much more!See omnystudio.com/listener for privacy information.

Timberwolves PG Mike Conley and Rich discuss the popularity of the NBA's In-Season Tournament with players and fans, what makes talented teammate Anthony Davis so unique on and off the court, what it's like to try to get a shot off against 7'4” Spurs' rookie phenom Victor Wembanyama, what could have been for former Ohio State teammate Greg Oden who went #1 overall in the 2007 NBA Draft ahead of Kevin Durant, and more. Actor David Oyelowo joins Rich in-studio to discuss his new Paramount+ series ‘Lawmen: Bass Reeves,' how he prepared for his memorable role as MLK in ‘Selma,' why he finds the blood and violence of MMA relaxing, and more. TJ offers up his fantasy football advice for NFL Week 14.    Learn more about your ad choices. Visit podcastchoices.com/adchoices

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

0:00 ... Introduction 0:20 ... Dedication of show #55 to Hall of Famer Dikembe Mutombo, who proudly wore that number. 1:08 ... Mirin describes the past month in the NBA with one word: "Chaos." 3:07 ... Discussion of Denver's Michael Porter Jr who was recently profiled by Mirin.  His health issues have been far more serious that most people realize. 5:21 ... Porter has not been without his detractors but his maturity is clearly on an upward curve. 7:25 ... Some in the sports media disparaged the Nuggets' championship run because of who their opponents were and this did not sit well with Mirin or the 48 Minutes crew. 12:15 ... Derrick White of the Celtics is a unique player and Mirin shares her unique perspective on his career and his role with the Celtics in light of the Marcus Smart trade.  Mirin shared how White referred to himself as the "Gerber Baby" due to his unique appearance. 19:14 ... Mirin recently spent a week with Scoot Henderson, the #3 overall pick in the recent NBA Draft and her insight into what makes him tick is compelling. 20:48 ... Scoot's family ties are incredibly strong and Mirin shares a great example of the devotion of his parents and sisters. 22:28 ... Scoot's new coach in Portland is Chauncey Billups, and we discuss how that relationship is an ideal mentor/mentee relationship. 24:08 ... Scoot and the Thompson Twins (Amen and Ausar) are products of the Overtime Elite program and Mirin shares her perspective on why the program is becoming so successful. 27:36 ... The Thompson Twins have been inseperable their entire lives, but now they'll be on different NBA teams.  How will that work out? 29:30 ... The parents of the Thompsons and Henderson are very similar in many ways ... Mirin explains. 32:35 ... Mirin's next book is on Hall of Famer Hakeem Olajuwon and Mirin tells us why he was such a compelling subject for her second book. 34:37 ... Mirin compares Olajuwon to Antetokounmpo and finds their mindsets to be eerily similar. 38:45 ... Bruce asks Mirin about how Hakeem approached playing basketball during the Muslim holy month of Ramadan when he was required to fast from dawn until dusk. 40:39 ... The crew plays "Word Association" with Mirin and here are the topics: Giannis, Ja Morant, Greg Oden, Kareem Abdul-Jabbar, Nikola Jokic, and Mirin's boss at the Ringer Bill Simmons. 49:31 ... Thanks to Mirin ... follow her on Twitter & Instagram @mirinfader and on her website mirinfader.com ... and bye until next time! ... TRT 50:50

The nerds are joined by Matthew Sponhour and Theo Ash of Stay Hot for some head-to-head trivia! Matt is pushed to prove himself as a true Carolina sports fan, Logan pulls out some incredibly obscure QBS and Carson performs a rap about Greg Oden. Enjoy! #VolumeSee omnystudio.com/listener for privacy information.

The nerds are joined by Matthew Sponhour and Theo Ash of Stay Hot for some head-to-head trivia! Matt is pushed to prove himself as a true Carolina sports fan, Logan pulls out some incredibly obscure QBS and Carson performs a rap about Greg Oden. Enjoy! #VolumeSee omnystudio.com/listener for privacy information.

Jeff and Charlie spoke to a WWL listener about Zion Williamson, Greg Oden, and Jaxson Hayes. They remembered Williamson's first game in the NBA. Glen West, a senior writer at Geaux247, joined Sports Talk to preview LSU's journey in the 2023 College World Series. West broke down the pitching matchups for LSU and Tennessee. He discussed Ty Floyd and Thatcher Hurd's roles in Omaha. West said head coach Jay Johnson is locked in and determined to win in his third appearance at the College World Series. He also praised Tre' Morgan's consistency. The guys shared their thoughts on the Florida Gators.

Trill, Coley, and Scoob discuss NBA Championship windows through the lens of the Portland Trail Blazers. From Bill Walton to LaMarcus Aldridge, to Greg Oden, to Dame Lillard, they review Blazers draft history and other factors that took them from the 1977 NBA Championship to where they are today.   LIKE, WATCH, SUBSCRIBE ON YOUTUBE: https://youtu.be/4xOPOOhFfVg

Ryan talks with 2007 #1 Overall Pick Greg Oden about his emotional Draft Night as well as how difficult it was for him to face big men like Shaq and Yao Ming in the NBA. NBA Rookie Life is a production of iHeartMedia and the NBASee omnystudio.com/listener for privacy information.

Ryan talks with 2007 #1 Overall Pick Greg Oden about his emotional Draft Night as well as how difficult it was for him to face big men like Shaq and Yao Ming in the NBA. NBA Rookie Life is a production of iHeartMedia and the NBASee omnystudio.com/listener for privacy information.

Mirin Fader did an amazing job of capturing the feeling of moving on to the new “chapter” or “phase” in life in her article about Greg Oden. Sean asks her how she was able to capture that and how important it was for the story.  To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Mirin Fader joins Sean Highkin today to talk about her newest article, “Greg Oden's Long Walk Home.” You can find the article at Ringer.com and we HIGHLY recommend you check. Fader goes into how she began writing the article with Sean Highkin. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

(0:00-18:18) Mirin Fader joins Sean Highkin today to talk about her newest article, “Greg Oden's Long Walk Home.” You can find the article at Ringer.com and we HIGHLY recommend you check. Fader goes into how she began writing the article with Sean Highkin. (18:20-34:15) Mirin Fader did an amazing job of capturing the feeling of moving on to the new “chapter” or “phase” in life in her article about Greg Oden. Sean asks her how she was able to capture that and how important it was for the story.  (34:18-End) Mirin is a New York Times bestselling author and every story is better than the last. With being such an amazing talent, Sean pulls back the curtain a little bit to hear Mirin's writing and interviewing process. Mirin looks back at her story she did about Nassir Little when he was at North Carolina. Plus mentions some of her work that she has up soon! Enjoy the pod! To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Prim Siripipat sits down with former NBA player and 2007 No. 1 overall pick, Greg Oden, to discuss the highs and lows during his athletic career. Greg discusses his childhood and the influential forces that nudged him toward basketball, including his parent's divorce, moving from New York to Indiana as a child, and his “uncomfortable” height. Oden speaks candidly about his seven surgeries, the burden of carrying Portland's expectations, and how he relied on substance use, including alcohol, to numb all his physical and emotional pain.The typically soft-spoken and private athlete steps forwards to share his story so younger athletes recognize the value of getting help, which he acknowledges comes in all shapes and sizes. See omnystudio.com/listener for privacy information. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Doug is joined by UNC Legend and National Champion Tyler Hansbrough to discuss his hoops background growing up in rural Missouri, his childhood Mizzou fandom, his AAU battles against then mythical #1 recruit Greg Oden, how Roy Williams convinced him to pick UNC, his breakout freshman year, what it was like to ruin J.J. Reddick's Senior Night at Cameron Indoor, and how close he came to skipping his sophomore year and entering the NBA Draft. Subscribe NOW to get the latest All Ball Podcasts! #douggottliebshowSee omnystudio.com/listener for privacy information.

Doug is joined by UNC Legend and National Champion Tyler Hansbrough to discuss his hoops background growing up in rural Missouri, his childhood Mizzou fandom, his AAU battles against then mythical #1 recruit Greg Oden, how Roy Williams convinced him to pick UNC, his breakout freshman year, what it was like to ruin J.J. Reddick's Senior Night at Cameron Indoor, and how close he came to skipping his sophomore year and entering the NBA Draft. Subscribe NOW to get the latest All Ball Podcasts! #douggottliebshowSee omnystudio.com/listener for privacy information.

00:00-Mike Chappell from CBS4/Fox59 joins JMV to discuss his 2nd conversation with Jim Irsay, if Jeff Saturday would rather have Nick Foles as the starting QB over Ehlinger, Matt Ryan returning to practice, and what Frank Reich told him about being fired by Jim Irsay over the phone. 31:39-TV Voice of the Pacers Chris Denari joins JMV to talk about the Pacers blowing a lead in the loss to the Nuggets, Mathruin becoming a go-to player for the Pacers so early, Andrew Nembhard's contribution, what happened during the Rick Carlisle technical foul, and they share some memories about Greg Oden and some other guys on the Butler Coaching Staff with Thad Matta.See omnystudio.com/listener for privacy information.

00:00-JMV starts the show discussing the exciting Pacers matchup last night vs the Nuggets, Myles Turner's play vs the 2x MVP Nikola Jokic, Bennedict Mathurin with another 30 point performance, and why he can't root for the Pacers to lose. He is then joined by Brent Holverson to look at the Week 10 NFL storylines. 22:34-JMV and Brent Holverson make their Week 10 NFL picks against the spread! 46:05-TV Voice of the Pacers Chris Denari joins JMV to talk about the Pacers blowing a lead in the loss to the Nuggets, Mathruin becoming a go-to player for the Pacers so early, Andrew Nembhard's contribution, what happened during the Rick Carlisle technical foul, and they share some memories about Greg Oden and some other guys on the Butler Coaching Staff with Thad Matta. 1:14:49-JMV takes some calls about watching Road House for the 1st time, Gregg Doyel being a dufus, and the Pacers front court when/if they trade Myles Turner. 1:24:11-Mike Chappell from CBS4/Fox59 joins JMV to discuss his 2nd conversation with Jim Irsay, if Jeff Saturday would rather have Nick Foles as the starting QB over Ehlinger, Matt Ryan returning to practice, and what Frank Reich told him about being fired by Jim Irsay over the phone.  1:56:52- JMV is joined by a couple of guys at Joe's Grille and gets their opinions on whether Jeff Saturday is going to work out for the Colts or be a complete disaster. 1:59:28-JMV closes out the showSee omnystudio.com/listener for privacy information.

Follow MTP on Twitter: https://www.twitter.com/MTP_PodHttps://www.MTPshow.comFollow The 617 on Twitter: https://www.twitter.com/The617_Follow Crow Worthy on Twitter: https://twitter.com/CrowworthytakesHttps://www.crowworthy.comOn our first Edition of Championship DNA, we look back on one of the most Celebrated Championships in Boston History, the 2008 Boston Celtics, bringing banner 17 to the TD Garden and Cementing the Legacies of Paul Pierce, Ray Allen, and Kevin Garnett.-----------Hosts: Bob Kelly, Rayshawn Buchanan, Dave ClarkeProducer: Craig D'Alessandro

(00:00-24:25) – Friday's show begins with Dan reacting to the news that Stephon Gilmore is headed to the Colts and how that improves the defense. Plus, Dan shares why he feels AS OF RIGHT NOW Indiana basketball will be the favorite to win the Big Ten next year. Also, Dan shares his Heisman pick that might surprise some people.       (24:36-41:44) – Jason Hammer of Hammer and Nigel on WIBC joins the program to hand out his best bets for the weekend and try to help Dan get out of his betting slump.   (41:45-45:55) – Dan interacts with the YouTube chat regarding Malcom Brogdon and chats more on the Colts. (45:56-1:09:28) – Our pal Jason Benetti, the play by play voice of the Chicago White Sox, stops by to give us an update on how the season has started for the ChiSox. Also, Dan lays into Benetti for a movie suggestion that he and Leigh found horrible. Plus, Benetti shares some stories from his minor league days calling games.     (1:09:29-1:30:42) – The hall of famer Jack Keefer, longtime head coach of Lawrence North basketball, joins the show as we congratulate him on his retirement and thank him for all he's done for high school hoops. Plus, Coach takes us through some stories including from the National Championship days including Mike Conley Jr. and Greg Oden.    (1:30:43-1:33:48) – Hour number two ends quickly with Dan talking on some comments made by a celebrity and looking ahead to the rest of today's show.      (1:33:49-1:55:00) – The Fan's own Kevin Bowen of Kevin and Query stops by to give us his thoughts on the Colts acquiring Stephon Gilmore in free agency and what he does for Indy's defense. Also, KB shares how the offseason moves on that side of the ball, along with new defensive coordinator Gus Bradley, will improve the team. Plus, Kevin looks at the current state of the Pacers roster and how many new guys will be needed to turn Indiana around next year. (1:55:01-2:11:22) – Alan Cashman of TheCashmanWins.com shares his best bets for the sports weekend with us including what he likes in the MLB.         (2:11:23-2:21:09)– The week ends with Dan asking show producer Jimmy Cook for today's edition of The JCook Plays of the Day. Plus, Dan goes over his bets for the weekend after ending his slump just a few moments ago.    See omnystudio.com/listener for privacy information.

Today's Best of Features:  (00:00-23:28) – Our pal Jason Benetti, the play by play voice of the Chicago White Sox, stops by to give us an update on how the season has started for the ChiSox. Also, Dan lays into Benetti for a movie suggestion that he and Leigh found horrible. Plus, Benetti shares some stories from his minor league days calling games.     (23:29-44:38) – The hall of famer Jack Keefer, longtime head coach of Lawrence North basketball, joins the show as we congratulate him on his retirement and thank him for all he's done for high school hoops. Plus, Coach takes us through some stories including from the National Championship days including Mike Conley Jr. and Greg Oden.   (44:39-1:04:31) – The Fan's own Kevin Bowen of Kevin and Query stops by to give us his thoughts on the Colts acquiring Stephon Gilmore in free agency and what he does for Indy's defense. Also, KB shares how the offseason moves on that side of the ball, along with new defensive coordinator Gus Bradley, will improve the team. Plus, Kevin looks at the current state of the Pacers roster and how many new guys will be needed to turn Indiana around next year. See omnystudio.com/listener for privacy information.