Podcasts about Iovine

With state capital support on the decline and infrastructure aging out of usefulness, higher education leaders are under pressure to find new ways to fund capital projects—without compromising mission, control, or long-term sustainability. In this episode of Changing Higher Ed®, Dr. Drumm McNaughton explores creative capital funding strategies institutions are using to meet urgent facility and housing demands. His guest, Brent Miller—Higher Education Market Sector Leader at HED—shares how colleges and universities across the country are structuring public-private partnerships (P3s), securing transformational donor gifts, and leveraging local bond initiatives to move large-scale capital plans forward. This conversation is especially relevant for presidents, CFOs, trustees, and VPs of facilities navigating deferred maintenance, campus growth, or strategic repositioning. Brent brings 30+ years of architectural and capital planning experience to the conversation, offering insights from some of the most innovative projects in higher ed capital development. Topics Covered: Why traditional state funding is no longer enough—and what institutions are doing about it How public-private partnerships (P3s) work, and which types of projects they're best suited for Case studies from USC, UC Irvine, University of Michigan, UC Merced, and more Donor and corporate partnership models that align with institutional missions How local bond initiatives are changing the future of community colleges What boards and presidents need to know about aligning capital projects with strategy and risk Real-World Examples Discussed: USC's Iovine and Young Academy, funded by a $70M gift from Jimmy Iovine and Dr. Dre UC Irvine's interdisciplinary health sciences building—merging donor intent and design University of Michigan's Ford Robotics Building, a co-developed corporate-academic research hub UC Merced 2020, a $1.3B P3 that doubled the university's physical capacity Cal State San Marcos' early mixed-use P3 development for housing and retail A facilities deal struck to replace plant equipment at cost and pay via utility savings General Motors University as an early model of industry-aligned higher ed Three Key Takeaways for Leadership: Ensure capital alignment with strategy: Every capital initiative should support the university's mission, enrollment trajectory, and long-term vision. Build in lifecycle costs: Deferred maintenance and energy savings must be part of the upfront planning—not afterthoughts. Communicate across stakeholders: From boards and donors to students and local communities, transparency is essential to success. This episode provides both a strategic framework and actionable insight into how today's institutions can overcome capital constraints through innovation, collaboration, and long-range thinking. Recommended For: Presidents, provosts, CFOs, trustees, board chairs, and facilities executives leading campus master planning, housing expansion, or long-term capital strategy. Read the transcript: https://changinghighered.com/capital-funding-strategies-higher-education/ #HigherEdLeadership #PublicPrivatePartnerships #HigherEducation #HigherEducationPodcast

In celebration of the new Deluxe Edtion of Long After Dark, the fifth studio album by Tom Petty and the Heartbreakers, we take a detailed look at how it was made. After Tom Petty connected with Mike Campbell and Benmont Tench to form Mudcrutch in Gainesville, Florida in 1970, they ended up relocating to Los Angeles. There they were able to sign a deal with Shelter Records, but Mudcrutch broke up soon after, leaving Petty under contract as a solo artist. Campbell and Tench began playing in a band with fellow Floridians, Ron Blair and Stan Lynch and they reconnected with Petty to form Tom Petty and the Heartbreakers. Their self-titled debut album was released in 1976 with You're Gonna Get It following in 1978, and they built up a following in the UK especially. For their third album, they teamed up with producer Jimmy Iovine and spent many months recording what became Damn the Torpedoes. The album ended up being a breakthrough for the band, giving them mainstream success for the first time. They continued working with Iovine for their fourth album, Hard Promises. At this point, Ron Blair left the band so they brought in Howie Epstein on bass. They began working on their fifth album, which was produced by Iovine again. Long After Dark was eventually released in 1982. In this episode, drummer Stan Lynch describes where the band was at in this period when they had achieved their dream of success and were trying to figure out where to go next musically. Lead guitarist Mike Campbell explains his collaboration process with Petty for several songs where he would present a fleshed out demo for Petty to write lyrics to. Adria Petty describes being 8 years old when this record came out and shares her memories of this time when her father was writing from darker and more personal place than before. Producer and archivist Ryan Ulyate talks about the country leaning outtakes from these sessions and how Petty left high quality material off the record as he focused on structuring a cohesive album. With Long After Dark (Deluxe Edition), we get a chance to hear an alternative direction for the album that presages the more acoustic songs that Petty would embrace in his later career. From a dark and edgy sound to the record to Petty viewing songwriting as a job to experimenting musically with drum loops and synthesizers to engineer Shelly Yakus being an unsung hero to the band coming to the end of their work with Jimmy Iovine to welcoming the new format of MTV with the “You Got Lucky” video, we'll hear the stories of how the record came together.

Libera Iovine, chef originaria di Procida, è una figura di spicco nella scena gastronomica italiana; è stata infatti la prima chef a ricevere una stella Michelin ad Ischia, un traguardo che ha raggiunto negli anni '90 con il ristorante Melograno. Insieme al marito Giovanni Iovine, ha gestito questo locale che rimane nel cuore dei clienti affezionati per la sua cucina elegante e sostenibile. La sua carriera è un esempio di come la passione e la dedizione possano trasformare la tradizione culinaria in un'arte moderna.

In the season 6 finale of the Digital and Dirt Podcast, Ian welcomes Tina Sharkey, Lecturer & Faculty Member at USC's Iovine & Young Academy, Board Member at Havenly, HeyDay, PBS, and a global keynote speaker. During the episode, Tina discusses her vast experiences in digital media, branding, and technology, and how she has used brand strategies to shape the landscape of modern digital communities. Podcast Breakdown 00:00-03:48 Meet Tina Sharkey03:49-09:57 Career Beginnings and Digital Innovation  09:58-15:28 Scaling BabyCenter and Modern Branding  15:29-30:00 Role at USC's Iovine and Young Academy and Concept of 'Buycotting'  30:01-45:00 Gamification, Cultural Anthropology, and Technology's Role  

In this episode of Collect Call, Suge Knight addresses the importance of taking responsibility for one's actions and decisions. He admits that he did not listen to Tupac's concerns about the use of off-duty police officers to do security, and how they were used to infiltrate and destroy the Black Panther movement. In light of the recent arrest of Keefe D for the murder of Tupac, this raises some important questions about the FBI's COINTELPRO program and whether the government targeted Tupac and the hip-hop industry for some of the same reasons that the Black Panthers and other Black leaders were taken down. Suge reveals that he recently learned for the first time that his former longtime business partner, Jimmy Iovine, was wearing a wire and was trying to entrap him when he came to visit him in prison in the late 1990's. Suge goes on to weigh in on the latest news with Sean “Diddy” Combs and says that he doesn't expect to see Puffy in handcuffs anytime soon because of Puffy's role as an FBI informant. Suge provides another stunning revelation about Iovine and Interscope Records' involvement in paying off Puffy's former assistant, Capricorn Clark, to keep her quiet about the abuse she claims she endured. NEW EPISODES OF COLLECT CALL WITH SUGE KNIGHT ARE RELEASED WEEKLY This episode is sponsored by Earnin. Download Earnin today in the Google Play or Apple app store. Type in Collect Call under PODCAST when you sign up. This episode is sponsored by Prize Picks. Download the Prize Picks app today and use code "Suge" for a first deposit match up to $100. Executive Producer: Brett Jeffries (@igobybrettj) Executive Producer: Toi-Lin Kelly Producer: Legend Knight Producer: Vince Ewing  IG: @BreakbeatMedia @OfficialSugeKnight @CollectCallWithSugeKnight Learn more about your ad choices. Visit megaphone.fm/adchoices

Scout and Mady welcome back their VERY FIRST guest that they had on the podcast, Jade Iovine the host of Live From Bed Podcast. The sisters and Jade catch up and chat about the skincare era, releasing perfectionism, if procrastination is a good thing, and what is annoying them lately. Watch Okay Sister on YouTube: Okay Sister Podcast Follow Jade on… Instagram: @jadeiovine Podcast: Live From Bed Follow Okay Sister on… Instagram: @okaysisterpod TikTok: @okaysisterpod Follow Scout on… Instagram: @scoutsobel TikTok: @scoutsobel REVUE: @revueeditorial REVUE: www.revueeditorial.com Sign up for REVUE's newsletter HERE Follow Mady on… Instagram: @madymaio TikTok: @madymaio Camber: @camberapp Sign up for Camber's newsletter HERE See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Scout and Mady welcome back their VERY FIRST guest that they had on the podcast, Jade Iovine the host of Live From Bed Podcast. The sisters and Jade catch up and chat about the skincare era, releasing perfectionism, if procrastination is a good thing, and what is annoying them lately. Watch Okay Sister on YouTube: Okay Sister Podcast Follow Jade on… Instagram: @jadeiovine Podcast: Live From Bed Follow Okay Sister on… Instagram: @okaysisterpod TikTok: @okaysisterpod Follow Scout on… Instagram: @scoutsobel TikTok: @scoutsobel REVUE: @revueeditorial REVUE: www.revueeditorial.com Sign up for REVUE's newsletter HERE Follow Mady on… Instagram: @madymaio TikTok: @madymaio Camber: @camberapp Sign up for Camber's newsletter HERE Learn more about your ad choices. Visit megaphone.fm/adchoices

Join us for a fun catch up session with the host of the Live From Bed podcast, Jade Iovine, who grew up right across the street from the Playboy mansion. We get her perspective as a kid who regularly went to the Easter and 4th of July parties and as a teenage fan of The Girls Next Door. Jade talks about having a mom who posed for Playboy, borrowing our Halloween costumes and who she was friends with at the mansion. We talk meeting Taylor Swift, the confusion that was our Season 5 exits, which house in our neighborhood was the most mysterious and more! You can find more Jade at the Live From Bed podcast  https://podcasts.apple.com/us/podcast/live-from-bed-with-jade-iovine/id1546892640 For more content, check out our Patreon at https://www.patreon.com/girlsnextlevel Get our merch here: https://www.girlsnextlevel.shop

The Game - The Documentary Begin 2000 kwamen er een hoop harde albums uit de "Aftermath" hoek, de enige die we nog niet hebben besproken hiervan; The Documentary van The Game. Westside Story Nu weten we wat we van The Game kunnen verwachtten, maar toen hij net doorbrak was het allemaal nog een verassing. Maar een ding was we zeker, hij zou de de herijzing van West Coast gangster rap op zijn schouders nemen. En enigszins heeft hij dat ook gedaan. Heeft hij dit gedaan door zijn skills, of waren er op dat moment gewoon weinig andere toonaangevende rappers vanuit de west kust van Amerika? G-Unit Dr.Dre en zaken partner Iovine wisten niet precies wat ze met de Compton bewoner aanmoesten. Het leek hun een slim plan om hem onder te brengen bij de populairste rap groep van dat moment, G-Unit. En in eerste instantie leek dit een gouden combinatie. Dit zorgde ervoor dat het album vol stond met 50 Cent features, waar later weer veel kritiek over kwam. Dat is niet de enige feature, het album staat vol met legendarische artiesten maar ook zeker met legendarische producers. Zo vol, dat het soms meer lijkt op een Hollywood blockbuster dan op een echte goede Scorsese film. Klassieker Op de track The Documentary noemt The Game allemaal albums op die hij classic vindt. Daar zijn we het dan ook zeker mee eens, maar, past dit album er uiteindelijk ook tussen? Toen wij jonge brugklassers waren kwam dit album uit, en dat was perfect! We hebben dit album echt beleefd en nu bijna 20 jaar later gaan we er opnieuw induiken. Blijft het album overeind staan? Je hoort het in aflevering 38 van de Blauwdruk Podcast. De Blauwdruk Podcast Benieuwd welke albums wij nog meer hebben besproken in onze podcast? Bekijk in de ⁠lijst van alle afleveringen⁠ welke klassiekers er allemaal tussen zitten. De Blauwdruk Podcast wordt volledig gemaakt door Vincent van Koningsbruggen,Victor van der Ham en Tim Elenbaas. Bekijk de ⁠info / contact pagina⁠ voor meer informatie.

My sister Jessica Iovine is back, ladies and gentlemen. Crawl in bed with us and listen as we fight over… well, basically everything.   This episode is sponsored by/brought to you by BetterHelp. Give online therapy a try at betterhelp.com/FROMBED and get on your way to being your best self.   CALL/TEXT THE LFB HOTLINE: ‪(341) 529-1604‬   Click here to subscribe to my newsletter BedCrumbs!    Executive Producers Jade Iovine + Catherine Law Audio Engineer Brandon Dickert  

Jade Iovine, writer and host of the Live From Bed podcast, made her way out of bed today to chat with us about many TMV heavy-hitters. We're talking: no connection in perfection, getting out of negative self-talk, co-creating your future, how to be a supportive partner to someone struggling with their mental health, the cat/dog theory, reframing cringe, and so much more. Jade is clearly aligned to the TMV familia, ready to unpack everything from moving through depression to why croissants are the superior baked good. 0:00 Intro2:05 Jade's Unpacking23:41 Communication, comfortability, & conflict31:42 Getting out of negative self-talk36:18 Co-creating your future42:21 How to be a supportive partner to someone struggling with mental health challenges46:48 Intimacy + antidepressants53:15 The cat/dog theory55:18 Reframing cringe ALL THINGS JADE:https://www.instagram.com/jadeiovine/https://podcasts.apple.com/us/podcast/live-from-bed-with-jade-iovine/id1546892640https://jadeiovine.substack.com/welcomeDon't forget to DM us on IG or submit a question on thoughtsmayvary.com to have your question or theme unpacked on a future episode! SHOP “CO-CREATE” TMV'S MANIFESTATION JOURNAL: https://www.thoughtsmayvary.com/the-tmv-shopDiscount codes, extra unpackings, journal prompts, vlogging (+more!) all happening with our familia over on Patreon. Come hang out — https://www.patreon.com/thoughtsmayvary

Victoria Makanjuola is an American podcaster and mental health advocate. Her podcast, The Feel Your FeelingZ Podcast, is dedicated to educating and sharing how Gen Z manages their mental health, spreading awareness and removing taboos. She is currently studying at USC's Iovine and Young Academy for her second Master's degree! Follow her @astoldbyvictoria_. Keep up with her website here: https://ufeelme.univer.se/ Welcome A podcast for Gen Z to educate, enlighten, entertain and celebrate themselves ufeelme.univer.se Thank you! Victoria Makanjuola Host- The Feel Your FeelingZ podcast- Linktree Anchor.fm | Spotify | Twitter E: thefyfzpodcast@outlook.com #victoriamaknjuola #podcast #host #thefeelingzpodcast #USC #mastersdegree #livewithcdp #guest #chrispomay #host #wqee #youtube #facebook #X #twitch #linkedin #livestream #audio #applepodcasts #spotify #googlepodcasts #iheartradio #amazonmusic #barrycullenchevrolet #sponsorship

In the 1990s, Interscope Records played by its own rules. Most new labels started with big stars, but Interscope had a clean slate. Most labels were scared of rap music, but Interscope leaned in. Co-founded by Jimmy Iovine, a producer, and Ted Field, a film producer, people questioned whether they had the chops to make it.The label has had a hand in some of the most memorable music moments like Death Row Records, the rise of Eminem, and the creation of Beats by Dre headphones. To break down Interscope's success, I brought back Zack O'Malley Greenberg. His book, “Three Kings,” covered Interscope's story. Together, we unpack what's made Interscope such a long-standing player in the music industry.[0:53] The most successful individual label of the past 30 years?[2:40] Key figures in Interscope's come-up story[6:57] Nontraditional way to build a record label [11:07] Death Row Records partnership [16:44] Biggest signing? [19:14] Best business move?[28:07] Darkhorse business move? [33:21] Where will Interscope be in 10 years [36:07] Would Interscope's 90s approach work today?[43:39] Interscope's entrepreneurial challenges today [50:36] Biggest winner in Interscope history?Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Zack O'Malley Greenburg, @zogblogThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Dan Runcie 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.[00:00:27] Dan Runcie Guest Intro: Today's episode is all about Interscope Records. It has been one of the most influential record labels since it was started in 1990. This record label has been home to Dr. Dre, Eminem, 50 Cent, Lady Gaga, Olivia, Rodrigo, and countless other names in between. So we talked about what made Death Row records wanna partner with a company like Interscope and what made Interscope succeed time and time again. So we talk about the business model of being able to sell controversy and why that worked well, especially in the 90s. We also talk about leadership and how important it is to have people at the helm that understand what's needed and how that continued to help Interscope time and time again.We also talk about some of the challenges that Interscope has had and how they're able to navigate that too. And in this episode, very similar to the Cash Money one that we did a couple months ago, Zach and I, that's Zach O'Malley Greenberg, you may know him from his work back when he was at Forbes as the entertainment editor there.And from the books he's written like Three Kings and Empire State of Mind. We talked about a number of things and answered several questions that we talked about in the Cash Money episode as well. What was the biggest signing? What were the best business moves that were made? What was the Dark Horse move?What are the missed opportunities? How did this record label handle transitions? And who is the biggest winner overall from the success of Interscope Records, which is now Interscope Geffen A and M today, one of the umbrella labels under Universal Music Group. This is a really fun episode to do, and we're gonna do more of them.So let us also know if you have any suggestions on other ones you want us to do at the end of the episode, and we'll go from there. Here's our breakdown on Interscope Records. Hope you enjoy it.[00:02:13] Dan Runcie: This episode is a breakdown on one of the most storied record labels of the past few decades, Interscope Records and we're back to break it down with my guy, Zach O'Malley Greenberg. Zach, welcome back, man. [00:02:24] Zack Greenburg: Thanks for having me, as always. [00:02:27] Dan Runcie: Yeah, I knew that this was a topic that was near and dear to you, given the work you covered in the spaces.Well, this is one of the more interesting record labels, but following their work for years. And just to just kick things off, this record label starts 1990, right at the beginning of a new wave for music and since it's come out, would you say that this is the most successful record label, individual record label that we've seen in music since then?[00:02:52] Zack Greenburg: I mean, it's certainly hard to think of another one, that's been more reliably at the top, right? I mean, and I think the thing that really sets Interscope apart is it's not like, you know, the label was made off of just one act or two acts or three acts. They just have a, track record of continuing to find, you know, artists that push the envelope, that, you know, break records and that end up at the top of the music scene and, you know, kind of across genres and eras too.So, you know, and really even across, chief executives, which is I think, pretty unusual. So, I think there's some kind of secret sauce in there and, can't wait to dig into it with you.[00:03:27] Dan Runcie: Yeah, I think it. In terms of the longevity, in terms of the phases they've gone through, whether it's dominating in hip hop, dominating in pop, dominating in rock, they've been able to do it across genres across decades. The one record label that I do think could also be worth mentioning in this respect is Republic Records started a few years after 1995, but I think there's a few things there too as well.The consistency and the ability to do consistent deals, win challenging Bit Wars and get some of the top artists. So I do think it would probably have to be one of those two. But from a timeframe perspective, just all of what Interscope was able to do even before things got started at Republic, do give them a edge.If we're talking past 25 years, that's probably another discussion, but past 30, 32 years, I think Interscope is probably there. I think there's also maybe a case to be made for Columbia or a case to be made for Atlantic as well, but I do think that Interscope, especially just with the way that they went about things a little differently, which we'll get into, but I feel like they have a strong advantage there. [00:04:33] Zack Greenburg: Yeah, for sure. And I think, you know, particularly when it comes to the sort of entrepreneurial spirit, you know, and we've talked about Cash Money and Def Jam and you know, Rockefeller certainly, hip hop, specific record labels that have been uniquely, entrepreneurial, you know, especially given some of their leadership, but like, I think for a label that, you know, kind of delves into pop so much.And of course Interscope obviously, you know, huge home for hip hop too. But to have that entrepreneurial streak, outside of it, mostly hip hop label. I think that's pretty unusual too in some of the things they've done around beats, which we can get into. you know, j just, you know, being almost, you know, like a venture fund or an incubator as much as a record label in some ways. I think that's another way that Interscope has been, you know, really different from the rest. [00:05:16] Dan Runcie: Yeah, for sure. That beats thing, we'll get into that one in a minute. I feel there's so much to dive into there but let's start with the quick backstory. I'm sure a lot of folks already know this, but there are three main figures that were involved with. The beginning of this record label. You have PBIV, you have Ted Fields, and you have John McLay so. Let's first start with Jimmy. So as many of you know, this was someone that was a record producer. It started as that worked with legendary artisan music, whether it was John Lennon, Springsteen, and several others. And with that, he was able to carve out a lane, figure out what works for him. And I know that now the jump from producer to executive may not seem like it's that much, but back in 89 ' 90', there were a lot of question marks around whether or not this record producer guy could run a business, could he be an executive, and make the decisions and call the shots?And there were a lot of things that Jimmy did that may seem conventional, but there were a lot that were seen unconventional. But I do think that him having the partnership with others helped craft Interscope to where it is today. And Ted Fields is one of those first, one of those people where the name comes from.So yeah. Zach, tell us a little bit about Ted and some of his [00:06:28] Zack Greenburg: work before. Yeah, I mean, you know, and it was, this was at this point, over 30 years ago, but, you know, I was five years old. But kind of looking back on it now, I mean, it seems to me the way these things go, like Ted Field was kind of the money guy. Jimmy was the industry guy and you know, Ted Field was one of the heirs of the Marshall Field Fortune, he had been involved in film production and like race cars and all kinds of things that heirs to Fortunes are option involved in, which are maybe not as lucrative as Interscope Records turned out to be. but interesting nonetheless, he was a producer on, revenge of the Nerds and some other really interesting films.but yeah. In 1990, he came along, basically thought of Interscope Records as its division of this film company. and he brought on, he teamed up with Jimmy. I think they were actually introduced by the manager of u2. and, David Geffen was sort of involved in negotiations along the way. And, it was like kind of a who's who of the music world, you know, at kind of the cusp of the 1990s there. And so he came in, he brought on John McClain, to run Interscope at first. So John McClain is like one of these people who's incredibly, he might be the most influential person in music who nobody's ever heard of. And, unless you know, you know, John McClain was, critical in Janet Jackson's success.he's also now become the co-executor of the Michael Jackson estate. you know, really since MJ died, along with John Branca, who's sort of the, public face of it, but, you know, John McClain, if you want to like, try to find a picture of John McClain. I mean, this guy is so, under the radar, but he's so deeply in the mix.I don't really know how he manages to avoid the spotlight quite as much as he does. But, you know, obviously contributes a ton, of expertise, and as a true power player behind the scenes in the music business. So, you know, you kind of, you kind of put that dream team together and then you have sort of the ingredients for, you know, the beginning of, what we now know as Interscope records. [00:08:18] Dan Runcie: Yeah, and I'm glad that you brought up Geffen earlier because when this started, a lot of people looked at Geffen as the model for what this could be, but also how Interscope went about things differently. Geffen's whole thing when he had started Geffen Records was who were the established artists that he could go after?Again, whether it was Elton John or a few other folks that they were able to really secure, because at the time, the thought was you wanna have the proven people on your roster because it's so hard to be able to build that from the ground up. So not only is Jimmy and the team already going into this from people that don't traditionally have strong music experience in terms of running a music company, at least in late eighties, early nineties, but you also have them try to do it completely with new artists and going in from a new perspective.And this was part of one of the things that I think helped set them apart because they lead into genres and aspects of genres that other folks avoided. So of course, in the early days of Interscope, they focused more so on rock music. That's what Jimmy was known for. And you had artists, I think their first hit was Ricoh Suave.They had had some stuff with Marky Mark and the Funky Bunch. So you started to see a little bit of more interesting ways to go about stuff. But then they also had Nine Inch Nails and Marilyn Manson. So you got a vibe for the fact that this wasn't just rock music. They were in many ways going after that shock value like what was the thing that was somewhat controversial, but there was the controversial stuff that did sell and was resonating and they were able to take risks that others weren't, and it worked out to their advantage.[00:09:58] Zack Greenburg: Absolutely. And you know, another executive, who deserves mention is Tom Whaley, who came over from, I think it was, he was at Capital and a and r there. And you know, he was the one who had originally signed Tupac, in I think 1991. So that was like way before Tupac was a mainstream success. He was really getting in early, you know, the seed round of Tupac, if you will. and [00:10:18] Dan Runcie: Digital underground era of Tupac. [00:10:21] Zack Greenburg: Yeah, exactly. So, you know, whereas maybe Geffen was more of like a series B kind of fund, you know, looking for series B and C, kind of sure things, you know, I think Interscope was really willing to get in there early and Right. They didn't really care if, somebody was controversial.And I think, I think Jimmy, I think that was part of his genius, was being able to tell like, you know, we shouldn't shy away from controversy. And in fact, you know, as, as long as it's. Not crossing certain lines. controversy can actually be good for a record label because it generates publicity and, you know, certainly as Jimmy got deeper and deeper in, you know, into the hip hop world, you know, I think, he followed that, strategy pretty closely. [00:11:03] Dan Runcie: Yeah. And I think this speaks to something that worked effectively in business in the nineties as well. There was almost this monetization of pearl clutching, if that makes sense. What is gonna make people actually be like, oh, did so-and-so just say that? And that's why MTV was able to reach heights in the late eighties and early nineties that VH1 necessarily didn't at the time.And that's why Interscope was able to do things, other labels weren't. And then I think similarly, you even look at gaming back in the day. You look at a company like Sega and the types of games they were willing to release on a council like the SEGA Genesis, they were taking risks that Nintendo didn't wanna take.And I think we actually saw Sony continue to do that. So I feel like there was this ethos of that in the nineties from the get-go, and Interscope was willing to go there where others weren't.[00:11:50] Zack Greenburg: Yeah, hundred percent. And, you know, I think it's, also just interesting to know that I think a lot of people look at the Tupac saga and they think about, you know, there's this whole, and we can get into this later, the whole Suge Knight and bailing him out of jail and all that.But, he was already in the Interscope, family, you know, years before that. So[00:12:06] Dan Runcie: Right. [00:12:07] Zack Greenburg: It all kind of comes together. [00:12:08] Dan Runcie: Oh, definitely. And I think with that it's time to talk about what are the most important things that does set the stage for this record label. In general, it's the partnership with Death Row records and signing them to the deal that they did. So it's funny because I think that when a lot of people think of hip hop artists signing deals and getting ownership, we often hear about cash money.We often hear about Master P and No Limit, but Death Row was able to do something quite similar and have that type of relationship with Interscope as well. It was a distribution deal, and for as notorious as Suge Knight is for his bully tactics, and that's probably a light way to put it in terms of how he goes about his business.He was very adamant about what they owned and they were able to use a few hundred thousand dollars investment on their end. Largely gotten from some money that, Suge Knight didn't get that he was owed from a vanilla ice steal and that that becomes a start to death row records. And they sat on the chronic for over a year until they found the right company. And the right company ended up being Interscope to partner with.[00:13:14] YT Clip 2: All I remember is that Dre came in, then plays the chronic. I said, who recorded this for you? He said, me. I said, wow. This guy will define Interscope. [00:13:24] Zack Greenburg: Yeah. and you know, I think that, you know, there's the old story of like, when Jimmy first heard Dre and Snoop together on a track, he's like, these guys are like Mick and Keith just, you know, they're just, just different genre but saw it immediately, right? He saw the, like behind the scenes musical guy, you know?and then the sort of like the forward facing storyteller, the performer. And, he saw formula that worked in rock and that would work in hip hop. And, I think in many ways, You know, Jimmy's genre agnostic, right? It didn't really matter that this was hip hop or that was rock.The point was the formula works and it works in whatever genre you put it forward in. So, at one of my other favorite Jimmy Stories was, I don't remember which song this was, what was it? It was, maybe it was off the chronic or doggy style and that he couldn't get the, radio stations to play it, because it was too obscene or whatever.And so, he just bought like 32nd or 62nd slots, or maybe he bought like, full three minute slots on drive time in LA just terrestrial radio and just played the song and people didn't realize that it was an ad, and they just, they loved the song and they started calling the radio stations requesting it, and that's how they rocketed it to the top.Which, do you remember what song it was? it's, not such, of course, the listeners are gonna be like, oh [00:14:41] Dan Runcie: someone's gonna come back and ping us about it. [00:14:44] Zack Greenburg: But I just, I love that story and it's, just like classic Jimmy Iovine, you know, you know, and it works. and I think also, you know, to your earlier point, like monetizing the pearl clutching, the best way to, get somebody to want something is to tell 'em they can't have it, right?I mean, so whoever's mom is like clutching their pearls, but the kid is like, wait a minute, my mom is freaking out and I can't have this record, like, what is this record that I can't have? Even if they didn't know what it was, you know? and I think in a funny way, like that era, you know, the whole parental advisory sticker, I mean, that became like, you know, like almost a badge of honor, [00:15:18] Dan Runcie: Oh yeah, I was a marketing employee at that point. [00:15:21] Zack Greenburg: Yeah, exactly. and you see that, know, obviously throughout music, but even, to draw parallels, with basketball, which as we get into talk about, beats by Dre, you know, I think there are a ton of them. But like one of the reasons that, Eric Jordan did so well early on was because they were like finding Jordan for wearing them.And this was a big story, you know, he was kind of like breaking the rules by wearing, cuz it, you know, the sneakers they had to be like white in the nba, white sneakers. We could only have a certain percentage with color on them. And like the Jordans were 50% red or something. And, this was like a big problem and, you know, resulting in fines.But Nike decided to just pay the fines and take the publicity. And I think that sort of attitude is, the one that was, you know, adopted by Jimmy and, you know, by Interscope more broadly throughout. [00:16:04] Dan Runcie: Yeah, great story. And I think that speaks a lot to both the blessing and to be honest, in some ways the curse of, Jimmy, what Jimmy's great at, and some of Jimmy's challenges as well, because from a leadership perspective and from the risk taken perspective, he was always willing to go there and spend the money to make the things happen, right?Whether it was taking a less lucrative deal to work with Death Row because you're working with Death Row, what you're able to put out, right? Three other first four albums they put out are classics, you have the chronic, you have Doggy Style, you have the above the Rim soundtrack. They just came so strong.And even that moment when they're able to have that cover on vibe, that is just such an infamous cover of, you know, the three main artists and show together. No one else could really do that, and that's why that does stay as strong as it is. But with that, Jimmy also did get a lot of criticism for overspending and not necessarily having as many checks of balances in place.A lot of people felt that, you know Doug Morris, who, this was a little bit later, but Doug Morris, who was leading Universal at the time, pretty much gave him a green light to do a lot of the things he wanted to do. And I remember in the nineties he had side Tom Jones, which was in many ways a bit antithetical to like how he's been running the business so far to spend the money on an act like that.And then even some of the things later on with Apple Music, and I mean, that's a whole nother conversation, but it's the way that the money was spent, worked well when it worked well. But then things don't work out, everyone has, you know, the criticism ready and some, some businesses that can work well, but in other businesses it can be a little bit challenging.[00:17:47] Zack Greenburg: Right. Yeah. absolutely. And, you know, I think as with many businesses though, if you spend a lot of money and you spend it, you know, intelligently or at least you know, in the right direction, maybe you overspend a little bit. If you spend in the right direction, you know, the rewards accrue to you.And, you know, I don't know if I'm getting too ahead of myself here, but. Just while we're on the topic of controversy, you know, just the whole corporate history of Interscope, it had started off as a, or it eventually was a joint venture between, Time Warner and then Field and Iovine.And in 1995, after all this controversy, with some of the lyrics and, you know, Dolores Tucker, you know, and all this T ime Warner divested, sold it's half of the company to field an Ivy for 150 million bucks. And then year later they just turned around and sold that half for 200 million back to Seagram.And, you know, so they made a tidy little $75, 85 million in like a year, you know, after, having their hand force by this controversy. So, it's just kind of funny how that all works out. [00:18:47] Dan Runcie: Yeah, no, I'm glad you brought that up. But I think we could get into some of the categories now cuz some of this probably fits there with that too. At least, I'd say the biggest signing here, I think the biggest signing, there's a number of them in Interscopes, 30 plus year history, but I think it has to be this Death Row deal.[00:19:02] Zack Greenburg: I think the death row deal, because it kind of paves the way for everybody else. But, I would say though, if there were a single artist that, you know, sort of, if you had to pick one artist to define Interscope, I'd probably go with Eminem. I mean, just in terms of like the overall, the controversy, the evolution, the sales.I mean, you know, just, nobody can touch Eminem from a sales perspective. you know, certainly when it comes to hip hop, over the past, you know, couple decades and, you know, just, all of the, kind of, the good and the bad and everything that came together. I mean, you know, but that doesn't happen unless you have Death Row.It doesn't happen unless you have Dr. Dre. I mean, you know, if you say like, what artist was most critical to Interscope overall, like on a broader kind of like holistic spectrum, I'd probably go with Dre. but as far as assigning, I don't know. It'd be hard to top that in my book. [00:19:53] Dan Runcie: Yeah, I think Eminem is a good counter there because this is kind of like the cash money conversation we had then, right? Do you say that it's Lil Wayne or do you say it's Drake and it actually is Drake from a pure numbers perspective, but obviously Drake doesn't happen without Lil Wayne and the same thing as here with Dre and Eminem and then everything else there.And Eminem is specifically because I think even if you looked at the 2010s, he's still probably up there in terms of the most commercially successful artist. He's already number one of the two thousands. He was already pretty high up from the nineties just given the work that he did in the late two thousands and his. In 2022, his greatest Hits album was the most popular rap album in the UK. And this is a album that's 17 years old, a greatest hits album. And then you just look at the streaming numbers. I'm pretty sure he has two of the three most streamed songs of the two thousands being Lose Yourself and Till I Collapse, which wasn't even like a big single at the time, but ended up being a staple on workout playlist.So yeah, [00:20:57] Zack Greenburg: and he has remained relevant in a way. I mean, I think if you walk down the street and you ask the average, you know, 15 year old, they'll know who Eminem is and they might not know who Dr. Dre is. [00:21:08] Dan Runcie: Which is wild to say, right? [00:21:10] Zack Greenburg: I know, [00:21:11] Dan Runcie: Wild. Yeah, [00:21:12] Zack Greenburg: It's crazy, but I think but I think it 's also true, for better or worse, so, [00:21:17] Dan Runcie: What's the best business move in, Interscopes done?[00:21:20] Zack Greenburg: I think it might be cheating a little bit because it was part Interscope and it was also part Universal more broadly. but I would go with beats, right? Just, you know, by way of background for those who don't know the full story, you know, uh, Jimmy Iovine and Dr. Dre founded Beats in, gosh, what was it, 2008? Something like that. [00:21:36] Dan Runcie: Yep, 08' [00:21:37] Zack Greenburg: But like from the very beginning, you know, the story goes that they're like walking down the beach in Malibu and, Dre has some kind of sneaker deal on the table and he says, you know, Jimmy, should I take this sneaker deal?And Jimmy goes, you know, like, F sneakers, let's sell speakers. And so that's how Beats was born. Is that exactly how it went down, you know, we'll never know, but it's a great story. and You know, to kind of tie it back to what we were talking about earlier with Air Jordan, they really did follow the Air Jordan Playbook in a lot of ways.And, when I wrote my book Three Kings, which was about Dre, Diddy and Jay-Z, the Dre section really focused a lot about, you know, beats and sort of how Dre set up this business and everything with Jimmy. And, you know, I actually went to the former CEO of Best Buy and I said, how did you sort of like, get kids to pay 200 bucks for a pair of headphones when like, they had been paying 200 bucks for sneakers before?And he said, well, we very consciously told our salespeople, when somebody walks in, you've gotta tell them like, you know, you're competing with Jordan not Bose, you know, you're gonna tell that kid like you know, this headphones set is like, more interesting for your wardrobe than that pair of sneakers or, you know, like that's how you're gonna really kind of win and create a category, not just sort of become the, best player in an old category. And, I think that was like the brilliant thing that they did. But the way that they got it to happen was they got full buy-in from Interscope and from the parent company, universal.And actually Universal invested a pretty big chunk of money into Beats. so that, you know, I think gosh, I don't remember exactly what it was, but I think when Apple finally bought them out, in 2014, I think Jimmy and Dre had 25 to 30% each. I think Universal had something like 20%. LeBron had a little bit and, will I am, but, you know, the fact that Universal was bought in, the Interscope was bought in, and that Jimmy was able to get them to put, beats headphones in like every single, I don't remember if it was Interscope video or all universal videos. I think it might've just been Interscope. [00:23:33] Dan Runcie: Yeah, they had 'em in Ineterscope cuz like they had 'em in like Gaga videos and like she would wear them and stuff. [00:23:39] Zack Greenburg: Yeah. And it's like, it's brilliant. Like what a brilliant move. So, you know, off of the two, that, whatever they put into it, intermediate, a lot of that was free, right? They just put in, you know, their own free product placement. They have to do anything and they help build this, you know, build beats into this $3 billion company.and so, you know, I, I don't know how the pie sort of divided, but it ended up being, you know, worth hundreds and hundreds of millions of dollars, to the sort of universal Interscope family. And then, you know, also, you know, hundreds and hundreds of millions of dollars for Jimmy and Dre.So, there are a lot of great signings. I'm sure they made a ton of money off of Eminem and all these other artists, but like, it's really hard to top that one. And, they just really knew how to do it. They really knew how to, I mean, Jimmy, you know, yeah. Again, it's a perfect partnership.Dre is this perfectionist artist and Jimmy is the market critter. And I remember, man, it must have been like 2010 or 2011, I got invited to this like launch of some new Beats thing, for New York media only. And, you know, there were like 30 people there and it was Jimmy and Dre and they were kind of like standing around in this, big conference room.And, you know, Jimmy was just like talking and yacking it up and telling stories and he told the story about the walking down the beach and, you know, sneakers or speakers and Dre's just kind of nodding and, you know, chiming in occasionally, but like, that was their deal. you know, Jimmy, Jimmy was the talker and Andre was the, you know, the, the quiet genius artist.and that was a pretty potent formula. [00:25:10] Dan Runcie: Yeah, that was my answer too. Beats has to be the best deal. All the reasons you mentioned as well. They also saw a huge opportunity with speakers as well because at this point, the predominant way that so many people were listening to music were those cheap white iPhone headphones or the iPod headphones, I should say, at the time that people were listening to.And I remember Jimmy was adamant about how poor the sound quality was coming out of them, especially given how much focus there was in the nineties around surround sound and both speakers and all this stuff. And sound shifted to these very cheap plastic headphones that just came for free in the iPod, cases.So them putting a bit more money into the technology there. Granted, there were other companies that did come through and really expand further, and that's how we're able to have products like the AirPod Pro Maxes, which are now several hundred dollars more than beets ever were because beets was considered to be expensive at that point.And now people will buy those like it's nothing the same way that people will buy Yeezys. Like it's nothing. So that other point about category creation, not just building within an existing area was key there.[00:26:20] Zack Greenburg: Yeah. And I think it's also worth noting, you know, Jimmy clearly looked up to Steve Jobs a lot and, you know, took cues from Steve Jobs creating the iPod, right? I mean, that was a very, like, he created the iPod. It was a music thing that helped basically revive apple and, and get it on the track that it is today.And you know, there, I don't think there's an iPhone if there's no iPod, but, you know, how did they get the iPod to be so sexy? It was like, It was those YouTube U2 commercials with the like, hello, hello to place golf to go, you know, and everybody was dancing and, and the crappy white, you know, earbuds with the, you know, chords and everything.you know, that was like, that was a creation of a category. And you know, I think that Jimmy looked at that and he thought, gosh, you know, I could do something like that. And I think he always thought it would be a great fit for Apple but Steve Jobs, you know, while he was alive, I think he kind of thought he could do it all himself, and he didn't really want to be involved in, you know, in that side of the business.So I think it's why, it wasn't until after Steve was gone that, you know, Apple came in and, and bought beats. But yeah, I remember reporting on that deal when it happened and happened at the worst. I was like, I had just gotten on a flight to like go to Italy for vacation with my wife.and I woke up at 7:00 AM and we landed or whatever, and I had like 70 texts and it, you know, it was like be, while I was over the Atlantic Ocean Beats, had gotten sold to Apple. And that, video came out with Dre saying how he was, you know, the new king of the Forbes list.And, [00:27:54] YT Clip 1: The Forbes list just changed. They need, Hey, it came out like two weeks ago. They need to update the Forbes list, shit just changed in a big what? Oh my understand that. Oh my. The first billionaire in hip hop.Right here from the motherfucking West Coast. Believe it. Oh. [00:28:11] Zack Greenburg: and so I just said to my wife, I was like, honey, we're gonna have to hang out in this airport for a little while before we started our vacation. I was like, you know, trying to put together a story and figure out what happened. but I think that one of the things that people talked about, you know, and at the time everybody's like, that's a crazy amount of money, you know how, you know how like Apple never spends money like this, you know, what's the deal? But a lot of the scuttlebutt was that they kind of like viewed Jimmy and Dre as, you know, maybe not like a replacement Steve Jobs, but almost like a piece of the Steve Jobs Voltron that they were gonna try to recreate, you know, like Tim Cook would, you know, the, would be the brain and the like, Dre and Jimmy would be the heart and somebody else would be the, I don't know, like something like that.They would piece it back together and get these little aspects of Steve and that they thought that Jimmy and Dre could really help out on the marketing side of it. and, you know, I don't know, I know that they had kind of like, there was a period of a few years where they were getting paid to hang around and, do stuff.And, you know, they did some, I think they did some more commercials, promotion, that kind of thing. But I never got the sense that they really were like, all right, you know, apple for life. And I think they kind of just, the thing ran its course, and, you know, they, took the last bit of their cash and off they went to do the next thing but it was interesting at least. that a lot of people really thought that that was kind of like part of the reason why, the deal was for such a big number, you know, that it was almost like an acquihire type of situation. [00:29:36] Dan Runcie: Right, and the other big piece of it was the streaming service that they had created at the time. And Apple wanted to get into streaming. They didn't have a streaming service. They were starting to develop one. So Beats music eventually became Apple Music, and then that's how Jimmy became so integral with [00:29:52] Zack Greenburg: And, I think even by that point, beats already had some really interesting people, I think like t Trenton Resner and so forth who were like deeply involved with it. And I think, you know, part of that was appealing to Apple too. that they felt that, you know, not just that the product existed, but that it, you know, that, the people existed who could kind of like grow it within Apple and, you know, eventually turn it into, into, iTunes like, you know, Apple Music and so forth.[00:30:17] Dan Runcie: Right, which speaks to that partnership in Jimmy's connections, right? He had been working with trend since the nine Inch Nails days. So yeah, all comes full circle. what do you think is the dark horse move or the dark horse thing that Interscope has that doesn't get talked about as much? So mine for this, I actually think it's the longevity that they've had with leadership there because I think that other record labels, this gets talked about a fair amount, but, and it's true for auto scope, I feel like it just doesn't get talked about in that same way.So since 1990, there's been two people that have been the head of it. So you had. Jimmy from what, 89 or 90, the founding until 2014, and then John Janick takes over and he's been there for almost a decade. And then if not more, if you just consider, you know, I think the total time working in the organization.So that's like you think about other organizations too, whether. You look at a team like the Pittsburgh Steelers, there've been two head coaches there since the early nineties. You look at the Green Bay Packers, there's been two quarterbacks that they've had as starters since the early nineties, and those teams have been consistently competitive and you rarely see them getting the first round or the number one draft pick.I think like Mike Tomlin hasn't had a losing season, and in some ways I kind of think about Interscope in that way. Yeah, sure. Every record label's had ups and downs, but these teams that have consistency, especially in an industry like music where there's so much turnover, so many of these other labels that are their competitors can be revolving doors in this way, which can lead to a lot of challenges for people to really be able to execute a strategy. This is one thing that I think has helped their longevity quite a bit.[00:32:01] Zack Greenburg: Yeah, I would say for my dark course, I would say John Janick, specifically, and I think people don't really realize, you know, just like how successful he's been cuz everybody talks about Jimmy. But, you know, first of all, at this point John's been there, I mean, he's been running the show for almost 10 years, which is nearly as long as Jimmy was.And, you know, who knows how much of the time before, Jimmy left in 2014, John was actually really, you know, running things on a day-to-day basis. So, you know, the, just like so many times you see a, visionary founder like Jimmy, leave a company and then, you know, the thing just kind of like Peters out, but, you know, I mean, under John Janick, you know, look at, you know, like Billy Eilish for example. I mean, I think Kendrick Lamar was also under his watch, probably Machine Gun kelly must have been under his watch too. [00:32:51] Dan Runcie: Yep. And then even Olivia, Rodrigo more recently. [00:32:54] Zack Greenburg: I mean, what a huge, you know, like, so that's definitely like on the level of, you know, of the biggest acts that Jimmy was able to bring in.And you know, it's like, you know, even with some of them it was really more Dre than it was Jimmy. So I think that's, you know, yeah, I think John deserves a lot of credit too. you know, and we haven't talked about Lady Gaga, so she's not exactly a dark horse. but, you know, lady Gaga is somebody who came in under Jimmy, but like, jimmy should not get credit for Lady Gaga because Lady gaga was kinda like languishing, you know [00:33:23] Dan Runcie: He was on the bench chilling and then like it was like the Akon's, the one that's like, Hey, what about her? What about [00:33:30] Zack Greenburg: And I remember I interviewed him, for Forbes. This was back in, you know, oh nine or 2010 or something like that. And, and I was like, so tell me the Lady Gaga story. And he said, basically I heard her stuff. And I was like, this is amazing. And I called her up, or I called, I think you called maybe Troy Carter, who was managing her at the time and said, you know, I wanna assign you, to my Interscope imprint.And she's like, I'm already on Interscope. So, so they just kind of like moved her around, within Interscope and, you know, they were able to, you know, that first song Just Dance. a lot of people forget that was like, when that came out. Akon was much bigger than Lady Gaga and, you know, that was at the height of Akon's fame.He's not out there as much now, but he is out, you know, he's all over the world making probably even more money than he was, back then. But, you know, yeah. He was hosting or appearing on SNL with Lonely Island and all those guys and, you know, he's kind of like showing up in the back of just dance, you know?Oh, yeah, you know, doing his Akon thing and, you know, and kind of really helped get her off the ground you know, and then just kind of like, pieced out and Lady Gaga became this incrediblesuperstar. So, you know, I think that's, certainly some serendipity for Interscope there, but, yeah, I wouldn't give Jimmy full credit for that one. [00:34:45] Dan Runcie: Yeah, definitely not Interscope, collectively. Sure they had her on the roster, but yeah, that one has to go to Akon on that one by extension, who himself, you know, clearly worked with Interscope and then just given, cuz we didn't even mention him himself, just that whole run he had from like oh four to what, 08', maybe 2010 if you wanna go a little bit longer. He was everywhere. [00:35:05] Zack Greenburg: yeah, yeah. [00:35:06] Dan Runcie: So of course we talked a lot about consistency. We talked a lot about Janet and the role that he's been able to do there, and I think consistency does naturally lead itself going further. So let's flash forward 10 years, let's go to 2030, 2033. Do we still think that Interscope will be at the level that it is now, where if you look at the market share numbers, it's roughly alternating, right? Around 10% of recorded music may be a little bit less, but I feel like it's like them Republic and then Columbia alternating to some extent. And it all kind of depends on who releases when but do you think that changes? Do you think they're more likely to stay there? Or what do you think 10 years from now [00:35:46] Zack Greenburg: Yeah, I think they're gonna stay, I mean, it's not like, one of these situations where their top artists are leaving or, you know, you're really too concerned about it, or they're kind of in the wrong genre mix. I mean, they're really heavy in hip hop. you know, they have some of the biggest stars out right now.I mean, we already talked about Olivia Rodrigo, Kendrick. Billy Eilish obviously is enormous Machine Gun Kelly, but you know, they have Black Pink. That's huge. Like, that could be a big place for growth [00:36:11] Dan Runcie: You got SZA through the TDE deal, right? [00:36:13] Zack Greenburg: Yeah. yeah. I mean, that's a great point, you know, hard to find anybody, who's having like a bigger moment that says it right now, so, You know, there's a lot.let's say that to go back to the sports analogy, it's not like this is a team of like, you know, 38 year olds who are nearing the end, you know, this is, like a win now team, with plenty of talent in the pipeline. and they've proven that they can keep working the farm system or something to continue the sports metaphor.But, and you know, I mean, John himself is not an old guy. I mean, John is, [00:36:40] Dan Runcie: Mid Forties? [00:36:41] Zack Greenburg: You know, I I forget old he is. Exactly. Yeah, you're talking, you know, where are they gonna be in 2030? I mean, you know, he'll be like in his early fifties and, still I think doing what he's doing, and doing it really well.So, you know. Absolutely. Yeah, I don't really see them fading. And if anything, you know, all it takes is like, You know, like another Monster Billy Eilish album in a given year. you know, and they start to gain even a little more market share. So I think they're in a pretty darn good place. [00:37:09] Dan Runcie: And it's arguably one of the best jobs in the recorded music industry because of the amount of leeway that I think Janet and by extension, the Interscope Geffen a and m umbrella is given relative to a lot of the other labels that are either under Universal or even others under the majors in terms of the decision making, the things that you could do, and when you have that much control based on his relationship with Lucian compared to others, it does make a huge difference. [00:37:37] Zack Greenburg: Yeah. And you know, I think another, another guy who's kind of in the background, who's been in the background, you know, for a really long time there is Steve Berman. He's another executive, who doesn't get you know, like a ton of limelight, but, you know, is kind of like quietly, like, like the cons.He's been kind of the cons area type over the years. and, you know, I think that might be part of the, you know, continuation, the connective tissue between Iovine, and, john Jank as well.[00:38:02] Dan Runcie: Right. Good point, especially just given how important lawyers and they are in terms of the influence direction of this industry. Another thing that I think is interesting, just thinking about the future, is also looking at the past of Interscope and how this record label did start and rise because of this controversy, because of the pro clutching business model.Do you think that could work today? Because I have my skepticism, but what are your thoughts?[00:38:31] Zack Greenburg: I think it depends, you know, what sort of pearl clutching is about, right? I think, know, in, in many ways the world is a nicer place than it was in the nineties. Like, you know, things were kind of a little rough and tumble in the nineties and it wasn't as sensitive a time as it is now.you know, I think, I think in general it's, good that, you know, we're like a little nicer, a little more sensitive, but, you know, in other ways, you know, I think, sometimes perhaps too much. But, you know, I think that, you know, certainly when it comes to music, I don't know, in a like this moment, for whatever reason, music isn't at the.Forefront of the culture wars and the way that it was in the nineties. And you know, instead it's like books in Florida, right? I mean, who knew? But, you know, people aren't really like, kind of, this is not a, like a campaign issue in the same way, that it might have been in the 90s, you're not seeing as many politicians sounding off about it.I mean, I think certainly you're hearing stuff, about, you know, can lyrics be used as evidence in court? you know, which is, can be a really troubling topic. But, you know, I think the sort of focus of that argument is, it's not like in the middle of national campaigns in the way that this was in the 1990s.So, yeah, I think, you know, like Interscope certainly as an experience. walking the line and it's maybe a little bit less of a delicate line, that they need to walk these days for just whatever reasons, with the political headwinds. [00:40:00] Dan Runcie: Yeah, I don't think it would work in the same way because I think the people that do try to create shock value were so desensitized to things compared to when we were the way things were in the nineties. Even for people that weren't that threat to society, but because of how they were depicted, it was easier to do that and still release great music, right?The chronic could be a shock value type of work, but it's still something that is critically acclaimed. That is in the National Registry and Library of Congress and all of these other areas. But now the stuff that creates shock value in music, whether it's even someone that's like more on the personality side, like a dj academics or someone like that will literally just say like, you know, the wildest shit just to go viral or partner with right wing organizations in order to create momentum that still has this area where it lives in somewhere like YouTube, where yes, you can get a following and you can make a living and you know, do things for yourself.But I think there's somewhat of a ceiling to that in terms of how much you can like, create, you know, broader impact and truly monetize the bases and the masses. And some of it even extends to artists as well, like those, I think someone like NBA Young Boy is quite popular and has had a bit of a number of transgressions in his track record, but still I think there's a pretty big gap of, you know, him relative to like some of the other names you mentioned just from some of the exposure and opportunities that he's given that doesn't lend itself to that.So, you know, Interscope in the early nineties probably wouldn't have wanted to try to sign Olivia Rodrigo because it didn't make sense. But it makes perfect sense now just given where things are and where things are going. So you can maybe do it on a niche level, but I think it's hard to have shock value sell in mass quantities and for the mainstream in that same way. [00:41:55] Zack Greenburg: Well, I think it's also just harder to shock people now, right? I mean, you know. [00:41:58] Dan Runcie: Or desensitized [00:42:00] Zack Greenburg: Yeah, exactly. I mean, if you were to put out the chronic today, you know, with, the marijuana leaf on the cover of it, it's like, and you know, and like this has been legal in California for like how long, you know?And certainly in terms of like things you could say or do that would be truly shocking. It's like after Donald Trump has been president in the things, you know, that are kind of, came out of that, it's like, you know, I don't really know many things an artists could do that would be more shocking, you know, and in this sort of like, hilarious, I dunno if it's hilarious, but this, let's say, ironic juxtaposition, you know, you had Eminem, the king of shock value Like making a track against Donald Trump when he was in office, you know, you have the rappers protesting against the politicians, instead of the other way around.So I think we're still, as a society, been kind of turned on our head, you know, by some of the developments of the past. you know, let's say eight years, eight years plus the past decade or so. you know, it's, guess in some ways hard for politicians to be complaining so much about music when, a lot of the obscenity is coming from them. So, [00:43:05] Dan Runcie: Right, and I think too, you were mentioning about how what Congress or what the American government can rally against in how so much of the nineties was. I still remember that infamous cover of Snoop Dogg on the cover of Newsweek, and I forget what the title of the magazine was, but it was something, along the lines of, oh, this is the greatest threat to America, or this is the greatest threat to our country, or something like that someone could probably pick me and find it, or maybe you'll link to in the show notes. And that's what people were able to get riled up around, right? Now, the biggest thing in music that has gotten anyone on a congressional level or congress level riled up is ticketmaster and Live Nation and Taylor Swift's tickets, which just shows how different things are, people used to be riled up about the content. Now this is a way to try to get at big business or whatever the exact complaint is. So, such a different time. [00:43:58] Zack Greenburg: Yeah, yeah, No, I Couldn't agree more.[00:44:01] Dan Runcie: Yeah. So we definitely spoke a lot of praise about the current era of where things are with the Interscope and the work that Janet has done the past decade. If you were in his shoes, would you be doing anything differently? And I do think that he's done a few things. So you mentioned black pink earlier.So there's clearly a way to be able to pivot and move more into music that isn't from the United States. It isn't domestic, and you're able to rise there, clearly done different types of deals from a flexibility perspective. Some artists do have, licensing deals like Olivia Rodrigo will own her masters for the long term just based on what she's shared about the nature of her contract moving forward.But for him himself, I mean, I think there's other IP things that could be interesting, but what does the type of things that Jimmy was able to do back in the late 2010 or late two thousands with beats? Like what could that look like or what could that look like for Interscope [00:44:59] Zack Greenburg: Yeah. You know, I think it's a different time. One of the things that's changed so much is over the past few years, I would say it's like, it's not quite as cool to be rich anymore, you know? I think sort of the Bernie Sanders movement, the sort of like this, right? I remember seeing it at Forbes, you know, when I started out it was like, woo, like I wanna be a billionaire and [00:45:20] Dan Runcie: The Forbes Remix [00:45:22] Zack Greenburg: Right. Exactly. Yeah. I mean, you had, Jay-Z, Diddy, and 50 being like, you know, the Forbes, yeah, they put out this Forbes 1, 2, 3 billionaire remix they called it. But you know, even now, even within the past couple years, you know, certainly, I think the Pandemic really crystallized this.But even before that, you know, with sort of like Bernie and, that whole, you know, movement, There was this kind of questioning of like, should there even be billionaires? And you know, I remember starting to see, people who you had thought, you would've thought would be, you know, jumping to be on the cover of Forbes.Just say like, eh, you know, like, I don't want to be seen as crowing about my wealth. so, you know, I think that's a big cultural change. And that's post beats, right? That's post, you know, Dr. Dre's situation. And, you know, I think that there's certainly a lot of leeway for Interscope still, to be entrepreneurial and they've always done that. But I think the challenge for Interscope or for anyone really is like, how can you be entrepreneurial in a way that is sort of like, you know, not necessarily charitable per se, but has some kind of impact, you know, like some kind of impact investing sort of thing. how can you, like, make money but, you know, drive change at the same time?I think that's sort of like, as we look going forward into the, you know, celebrity earning, you know, celebrity business sphere, I think that's gonna be the big question because it's no longer the thing that's just, it's cool to make a bunch of money on some random app or, you know, selling, some crypto thing as we've seen.And you know, you can get a lot of blowback, people think you're selling out. People think you're greedy people don't think you're selling outta greedy just cause you're doing something business related. But, you know, I think, over the past couple years it's become a lot more like, well, you know, is this something that really helps the world are using your money for good?and so I think whatever it is, if it's gonna be public facing and, you know, and I think. That's the value when you have a stable of celebrities, right, is to do something public facing. It's like, what is this doing, to help the world. So, you know, I think there are a lot of ways to take that, but certainly, you know, I think that's a bigger, bigger and bigger component going forward. [00:47:22] Dan Runcie: This is something that has changed in a relatively quick time span. You even think back to the Obama era and just the Obama presidency and just how music was and how people interacted and thought about music. You look at a album like Watch the Throne In, which I do think was one of the more popular albums from that decade.Granted, I don't think JayZ or Ye are even on the terms or desire to put something like, like that out again. But if they put that out about now, it would not get the same reception. There would be all these think pieces about, oh, here are these two men talking about, you know, their, you know, Hugo watches and there other, other bends and all this stuff.And people would be complaining about that in a way where just as recent as 2011, they were celebrated, like people, like revered so many of the songs. And just the talk about black excellence and wealth and even some of the conversations around Jay-Z himself as a figure, I know you know this well as probably some of the responses you've gotten over the years when you've talked about Empire State of mind and how people react to him, statements he's said and stuff like that.And yeah, we're just in a very different spot and now we're kind of in this space where, Yes, people can have commercial success. People, businesses can do it too. But I think it's especially difficult for companies in music because of so much historical context of how people view the record label as the enemy.People view the record label as this, and then even when the topic of the prices potentially raising for some of these streaming services, the number one thing you often hear from fans is, well, I hope that extra dollar or $2 for a potential raise in the streaming service goes back to the artist. And it's like, yes, you, you do eventually want those things, but we're losing the opportunity to talk about the value that these record labels create because of how media disseminates, right?If you talk about, oh, Olivia Rodrigo has a very favorable record deal. No one wants to hear that. But if there's ever a report, oh, Olivia Rodrigo's upset about, you know, Interscope, that thing would be a news topic for five days. Cuz that's where we are right now.[00:49:27] Zack Greenburg: Yeah. Yeah, for sure. And you know, so to to your point, I mean, you mentioned my book, empire State of Mind, which was this business focused biography I wrote of Jay-Z. it came out in 2011. but you know, It was such a different world back then. And when it came out, you know, their response was basically like, whoa, awesome. Like, this is Jay-Z's blueprint for how to, you know, be a centi millionaire. And this is so cool because now I can apply this to my career, or I can, you know, learn some lessons from him. And, you know, and there was just definitely like a sentiment of people rooting for Jay-Z to become a billionaire, race to a billion, and who's gonna get there first?Is it Jay-Z or Diddy or, you know, whoever. And, you know, and then it happened and Jay-Z you know, crossed the threshold in, I think it was 20, early 2020, something like that. I think late 2019, early 2020 was when we put him in the magazine as a billionaire for Forbes. but even when that, like, by the time that happened, you know, about 10 years later, I put out the billionaire edition of the book. after, you know, let's say, what was it, in 2021, this was 10 years later. It was a totally different story, right? people were like, why is this guy, you know, like, who cares? Like, you know, like he should be giving it all of it back, you know? Why are there billionaires in our society? Something's wrong in society that has billionaires. So, you know, and I think it has gone, that narrative has gone even faster than Jay-Z has kind of evolved into this, like very socially aware, you know, type of philanthropic mogul, you know, people are not even that into the idea of like, oh, I'll make a lot of money so I can give it back, people are like, just, you know, do the good, like do philanthropic stuff, do impact stuff the whole way through and like, don't even try to become a billionaire. So, it really is such a different world, and it's, been fascinating to write about this stuff as these attitudes have changed on a broader societal level for sure. [00:51:25] Dan Runcie: Did you hesitate naming it the Billionaire Edition, knowing like this would change and seeing things over the years?[00:51:32] Zack Greenburg: Well, I had it in mind that it would be a cool thing to do whenever he did become a billionaire, because it was like, it was almost like the realization of a prophecy. It's like, you know, in, in 2011, I sort of like, I'm telling you he's gonna be billionaire and he's telling you, you know, and it's like, okay, here it is.He's a billionaire, you know, and I actually wanted to get like a, gilded cover and do the kind of watch the throne type of thing and you know, like embossed gold and all that stuff. But, it's not the right era. I mean, like, you're saying, it's just not, it's that era anymore.So yeah, I did wonder, like, should I kind of like back off of that narrative. But, you know, to go back to the Jimmy Iovine Interscope conversation, it's like, whether it's good or bad, it starts a conversation and you want the conversation to start, so that people will read the book, you know? And it's not like, a bad thing for me if people think it's bad that Jay-Z's a billionaire, it's just a fact. And even since I put out the Billionaire edition, he's like, more than doubled his net worth, you know, again. So that's just, that's just how he operates. And, you know, that's Jay-Z. [00:52:34] Dan Runcie: Yeah, you had to put out something. So much had changed since when you first put that book out. And this is how, in many ways the. Business model of books works when there is something to be able to add, that's a refresher new forward based on this one. you had to do it. So, yeah. I think it made sense.But to bring this all full circle with Interscope in this conversation, the last thing we'll dive into is who is the biggest winner, artist, executive producer, so on from everything that has happened with Interscope in the past 33 years. [00:53:09] Zack Greenburg: Hmm. it's a great question. I mean, to me it's between Jimmy and Dre. but I would probably go with Jimmy because, you know, Dre was gonna be centimillionaire, you know, music legend no matter what. And although Jimmy had done a lot of great work, you know, in the rock world before then, and I'm sure, you know, was, very adequately compensated.You know, he wasn't sort of like a, an international business superstar in the way that he became as a result of, Interscope. And, you know, Jimmy and Dre both got a lot of money out of it. but I think Jimmy really got a lot more than he would've otherwise. in his, prior iteration of his career and Dre, you know, I mean, Dre has founded a bunch of things, right? And Interscope, you know, obviously he wasn't the founder of Interscope, but, you know, I kind of tied B to Interscope and that whole thing together. So it, Dre had lots of different paths to wealth. and so did Jimmy, but I think Dre had more, and, Jimmy kind of like ultimately got more out of it. [00:54:07] Dan Runcie: Yeah, I think between the two of them, even if Interscope had said no back in 92 or 91, whenever the initial deal was made, I do think that Dre would've likely found a home. Dre and Suge would've found a home. It's still been able to do something similar elsewhere. Maybe it would've made the Tupac thing a little bit more challenging, but I think they still would've figured that out too. [00:54:30] Zack Greenburg: Yeah. [00:54:31] Dan Runcie: I don't think the same would necessarily be true for Jimmy though, because if you don't have them, you don't have this. And a lot of this, I'm sure a lot of people listening to this unlikely watch the Defiant ones or maybe you've seen should do a few interviews. I don't know if a lot of that would work. But I think I'll actually take a different approach. I think the person that probably won the most, just from a situation perspective, I know we've talked about him a fair amount, but I'll say Janet with this one because he didn't build this company himself. But the fact that when it's your time to come up, you have this opportunity to be able to step into, you have this much leeway, this much assets that already work in your favor because we just know how valuable the bat catalogs are.You walk into that position and then that has you then. Then that just makes it much more easy for you to have things set up because we know how a lot of this stuff is, right? People leave record labels all the time, espe

Guy's guest in this week's adventure in Food, Wine, & Fun is the author of the new book "Meals And Memories With Nonno."

Look who's back!!! By *very* popular demand, my sister and best friend Jessica Iovine is back on the pod and ready to call me out. Our favorite therapist (and big sister) offered some very insightful advice… while I offered some very questionable advice… while Catherine played referee. We sat in the shit together and compared notes on everything that's been going ~not great~ recently…   We talked *argued* about big sister vs. little sister struggles. I got some advice about a recent drunk reconciliation, we shared our passionate beliefs about gift-opening etiquette, and we discussed the parts of our childhood we're still working through in therapy.    Fear not, Jess promised she'll be back to record with us a lot more this season, so get ready for many more sister secrets in the near future!    For more about the podcast and my life, you can find me: https://www.instagram.com/jadeiovine/    Executive Producer Catherine Law Audio Engineer Brandon DickertSee omnystudio.com/listener for privacy information.

Guy wings it as he waits for his guest Francesco Iovine to answer his phone. Francesco Iovine is the author of the new book “Meals and Memories with Nonno.”

MMALOTN is back to give you breakdowns and predictions for Bellator 291: Amosov vs Storley 2. Check out my Patreon where I have plenty of perks such as: Best Predictions/Props article Hail Mary, Gabi Garcia, and other for fun parlays Discord Channel Regional MMA breakdowns for LFA, CFFC, Fury FC, PFL, and Cage Warriors No long term commitments Patreon @ https://www.patreon.com/mmalotn Twitter: https://twitter.com/mmalotn Instagram: https://instagram.com/mmalotn TIME STAMPS (0:00) Intro (2:14) Magomedsharipov vs Hudson (4:15) Hill vs Kouadja (5:21) Scatizzi vs Hrystenko (7:30) Mokhonoana vs McIntosh (8:39) Kallionidou vs Bishop (11:45) Adjoudj vs McCracken (13:38) Kelly vs Jordan (15:07) Niedzielski vs Smullen (18:17) B. Moore vs Iovine (20:08) Novenyi Jr vs Manzolo (23:12) Saricam vs Popov (26:34) Ward vs Shipman (28:57) K. Moore vs Rozanski (30:43) Clarke vs Sinis (32:05) Kavanagh vs Harding (34:19) Queally vs Logan (36:57) Carvalho vs Kennedy (38:49) Amosov vs Storley (41:19) Outro 2023 Bellator Prediction Record: 9-4 (69%)

Since I'm on my mini-moon and OOO, I thought we'd revisit my and Dylan's first episode together and what was *hopefully* the least-cringey engagement announcement we could give you. I can't wait to be back next week and tell you guys EVERYTHING about this past week!! Xo Jade   * After months of hearing me tell countless stories about him and letting me embarrass him on this show, we thought it was time to invite my fiancé Dylan to hang out with us this week. Dylan is my better half in nearly every way and I think you'll agree and love him as much as I do -- well hopefully not quite that much, that'd be weird, but you know what I mean…   We go over all the details of Dylan's proposal (in the least cringey way, as aforementioned), talk a little about our history, argue about details of every story, and you'll get a very telling sneak peek into our relationship along the way.   And, before you all yell at me, I know I have a “talking-over-Dylan” problem. I'm working on it very hard in therapy, I swear..   For more about the podcast and my life, you can find me: https://www.instagram.com/jadeiovine/    Executive Producer Nick Stumpf Produced by Catherine Law Edited and Engineered by Brandon DickertSee omnystudio.com/listener for privacy information.

Frank is a former NYPD detective turned author, consultant, public speaker and mindfulness expert. He uses his journey to educate and enlighten individuals about mental health mindfulness, suicide awareness and prevention through public speaking engagements and mentorship programs utilizing stoic philosophies and ancestral teaching. "Between the ages of 10 and 45 I was being dragged by the bus." It was until Frank turned 46 that he stopped resisting his purpose, looked inwards and began his journey moving in tranquility with life. Join Jamie and Frank as they talk about becoming self aware, joy and happiness and fears. "Cease to hope and you will cease to fear"- Seneca An episode full of quotes and reflection. Cited books for further reading: "Meditations" by Marcus Aurelius "A guide to the hood life" and "The Ancient Art of Joy" by William Irvine Connect with Frank and support his book: https://www.frankieispeaker.com/ IG: @frankieispeaker LI: Frank Iovine --- Support this podcast: https://anchor.fm/aligned-with-purpose-in-life-and-leadership/support

While education is weathering attacks on Critical Race Theory, outlawed instruction about sexual orientation and gender identity, and issues of inclusion, educators are working to create a more equitable educational system. Several renowned authors and educators will discuss what's at stake, offer innovative approaches to teaching and learning, and share their visions for the future of education. Christopher Emdin is the Robert A. Naslund Endowed Chair in Curriculum and Teaching and professor of Education at USC, where he also serves as director of youth engagement and community partnerships at the USC Race and Equity Center. He is the author of numerous award-winning works, including Urban Science Education for the Hip-hop Generation; the New York Times bestseller, For White Folks Who Teach in the Hood and the Rest of Ya'll too; and Ratchetdemic: Reimagining Academic Excellence. Matthew Manos is the Director of Challenge-Based Learning and assistant professor of Teaching and Design Strategy at the Iovine and Young Academy. He is also the founder and managing director of verynice, a design strategy practice that gives half of its work away for free to nonprofit organizations; the author of over 30 books and toolkits on the intersection of creativity, social impact, and strategy; and chair of Los Angeles Mayor, Eric Garcetti's creative advisory board. Pedro A. Noguera is a Distinguished Professor of Education and Dean of the USC Rossier School of Education. An elected member of the National Academy of Education, his research focuses on the ways schools are influenced by social and economic conditions, and demographic trends locally, regionally, and globally. His latest book, A Search for Common Ground: Conversations About the Toughest Questions in K–12 Education, co-authored with Rick Hess, won the Association of American Publishers' 2022 Prose Award. In 2022, he ranked third in the nation for influence and impact by Education Week. LaVonna Blair Lewis (moderator) is the Associate Dean of Diversity, Equity, and Inclusion at the USC Sol Price School of Public Policy. Lewis's areas of research and professional interests focus on cultural competency and health equity. Her work has appeared in The American Journal of Public Health, Family, and Community Health; The American Journal of Health Behavior, Social Science, and Medicine; The Journal of General Internal Medicine; and other journals.

Jill Nicolini Interviews Frank Iovine Author and Owner at Frank Iovine Motivational Speaker -- www.mealsandmemorieswithnonno.comhttps://onlineradiobox.com/search?cs=us.pbnnetwork1&q=podcast%20business%20news%20network&c=ushttps://mytuner-radio.com/search/?q=business+news+networkhttps://streema.com/radios/search/?q=podcast+business+news+network

We sat down with our new friend (and fellow podcaster) Jade Iovine for a raw and vulnerable conversation about mental health. Jade opens up about her depression and anxiety, coming out of her rock bottom, her journey with (and feelings surrounding) medication, and being in a relationship when you have mental illness and your partner doesn't. We also discuss the damaging effects of social media and how to stop letting comparison steal your joy, and Jade introduces us to the concept of reparenting and shares how it's been changing her life. Before she joins us, we're circling back to the foreplay discussion and answering the questions "Can you change a bad kisser?" and "What qualifies as eating ass?" Enjoy! Follow Jade on Instagram @jadeiovine and check out her podcast Tell Me About It with Jade Iovine. Follow us @girlsgottaeatpodcast, Ashley @ashhess, and Rayna @rayna.greenberg. Visit our website for tour dates, merchandise, and more. Shop Vibes Only. Thank you to our partners this week: Shed the Silence: Join the conversation at shedthesilence.com/gge. Babbel: Go to babbel.com/gge for up to 60% off your subscription. HelloFresh: Go to hellofresh.com/gge65 and use code GGE65 for 65% off plus free shipping. Calm: For a limited time, get 40% off a premium subscription at calm.com/gge.

Jade Iovine is the host of the podcast "Tell Me About It" (check out our episode) and she opens up about what life is really like growing up in Los Angeles with a successful father in the music industry, falling in love in an unpredictable way, not playing by the rules, her honest opinion on Botox, and how she handles her depression. Hosted on Acast. See acast.com/privacy for more information.

July 2017: Iovine and Bill talk about the music mogul's amazing career, including his Emmy-nominated documentary, ‘The Defiant Ones.' Host: Bill Simmons Guest: Jimmy Iovine Production Support: Steve Ceruti, Ben Cruz, Tim Angan and Garrett Gonzales Learn more about your ad choices. Visit podcastchoices.com/adchoices

Autograph's Co-founder Tom Brady is widely known. The other co-founder, and CEO, is Dillon Rosenblatt, a 24 year old, second time founder. Dillon first began his entrepreneurial journey when he started Tutors, a company to connect tutors and students, at age 15. After attending USC's Iovine and Young Academy for entrepreneurship, he explored the idea of starting a crypto hedge fund which began a deep dive exploration into the space that eventually led him to build Autograph. In this episode, host Sabrina Halper and Dillon Rosenblatt discuss Inception of Autograph: -What first drew Dillon into the NFT space -How he got Tom Brady and DraftKings on board -Who he sees as the consumer & user of Autograph Differentiated Approach: -Dillon's plans to expand -Why he wouldn't bring Autograph into the NFT-tooling space -Dillon's approach to building out collections that would keep users engaged with the product and brand -How he thinks about virality and shareability within the collections Putting the Autograph board together: -Dillon's reflections on building a board of moguls and earning the support of industry leaders (crypto: Sam Bankman-Fried, Katie Haun, etc.) (Sports: Tiger Woods, Tony Hawk, Simone Biles etc.) (Entertainment; The Weeknd, Head of Lionsgate, COO of Spotify) -When to ask for advice vs when to trust your gut Future of NFTs: -Web2 vs Web3 -Autograph's plan to enter the metaverse and offer crypto-native products -His views on what role “passion” NFTs will play in the future ecosystem -Dillon responds to: “Are NFT's a bubble?” and “Will people spend money on NFTs during a recession?” -Dillon's opinion on Ethereum as a long term base for NFTs Personal reflections: -His reflections on how to learn quickly and act as a young CEO -Why he's optimistic about the future If you have an idea to pitch HOF on or feedback on the pod, tweet at us at @HOFCapital and @SabrinaHalper!

That's right, Mr. Simple Minds! We cover everything from Bowie to Iovine to Hynde to his hotel in Sicily... Jim is a charismatic raconteur, you're gonna dig this. See omnystudio.com/listener for privacy information.

In episode 32 of the In Conversation Podcast with Andrew Cervantes, I discuss how Dr. Dre & Jimmy Iovine are reimagining high school & are in the works of revolutionizing the whole school system, How my experiences with the school system failed me, NBA Playoffs, Dave & Busters experience & more!

This week our special guest is Amanda Peña (she/her) who discusses the topic of advocating for yourself in grad school. Amanda Peña is an entrepreneur and master's student at USC's Iovine and Young Academy where she focuses on machine learning and artificial intelligence for underserved groups, particularly building tech for women and people of color. She has expertise in brand strategy, storytelling, and narrative building for social platforms. She has been a leader for a marketing communication team for a design tech firm in Seattle that focused on mobility. She's also a Brand Strategy Manager for AnitaB.org working towards diversity, equity, and inclusion in tech. In this episode we discuss: -How she landed her first job out of college and gained skills to become an entrepreneur -The moment she realized she needed a master's degree to advance her career -Why it's important to advocate for yourself as soon as you're admitted into a grad program -Her interest in machine learning and artificial intelligence and why it matters to women and people of color -And advice for how to advocate for yourself if this is something you struggle with You can connect with Amanda on LinkedIn and by emailing her at amandapena@usc.edu. https://www.linkedin.com/in/amandaepena/ This is your last chance to sign up for my upcoming financial literacy and budgeting workshop on March 26: https://www.eventbrite.com/e/making-money-movidas-financial-literacy-and-budgeting-101-registration-296329478447 Liked what you heard? Then join my exclusive community on Patreon to support the show: https://www.patreon.com/gradschoolfemtoring Get my free 15-page Grad School Femtoring Resource Kit here: https://gradschoolfemtoring.com/kit/ Want to learn how to work with me? Get started here: https://gradschoolfemtoring.com/services/ For this and more, go to: https://gradschoolfemtoring.com --- Send in a voice message: https://anchor.fm/gradschoolfemtoring/message

SHOW LESSFrank started educating and inspiring others about the significance of mental health awareness during his twenty-year career in the New York City Police Department. As a police officer, he helped to create outreach programs that provided mentoring and healthy activities for young people in the community. After being promoted to the rank of Detective, Frank's work with victims of violent crime and other tragedies exposed him to the devastating effects of mental health crises and the need for suicide awareness. About He observed first-hand the devastating effects of untreated trauma and suicide on families, communities, and in the workplace. This inspired him to speak extensively about suicide awareness and the simple tools that friends, loved ones, and co-workers can use to intervene and potentially save a life. Since his retirement from the NYPD twelve years ago, Frank has continued to focus on, and speak about, suicide awareness and prevention, mindfulness, and self-care. As a trained Suicide Support Officer and certified breath coach he uses his experience and passion to make the tools for self-care and serenity accessible to a variety of individuals and audiences. Frank's dynamic speaking style reflects his unique perspective as a veteran of law enforcement, a devotee of Stoic philosophy, and an avid practitioner of meditation and yoga, as well as his enthusiasm for confronting and overcoming challenges with compassion and care. https://www.linkedin.com/in/frank-iovine-98bb341b8/ --- Send in a voice message: https://anchor.fm/jack-bosma3/message Support this podcast: https://anchor.fm/jack-bosma3/support

La gestione della terapia anticoagulante nel paziente oncologico con TEV è estremamente difficile: da un lato, nei tumori endocranici o nei tumori ematologici, la terapia anticoagulante è controindicata per l'elevato rischio emorragico; dall'altro i tumori maligni come quello pancreatico, ovarico, del retto, epatico o polmonare sono ad alto rischio tromboembolico. In aggiunta, la complessità è accentuata dalle possibili interazioni tra i nuovi anticoagulanti orali e i farmaci chemioterapici. Affrontiamo questo delicato argomento con il Prof. N. Maurea, direttore della S.C. di Cardiologia dell'Istituto Nazionale Tumori IRCCS Fondazione Pascale. Con: Prof. N. Maurea, Dott.ssa M. Iovine

It's refreshing to speak to someone who grew up in the Hollywood scene, but comes off as the girl you just want to watch RHOP with in your pj's. Jade Iovine is wise beyond her years. She opens up to me about her personal struggles with depression, anxiety and everything in between.As well as her not so normal childhood, Dr. Dre was a regular (and still is) guest at the dinner table. She tells us what it took for her to launch her own podcast, Tell Me About It, which focuses on mental health, and the women who are brave enough to speak openly about their stories, to how she's been able to become her most authentic self today in 2021.

After months of hearing me tell countless stories about him and letting me embarrass him on this show, we thought it was time to invite my fiancé Dylan to hang out with us this week. Dylan is my better half in nearly every way and I think you'll agree and love him as much as I do -- well hopefully not quite that much, that'd be weird, but you know what I mean… We go over all the details of Dylan's proposal (in the least cringey way, as aforementioned), talk a little about our history, argue about details of every story, and you'll get a very telling sneak peek into our relationship along the way. And, before you all yell at me, I know I have a “talking-over-Dylan” problem. I'm working on it very hard in therapy, I swear.. For more about the podcast and my life, you can find me: https://www.instagram.com/jadeiovine/  Executive Producer Nick Stumpf Produced by Catherine Law Edited and Engineered by Brandon Dickert Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

L'invité de ce nouvel épisode est notre ami napolitain, le Chef entrepreneur de l'unique bistrot Napolitain de Paris situé Avenue Rachel à Pigalle : le Caterina (nom choisi en hommage à sa mère et à sa fille) mais aussi les excellentes vraies pizzerie Iovine's situés dans le 1er rue du Colonel Driant et dans le 3ème rue de Bretagne et enfin l'ouverture imminente du Montana à Saint-Germain-des-Prés. Cet amoureux du produit va nous expliquer pourquoi tout ce qu'il fait du lieu, à la comm, au sourcing des produits authentiques mais surtout le produit final servi dans ces assiettes est « fatto con amore ». Depuis son parcourus prenant ses débuts à Naples, Nicola Iovine nous partagera sa passion et son savoir faire : tutto fatto a mano ! Je suis maintenant ravi de vous inviter à rejoindre ma conversation avec Nicola Iovine ! J'ai pris beaucoup de plaisir dans la réalisation de cette interview. Si vous aussi avez aimé ce podcast, n'hésitez pas à laisser un commentaire en le notant avec 5 étoiles sur l'application Apple Podcast de votre smartphone ou sur Itunes depuis votre ordinateur. Vous pouvez également vous abonner sur la plateforme Apple Podcast I Spotify I Deezer I Stitcher I TuneIn I Podcastics pour ne pas rater une miette des podcasts à venir !  N'oubliez pas de partager le podcast, de le noter en laissant votre ressenti, c'est très important pour aider le podcast à émerger dans les classements en plus de le faire découvrir au plus grand nombre tout en me motivant à m'améliorer en faisant de nouveaux épisodes ! Bonne écoute, Stéphane Titre: Eclectic Prawn Auteur: Dumbo Gets Mad Source: https://dumbogetsmad.bandcamp.com Licence: http://creativecommons.org/licenses/by-nc-sa/3.0/deed.fr Téléchargement (9MB): https://www.auboutdufil.com/index.php?id=470

This week we have MY SISTER JESSICA IOVINE on the show!!! To know me at all is to know my devotion and insane love for my older sister. She and I talk ten times a day every day for hours on end--even though we live in the same city. She is the yin to my yang, my best friend on this planet, and has been my North Star since the day I was born.  Jessica calls me out on evvverrrrryyytthing, is fiercely protective, and has coached me through every single crisis big or small I've ever been through in life. She's a Marriage and Family Therapist with a powerful Scorpio rising. She is insanely smart and has expansive knowledge regarding human psychology and the complexities of our relationships. Like many sisters, Jessica and I are insanely similar - but also very different. Unfortunately, one of the ways we're very similar is the sound of our voice, which confuses everyone in our lives--including my boyfriend of seven years as we were editing this episode.  She is strong, mysterious, charming, and creative. She also happens to be the greatest older sister of all time and SO much of who I am is a direct result of her love.  You'll hear us talk about our childhood, the ways we're different and the ways we're similar, our relationships with our bodies, the parts of us that are still under construction. This episode is full of classic sisterly banter and I hope you enjoy listening in on one of our most honest, daily phone calls.  For more podcast info and to continue the conversation follow me on Instagram: https://www.instagram.com/jadeiovine/ Executive Producer Nick Stumpf Produced by Catherine Law Edited and Engineered by Brandon Dickert Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

“You can't be an expert in kids, but you can be an expert in your kid,” says Matt Manos, dad of twins and founder of verynice. Matt explains that while he received seemingly endless suggestions from others about what to feed his kids, what books to read them, and what must-have items to buy, ultimately every kid is different. It's impossible to know what will work for every kid, but you can become an expert in your own children by learning and growing right alongside them. Matt tells us that one of his favorite parts of being a dad is getting to see things with a renewed sense of wonder through the eyes of his two kids. Matt explains that this is especially useful in generating inspiration for his design strategy practice, verynice. Matt launched verynice in 2008 as one of the first examples of social enterprise in the design industry. The company gives away half of its work for free to nonprofit organizations, which is made possible by its massive network of over 1000 collaborators around the globe. Tune into this week's episode of Bathtime 2 Boardroom to learn more about Matt's journey through fatherhood and the world of design. Learn about the origin story behind Matt's business, the milestones he's most looking forward to with his kids, and how Matt's role as a father and a teacher at Iovine and Young Academy have intersected in surprising ways.    Quotes • “Something I really hope that I can do for our kids is just let them know that it's ok to be a little weird and explore and be creative.” (3:36-3:42) • “I'm both excited and terrified for when they're walking because speaking of what it's like to have twins, I imagine that they both run in different directions and then I'm basically going to have to be like, ‘Ok, which kid is on the brink of death?' and that's where I will run first.” (10:58-11:19) • “I think that one of the things that's really fascinating to me about having kids is it's kind of like you're born again in a way in terms of being able to see things for the first time again.” (11:55-12:11) • “You can't be an expert in kids, but you can be an expert in your kid.” (15:54-15:58) • “I thought, ‘Why doesn't the design industry have a model like that?' So, it kind of started there actually beyond just being interested in working with nonprofits, it was seeing this gap that there was not an application of social enterprise in the industry that I was going to work in.” (23:57-24:14) • “If you can work with kids when they're younger, you can start to actually cultivate this innovation mindset much easier. We have way less to unlearn about the way that we've seen the world when we're younger.” (32:14-32:30) • "We spend so much of our life trying to be like everyone else, and really eventually you learn that it's all about doing something different.” (38:57-39:06)   Links Connect with Matt Manos: • Personal website: https://www.mattmanos.com/ • Verynice website: https://www.verynice.co/ • Instagram: @veryniceinstagram • LinkedIn: https://www.linkedin.com/in/matthewmanos/ • Instagram: @wemaketoolkits • LinkedIn: https://www.linkedin.com/company/a-verynice-design-studio/   Keep up with Bathtime 2 Boardroom: • Facebook: https://www.facebook.com/Bathtime-2-Boardroom-Podcast-104607138442668 • Instagram: https://www.instagram.com/bathtime_2_boardroom/ • LinkedIn: https://www.linkedin.com/company/bathtime-2-boardroom/   Podcast production and show notes provided by FIRESIDE Marketing

Welcome to BYOBFF, a new Tell Me About It series! Jade invites pairs of best friends on the show to talk about their relationships: because who knows you better than the woman who's heard all your deepest secrets? To kick it off, Jade chats with her own best friend since birth, Carson Meyer. Carson talks about her journey to become a birth doula, exploring spirituality, different forms of therapy, and taking things personally. Like a lot of best friends, Jade and Carson bounce off each other with their differing views on love, lifestyles, and what counts as ‘punctual'. Although the two are yin and yang, there's no doubt about the deep bond that has held them together for 27 years. To learn more about Carson's doula work and photography, follow her on Instagram at https://www.instagram.com/ccmeyer/ C & The Moon  https://www.carson-meyer.com/c-the-moon2 Download this episode of Tell Me About It with Jade Iovine wherever you get your podcasts! For more podcast info and pictures of Jade's pug Taco, follow Jade on Instagram: https://www.instagram.com/jadeiovine/ Executive Producer Nick Stumpf Produced by Catherine Law Edited and Engineered by Brandon Dickert Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

David "UNDERTAKER" Dvořák, Kozma vs. Apollo, Pešta vs. Nosiglia, Bitva o Vémolu: Spicely vs. Naruszczka, Peňáz vs. Graca, Funfight: Cverminátor vs. Mutant (Vojčák), Pyramida v bantamu (Macek, Iovine, Quero, Elonen-Kulmala), Celkové zhodnocení karty Oktagon 24, MS v hokeji 2021 a Liga mistrů UEFA

Jill Nicolini Interviews Frank Iovine Owner of frankieispeaker.com -- https://www.frankieispeaker.com/

Frank is a Public Speaker who uses his decades of experience as an NYPD Detective to help educate individuals and audiences on mental health, mindfulness, and suicide awareness and prevention. As a trained Suicide Support Officer and certified breath coach, he provides methods for self-care and inner peace as well as tools and techniques one can use to recognize suicidal signs or thoughts in friends, families or colleagues. He speaks with a variety of listeners such as businesses that are considered high-risk for suicide and teach them specific counseling skills to use if they believe someone may be displaying warning signs. Frank is a devotee to the Stoic Philosophy, a philosophy focusing on positive emotions and behavior for any stage of life and promoting happiness and tranquility of the mind. Through every day thoughts and actions, we can live our most virtuous lives. Website: www.Frankieispeaker.com Contact Frank for the best in motivational speaking content. He will change your life! frank@frankieispeaker.com and https://www.linkedin.com/in/frank-iovine-98bb341b8/ Contact us:) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/jack-bosma3/message Support this podcast: https://anchor.fm/jack-bosma3/support

Jill Nicolini Interviews Frank Iovine Owner of frankieispeaker.com -- https://www.frankieispeaker.com/

Jill Nicolini Interviews Frank Iovine Owner of frankieispeaker.com -- https://www.frankieispeaker.com/

Jimmy Iovine’s legendary story was well-chronicled in HBO's 2017 docu-series, The Defiant Ones, but his impact on modern music, the media business, and technology continues to amaze. From his modest origins in Brooklyn, he worked his way up to legendary status as a music producer, working with artists like Bruce Springsteen and John Lennon, then later co-founding Interscope Records where he nurtured artists like Tupac Shakur, Eminem, as well as a subsidiary label, Death Row Records. Iovine would go on to partner with Dr Dre on Beats by Dre, which evolved into Beats Electronics, which was famously sold to Apple for $3 billion in 2014. In this special episode, previously recorded for Boardroom University, Iovine talks about his first music job as a janitor in a recording studio, the time Steve Jobs diagrammed the hardware business for him on a dinner table, his admiration for former Disney exec, Bob Iger, and why the program he and Dr Dre are launching is poised to empower under-served high school students by emphasizing the importance of both technology and design.    *The Boardroom University event was recorded on March 10, ’21, and co-sponsored by USC Annenberg, and USC Iovine and Young Academy. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

  Episode 110 of A History of Rock Music in Five Hundred Songs looks at “Be My Baby”, and at the career of the Ronettes and Ronnie Spector.  Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Little Saint Nick” by the Beach Boys. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Erratum I say Ray Peterson’s version of “Tell Laura I Love Her” was an American number one. It wasn’t — it only made number seven.   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. A lot of resources were used for this episode. Be My Baby: How I Survived Mascara Miniskirts and Madness, or My Life as a Fabulous Ronette by Ronnie Spector and Vince Waldron is Ronnie’s autobiography and was the main source. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and provided me with the information on Barry and Greenwich. I’ve referred to two biographies of Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He’s a Rebel by Mark Ribkowsky. And information on the Wrecking Crew largely comes from The Wrecking Crew by Kent Hartman. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. If you want something just covering Ronnie Spector and the Ronettes, The Very Best of Ronnie Spector  covers all the Ronettes hits and the best of her solo career. And the AFM contract listing the musicians on “Be My Baby” can be found here.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to take a look at the record that, more than anything, ensured Phil Spector’s place in popular music history — a record that changed the lives of several people who heard it for the better, and changed the life of its singer for the worse, and one which has the most imitated drum intro in the world. We’re going to look at “Be My Baby” by the Ronettes: [Excerpt: The Ronettes, “Be My Baby”] Before I start this one, two things need saying. The first is that this episode, by necessity, deals with spousal abuse. As always, I will try to discuss the issue with sensitivity, and touch on it as briefly as possible, but if you worry that it might upset you, please either skip this episode, or read the transcript to see if you’ll be OK listening to it. I imagine that very few people will be upset by anything I say here, but it’s always a possibility. And secondly, I’d like to apologise for this episode being so late. I had a major disruption in my personal life over Christmas — one of those really bad life events that only happens once or twice in most people’s lifetimes — and that made it impossible for me to get any work done at all for the last couple of weeks. I’m now able to work again, and this should not be anything that affects the podcast for the rest of the year. Anyway, enough about that, let’s get on with the story. The story of the Ronettes begins when Ronnie Bennett, a mixed-race girl from Harlem, became obsessed with the sound of Frankie Lymon and the Teenagers: [Excerpt: Frankie Lymon and the Teenagers, “Why Do Fools Fall In Love?”] Ronnie became the Teenagers’ biggest fan, and even managed to arrange a meeting between herself and Lymon when they were both thirteen, but had her illusions torn away when he turned up drunk and made a pass at her. But that didn’t stop her from trying her best to imitate Lymon’s vocals, and forming a vocal group with several friends and relatives. That group had a male lead singer, but when they made their first appearance on one of the Harlem Apollo’s talent shows, the lead singer got stage fright and couldn’t start singing when he got on stage. Ronnie stepped forward and took over the lead vocal, and the group went down well enough even with the Apollo’s notoriously hostile audience that a smaller group of them decided to start performing regularly together. The group took the name Ronnie and the Relatives, and consisted of Ronnie, her sister Estelle, and their cousin Nedra Talley. They originally only performed at private parties, bar mitzvahs and the like, but they soon reached the attention of Stu Phillips at Colpix Records, a label owned by the film studio Columbia Pictures. The first single by Ronnie and the Relatives was not a success — “I Want a Boy” came out in August 1961 and didn’t chart: [Excerpt: Ronnie and the Relatives, “I Want a Boy”] And nor did their second, “I’m Gonna Quit While I’m Ahead”: [Excerpt: Ronnie and the Relatives, “I’m Gonna Quit While I’m Ahead”] Those records did apparently sell to at least one person, though, as when Ronnie met President Clinton in 1997, he asked her to sign a record, and specifically got her to sign an album of those early recordings for Colpix. While the girls were not having any commercial success, they did manage to accidentally get themselves a regular gig at the most important nightclub in New York. They went to the Peppermint Lounge, just as the Twist craze was at its height, and as they were underage they dressed up especially well in order to make themselves look more grown up so they could get in. Their ruse worked better than they expected. As they were all dressed the same, the club’s manager assumed they were the dancers he’d booked, who hadn’t shown up. He came out and told them to get on stage and start dancing, and so of course they did what he said, and started dancing to the Twist sounds of Joey Dee and the Starliters: [Excerpt: Joey Dee and the Starliters, “The Peppermint Twist”] The girls’ dancing went down well, and then the band started playing “What’d I Say?”, a favourite song of Ronnie’s and one the group did in their own act, and Ronnie danced over to David Brigati, who was singing lead on the song, and started dancing close to him. He handed her the mic as a joke, and she took over the song. They got a regular spot at the Peppermint Lounge, dancing behind the Starliters for their whole show and joining them on vocals for a few numbers every night. Inspired by the Bobbettes and the Marvelettes, Ronnie and Estelle’s mother suggested changing the group’s name. She suggested “the Rondettes”, and they dropped the “d”, becoming the Ronettes. The singles they released on ColPix under the new name did no better than the others, but they were such an important part of the Peppermint Lounge that when the Lounge’s owners opened a second venue in Florida, the girls went down there with the Starliters and were part of the show.  That trip to Florida gave them two very different experiences. The first was that they got to see segregation firsthand for the first time, and they didn’t like it — especially when they, as light-skinned mixed-race women, were read as tanned white women and served in restaurants which then refused to serve their darker-skinned mothers. But the second was far more positive. They met Murray the K, who since Alan Freed had been driven out of his job had become the most popular DJ in New York. Murray was down in Florida for a holiday, and was impressed enough by the girls’ dancing that he told them if they were ever in New York and wanted a spot on one of his regular shows at the Brooklyn Fox Theatre they should let him know. They replied that they lived in New York and went to those shows all the time — of course they wanted to perform on his shows. They became regular performers at the Brooklyn Fox, where they danced between the other, bigger, acts, sang backing vocals, did a song or two themselves, and took part in comedy sketches with Murray. It was at these shows, as well, that they developed the look they would become famous with — huge hair piled up on top of their heads, tons of mascara, and tight skirts slit to show their legs. It was a style inspired by street fashion rather than by what the other girl groups were wearing, and it made them incredibly popular with the Fox audience. But the Ronettes, even under their new name, and even with the backing of New York’s most prominent DJ, were still not selling any records. They knew they were good, and the reaction to their stage performances proved as much, so they decided that the problem must be with Colpix. And so in 1963 they made a New Year’s resolution — they were going to get Phil Spector to produce them.  By this time, Spector was becoming very well known in the music industry as a hit maker. We already saw in the recent episode on the Crystals how he was making hits for that group and the Blossoms, but he was also making hits with studio groups like Bob B. Soxx and the Blue Jeans, who he took into the top ten with a remake of the old Disney song “Zip-a-Dee-Doo-Dah”: [Excerpt: Bob B. Soxx and the Blue Jeans, “Zip-a-Dee-Doo-Dah”] and as well as the records he was putting out on Philles, he was also working as a freelance producer for people like Connie Francis, producing her top ten hit “Second-Hand Love”: [Excerpt: Connie Francis, “Second-Hand Love”] So the Ronettes were convinced that he could make them into the stars they knew they had the potential to be. The group had no idea how to get in touch with Spector, so they tried the direct route — Estelle called directory enquiries, got the number for Philles Records, and called and asked to be put through to Spector. She was as astonished as anyone when he agreed to talk to her — and it turned out that he’d seen the group regularly at the Brooklyn Fox and was interested in working with them.  At their audition for Spector, the group first performed a close-harmony version of “When the Red Red Robin Goes Bob-Bob-Bobbin’ Along”, which they’d been taught by their singing teacher. Spector told them that he wanted to hear what they did when they were singing for themselves, not for a teacher, and so Ronnie launched into “Why Do Fools Fall In Love?”  It only took her getting to the second line of the song before Spector yelled at her to stop — “THAT is the voice I’ve been looking for!” The Ronettes’ first recordings for Spector weren’t actually issued as by the Ronettes at all. To start with, he had them record a version of a song by the writing team of Jeff Barry and Ellie Greenwich, “Why Don’t They Let Us Fall In Love?”, but didn’t release it at the time. It was later released as by “Veronica”, the name under which he released solo records by Ronnie: [Excerpt: Veronica, “Why Don’t They Let Us Fall In Love?”] But at the time, when Ronnie asked him when the record was coming out, Spector answered “Never”. He explained to her that it was a good record, but it wasn’t a number one, and he was still working on their first number one record. Their next few recordings were covers of then-current dance hits, like “The Twist”: [Excerpt, “The Crystals”, “The Twist”] And “The Wah-Watusi”, one of the few times that one of the other Ronettes took the lead rather than Ronnie, as Nedra sang lead: [Excerpt, “The Crystals”, “The Wah-Watusi”] But these, and two other tracks, were released as album tracks on a Crystals album, credited to the Crystals rather than the Ronettes. The song that eventually became the group’s first hit, “Be My Baby”, was mostly written by one of the many husband-and-wife songwriting teams that had developed at the Brill Building, Jeff Barry and Ellie Greenwich. Barry had started out as a performer who occasionally wrote, putting out records like “It’s Called Rock and Roll”: [Excerpt: Jeff Barry, “It’s Called Rock and Roll”] But while his performing career had gone nowhere, he’d started to have some success as a songwriter, writing “Teenage Sonata” for Sam Cooke: [Excerpt: Sam Cooke, “Teenage Sonata”] And “Tell Laura I Love Her”, which was recorded by several people, but the biggest hit version was the American number one by Ray Peterson: [Excerpt: Ray Peterson, “Tell Laura I Love Her”] Ellie Greenwich had also started as a performer, recording “Silly Isn’t It?” under the name Ellie Gaye: [Excerpt: Ellie Gaye, “Silly, Isn’t It?”] She’d become one of the most important demo singers in New York, and had also started writing songs. She’d first collaborated with Doc Pomus, cowriting songs like “This is It”, which had been a flop single for Jay and the Americans: [Excerpt: Jay and the Americans, “This is It”] She’d then been taken on by Trio Music, Leiber and Stoller’s company, where she had largely collaborated with another writer named Tony Powers. Trio had first refusal on anything the two of them wrote, and if Leiber and Stoller didn’t like it, they could take the song elsewhere. Greenwich and Powers had their biggest successes with songs that Leiber and Stoller rejected, which they sold to Aaron Schroeder. And they’d started up a collaboration with Phil Spector — although Spector and Greenwich’s first meeting had not exactly gone smoothly. He’d gone into her office to hear her play a song that she thought would be suitable for the Paris Sisters, but had kept wandering out of the office, and had kept looking at himself in a mirror and primping himself rather than listen to her song. Eventually she said to him  “Listen to me, you little prick. Did you come to look at yourself or to hear my songs?”, and she didn’t make that sale. But later on, Spector became interested in a song she’d sold to Schroeder, and made an appointment to meet her and talk about her writing some stuff for him — that second meeting, which Spector didn’t realise was with someone he’d already made a bad impression on, Spector turned up four hours late.  But despite that, Greenwich and Powers wrote several songs for Spector, who was also given songwriting credit, and which became big hits in versions he produced — “(Today I Met) The Boy I’m Gonna Marry”, a single by Darlene Love: [Excerpt: Darlene Love, “(Today I Met) The Boy I’m Gonna Marry”] And “Why Do Lovers Break Each Others’ Hearts?”, released as by Bob B. Soxx and the Blue Jeans, but with Love once again on lead vocals: [Excerpt: Bob B. Soxx and the Blue Jeans, “Why Do Lovers Break Each Others’ Hearts?”] I say that Spector was also given songwriting credit on those records, because there is some debate about how much he contributed to the songs he’s credited on. Some of his co-writers have said that he would often only change a word or a phrase, and get himself cut in on an already-completed song, while others have said that he contributed a reasonable amount to the songwriting, though he was never the primary writer — for example Barry Mann has said that Spector came up with the middle section for “You’ve Lost That Lovin’ Feelin'”. I tend towards the belief that Spector’s contribution to the writing on those songs he’s co-credited on was minimal — in his whole career, the number of songs he wrote on his own seems to be in the single figures, while those other writers wrote dozens of hit records without any contribution from Spector — and so when I talk about records he produced I’ll tend to use phrasing like “a Goffin and King song co-credited to Phil Spector” rather than “a song by Goffin, King, and Spector”, but I don’t want that to give the impression that I’m certain Spector made no contribution.  But while Greenwich and Powers were a mildly successful team, their partnership ended when Greenwich met Jeff Barry at a family Thanksgiving dinner — Greenwich’s uncle was Barry’s cousin. As Greenwich later put it, when they started talking together about music and realised how much they had in common, “I went ‘ooh’, he went ‘mmmhh’, and his wife went ‘I don’t think I like this'”. Soon their previous partnerships, both romantic and musical, were over, and Jeff Barry and Ellie Greenwich became the third of the great Brill Building husband-and-wife songwriting teams.  Where Goffin and King had a sophisticated edge to their writing, with a hint of sexual subversion and the mingling of pain and pleasure, and Mann and Weill tried to incorporate social comment into their songs, Barry and Greenwich were happy to be silly — they were writing songs like “Hanky Panky”, “Da Doo Ron Ron”,  and “Doo Wah Diddy Diddy”: [Excerpt: Ellie Greenwich “Doo Wah Diddy Diddy (demo)”] This worked extremely well for them, to the extent that after they broke up a few years later, Barry would continue this formula with songs such as “Sugar Sugar”, “Jingle Jangle” and “Bang Shang A Lang”. Barry and Greenwich’s style was to jam in as many hooks as possible, maybe put in a joke or two, keep the lyrics simple, and get out in two minutes. Very few of their songs were masterpieces of songwriting, but they *were* absolutely perfect templates for masterpieces of production. It sounds like I’m damning them with faint praise, but I’m really not. There is a huge skill involved in what they were doing — if you’re writing some heartwrenching masterpiece about the human condition, people will forgive the odd lapse in craft, but if you’re writing “My baby does the hanky panky”, there’s no margin for error, and you’re not going to get forgiven if you mess it up.  Barry and Greenwich were good enough at this that they became the go-to writers for Spector for the next couple of years. He would record songs by most of the Brill Building teams, but when you think of the classic records Spector produced, they’re far more likely than not to be Barry and Greenwich songs — of the twenty-seven Philles singles released after Barry and Greenwich started writing together, fourteen are credited to Barry/Greenwich/Spector, and other than the joke release “Let’s Dance the Screw”, which we talked about back in the episode on the Crystals, there’s a run of eleven singles released on the label between late 1962 and early 1964 which are credited either as Greenwich/Powers/Spector or Barry/Greenwich/Spector. And so it was naturally to Barry and Greenwich that Spector turned to write the first big hit for the Ronettes — and he let Ronnie hear the writing session. By this time, Spector had become romantically involved with Ronnie, and he invited her into his apartment to sit in the next room and listen to them working on the song — usually they got together in hotels rather than at Spector’s home. While she was there, she found several pairs of women’s shoes — Spector hadn’t told her he was married, and claimed to her when she asked that they belonged to his sister. This should probably have been a sign of things to come. Assuming that Spector did contribute to the writing, I think it’s easy to tell what he brought to “Be My Baby”. If you listen to that Connie Francis record I excerpted earlier, on which Spector is also a credited co-writer, the melody line for the line “that you don’t feel the same” leading into the chorus: [Excerpt: Connie Francis, “Second-Hand Love”] is identical to the melody line leading into the chorus of “Be My Baby”: [Excerpt: The Ronettes, “Be My Baby”] So that transition between the verse and the chorus is likely his work. After rehearsing Ronnie for several weeks in New York, Spector flew her out to LA to make the record in Gold Star Studios, where she spent three days recording the lead vocals. The backing vocals weren’t provided by the other Ronettes, but rather by the Blossoms, with a few extra singers — notably Spector’s assistant Sonny Bono, and his new girlfriend Cher — but what really made the track was not the vocals — although the song was perfect for Ronnie — but Hal Blaine’s drum intro: [Excerpt: The Ronettes, “Be My Baby”] That intro was utterly simple — Blaine was always a minimalist player, someone who would play for the song rather than play fussy fills — but that simple part, combined with the powerful sound that the engineer Larry Levine got, was enough to make it one of the most memorable intros in rock music history. Brian Wilson of the Beach Boys talks to this day about how he had to pull over to the side of the road when he first heard it on his car radio, and he would listen to the record incessantly for hours at a time. Incidentally, since I’m talking about the musicians, a lot of sources credit Carol Kaye for playing the bass on this track, so I’m going to say something once, here, which should be taken as read whenever I’m talking about records made in LA in the sixties — Carol Kaye is not only an unreliable source about what records she played on, she is an utterly dishonest one. For those who don’t know, Ms. Kaye was one of the great bass players of the sixties, and also one of the better session guitarists. She played on hundreds of records in the sixties, including many, many, classics from the Beach Boys, Spector, Frank Zappa, and others, and she was the only woman getting regular session work in LA on a rock instrument — there may have been session orchestral musicians who were women, but when it comes to guitar, bass, drums, keyboards, sax, and so on, she was the only one. For that, she deserves a huge amount of credit. Unfortunately, she has never been happy only being credited for the records she actually played on, and insists she played on many, many, more. Some of this can be reasonably put down to lapses in memory more than fifty years later — if you’re playing two or three sessions a day, and you play on a bunch of Beach Boys records, then it’s easy enough to misremember having played on “Surfin’ USA” when maybe you played on a similar-sounding record, and there are things like her claiming to have played on “Good Vibrations”, where there were multiple sessions for that track, and it happened that the takes eventually used weren’t the ones where she was playing bass, but she had no way of knowing that. That’s completely forgivable. But Ms. Kaye also claims, with no evidence whatsoever on her side and a great deal of evidence against her, to have been responsible for playing almost the entire recorded works of James Jamerson, Motown’s main bass player, claiming tapes were secretly shipped from Detroit to LA — something that has been denied by every single person working at Motown, and which can be easily disproved just by listening to the tapes. She claims to have played the bass on “I’m a Believer” by the Monkees — a track recorded in New York, by New York musicians. And whenever anyone points out the falsehoods, rather than saying “I may have made a mistake” she hurls abuse at them, and in some cases libels them on her website. So, Carol Kaye did not play on this record, and we know that because we have the AFM session sheets, which show that the bass players on the track were Ray Pohlman and Jimmy Bond. I’ll link a PDF of that sheet in the show notes. So in future, when I mention someone other than Carol Kaye playing on a song, and Wikipedia or somewhere says she played on it, bear this in mind. Two people who did play on the record were Bill Pitman and Tommy Tedesco, and this is why the B-side, an instrumental, is named “Tedesco and Pitman”. Spector was enough of a control freak that he didn’t want DJs ever to play the wrong side of his singles, so he stuck instrumental jam sessions by the studio musicians — with the songwriting credited to him rather than to them — on the B-sides. I don’t know about you, but I actually quite like “Tedesco and Pitman”, but then I’ve always had a soft spot for the vibraphone: [Excerpt: “The Ronettes” (The Wrecking Crew), Tedesco and Pitman”] “Be My Baby” was a massive hit — it went to number one on the Cashbox chart, though only number two on the Billboard chart, and sold millions of copies. The group were invited on to Dick Clark’s Caravan of Stars tour, but Spector wanted Ronnie to be in California to record the follow-up, so the girls’ cousin Elaine filled in for her for the first couple of weeks of the tour, while Ronnie recorded another Barry, Greenwich and Spector song, “Baby I Love You”: [Excerpt: The Ronettes, “Baby I Love You”] Ronnie didn’t realise it at the time, but Spector was trying to isolate her from the other group members, and from her family. But at first this seemed to her like a sensible way of solving the problem, and she rejoined the tour after the record was made. Soon after this, the group travelled to the UK for a brief tour in early 1964, during which they became friendly with the Beatles — Ronnie had a brief chaste flirtation with John Lennon, and Estelle something a little more with George Harrison. They also got to know their support act on the tour, the Rolling Stones — at least once Ronnie had had a row with Andrew Loog Oldham, as Spector had sent a telegram forbidding the Rolling Stones from spending time with the Ronettes. Once Ronnie pointed out that they were there and Spector wasn’t, the two groups became very friendly — and more than friendly, if Keith Richards’ autobiography is to be believed. On their return to the US, they continued having hits through 1964 — nothing was as big as “Be My Baby”, but they had three more top forty hits that year, with two mediocre records, “The Best Part of Breaking Up” and “Do I Love You?”, co-written by the team of Pete Andreoli and Vini Poncia, and then a return to form with the magnificent “Walking in the Rain”, written by Barry Mann and Cynthia Weill: [Excerpt: The Ronettes Featuring Veronica, “Walking in the Rain”] But Spector was becoming more and more erratic in his personal life, and more and more controlling. I won’t go into too many details here, because we’re going to see a lot more of Phil Spector over the next year or so, but he recorded many great records with the Ronettes which he refused to release, claiming they weren’t quite right — Ronnie has later realised that he was probably trying to sabotage their career so he could have her all to himself, though at the time she didn’t know that. Neither of the two singles they did release in 1965 made the top fifty, and the one single they released in 1966, a return to songs by Barry and Greenwich, only made number one hundred, for one week: [Excerpt: The Ronettes, “I Can Hear Music”] Also in 1966, the Ronettes were invited by the Beatles to be their support act on their last ever tour, but once again Spector insisted that Ronnie couldn’t go, because she needed to be in the studio, so Elaine substituted for her again, much to the Beatles’ disappointment. Nothing from the studio sessions during that tour was released. The group broke up in 1967, and the next year Ronnie married Phil Spector, who became ever more controlling and abusive. I won’t go into details of the way he treated her, which you can read all about in her autobiography, but suffice to say that I was completely unsurprised when he murdered a woman in 2003. You’ll probably get some idea of his behaviours when I talk about him in future episodes, but what Ronnie suffered in the years they were together was something no-one should have to go through. By the time she managed to leave him, in June 1972, she had only released one track in years, a song that George Harrison had written for her called “Try Some, Buy Some”, which Spector had recorded with her at Harrison’s insistence, during a period when Spector was working with several of the ex-Beatles and trying to rebuild his own career on the back of them: [Excerpt: Ronnie Spector, “Try Some, Buy Some”] Neither Ronnie nor Spector were particularly keen on the track, and it was a commercial flop — although John Lennon later said that the track had inspired his “Happy Xmas (War is Over)”. Ronnie eventually escaped from Spector’s abuse — leaving the house barefoot, as Spector had stolen her shoes so she couldn’t leave — and started to build a new life for herself, though she would struggle with alcoholism for many years. She got nothing in their divorce settlement, as Spector threatened to hire a hit man to kill her if she tried to get anything from him, and she made a living by touring the nostalgia circuit with various new lineups of Ronettes — the others having given up on their music careers — and while she never had another hit, she did have a recording career. Her solo career got its proper start because of a chance meeting in New York. Her old friend John Lennon saw her on the street and called her over for a chat, and introduced her to the friend he was with, Jimmy Iovine, who was producing an album for Southside Johnny and the Asbury Dukes. Bruce Springsteen had written a song for that band, and Iovine thought it might work well as a duet with Ronnie, and he invited her to the studio that day, and she cut the song with them: [Excerpt: Southside Johnny and the Asbury Dukes, “You Mean So Much To Me”] That song became one of the most popular songs on the album, and so when the Asbury Dukes toured supporting Bruce Springsteen and the E-Street Band, they brought Ronnie along with them to sing on that song and do a couple of her own hits. That led to the E-Street Band themselves backing Ronnie on a single — a version of Billy Joel’s “Say Goodbye to Hollywood”, a song that Joel had written with her in mind: [Excerpt: Ronnie Spector and the E-Street Band, “Say Goodbye to Hollywood”] However, that was a flop, and so were all her later attempts to have comebacks, though she worked with some great musicians over the years. But she was able to continue having a career as a performer, even if she never returned to stardom, and she never made much money from her hits. She did, though, sing on one more top-ten hit, singing backing vocals on Eddie Money’s “Take Me Home Tonight”: [Excerpt: Eddie Money, “Take Me Home Tonight”] Phil Spector continued to earn money from his ex-wife for a long time after their divorce. By 1998, when the Ronettes finally sued Spector for unpaid royalties, they had earned, between them, a total of $14,482.30 in royalties from all their hit records — the amount that came from a single 1964 royalty payment. In court, Spector argued that he didn’t owe them any more, and indeed that *they* still owed *him* money, because the cost of recording their singles meant that they had never actually earned more money than they cost. Eventually, after a series of appeals, the group members each got about half a million dollars in 2002 — obviously a great deal of money, but a small fraction of what they actually earned. Spector, who was on the board of the Rock and Roll Hall of Fame, prevented the Ronettes from being inducted out of spite towards his ex until he was imprisoned, at which point they were finally recognised, in 2007.  Ronnie continues to perform, and seems to have a happy life. Estelle, sadly, did not — she suffered from anorexia and schizophrenia, spent a period of time homeless, and died in 2009. Nedra became a born-again Christian shortly after the group split up, and recorded a couple of unsuccessful albums of Christian music in the seventies, before going off to work in real estate. In September last year, it was announced that a film is going to be made of Ronnie Spector’s life story.  It’s nice to know that there’ll be something out there telling her story with her as the protagonist, rather than as a background character in the story of her abusive husband.

  Episode 110 of A History of Rock Music in Five Hundred Songs looks at "Be My Baby", and at the career of the Ronettes and Ronnie Spector.  Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Little Saint Nick" by the Beach Boys. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Erratum I say Ray Peterson's version of "Tell Laura I Love Her" was an American number one. It wasn't -- it only made number seven.   Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. A lot of resources were used for this episode. Be My Baby: How I Survived Mascara Miniskirts and Madness, or My Life as a Fabulous Ronette by Ronnie Spector and Vince Waldron is Ronnie's autobiography and was the main source. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and provided me with the information on Barry and Greenwich. I've referred to two biographies of Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. And information on the Wrecking Crew largely comes from The Wrecking Crew by Kent Hartman. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. If you want something just covering Ronnie Spector and the Ronettes, The Very Best of Ronnie Spector  covers all the Ronettes hits and the best of her solo career. And the AFM contract listing the musicians on "Be My Baby" can be found here.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take a look at the record that, more than anything, ensured Phil Spector's place in popular music history -- a record that changed the lives of several people who heard it for the better, and changed the life of its singer for the worse, and one which has the most imitated drum intro in the world. We're going to look at "Be My Baby" by the Ronettes: [Excerpt: The Ronettes, "Be My Baby"] Before I start this one, two things need saying. The first is that this episode, by necessity, deals with spousal abuse. As always, I will try to discuss the issue with sensitivity, and touch on it as briefly as possible, but if you worry that it might upset you, please either skip this episode, or read the transcript to see if you'll be OK listening to it. I imagine that very few people will be upset by anything I say here, but it's always a possibility. And secondly, I'd like to apologise for this episode being so late. I had a major disruption in my personal life over Christmas -- one of those really bad life events that only happens once or twice in most people's lifetimes -- and that made it impossible for me to get any work done at all for the last couple of weeks. I'm now able to work again, and this should not be anything that affects the podcast for the rest of the year. Anyway, enough about that, let's get on with the story. The story of the Ronettes begins when Ronnie Bennett, a mixed-race girl from Harlem, became obsessed with the sound of Frankie Lymon and the Teenagers: [Excerpt: Frankie Lymon and the Teenagers, "Why Do Fools Fall In Love?"] Ronnie became the Teenagers' biggest fan, and even managed to arrange a meeting between herself and Lymon when they were both thirteen, but had her illusions torn away when he turned up drunk and made a pass at her. But that didn't stop her from trying her best to imitate Lymon's vocals, and forming a vocal group with several friends and relatives. That group had a male lead singer, but when they made their first appearance on one of the Harlem Apollo's talent shows, the lead singer got stage fright and couldn't start singing when he got on stage. Ronnie stepped forward and took over the lead vocal, and the group went down well enough even with the Apollo's notoriously hostile audience that a smaller group of them decided to start performing regularly together. The group took the name Ronnie and the Relatives, and consisted of Ronnie, her sister Estelle, and their cousin Nedra Talley. They originally only performed at private parties, bar mitzvahs and the like, but they soon reached the attention of Stu Phillips at Colpix Records, a label owned by the film studio Columbia Pictures. The first single by Ronnie and the Relatives was not a success -- "I Want a Boy" came out in August 1961 and didn't chart: [Excerpt: Ronnie and the Relatives, "I Want a Boy"] And nor did their second, "I'm Gonna Quit While I'm Ahead": [Excerpt: Ronnie and the Relatives, "I'm Gonna Quit While I'm Ahead"] Those records did apparently sell to at least one person, though, as when Ronnie met President Clinton in 1997, he asked her to sign a record, and specifically got her to sign an album of those early recordings for Colpix. While the girls were not having any commercial success, they did manage to accidentally get themselves a regular gig at the most important nightclub in New York. They went to the Peppermint Lounge, just as the Twist craze was at its height, and as they were underage they dressed up especially well in order to make themselves look more grown up so they could get in. Their ruse worked better than they expected. As they were all dressed the same, the club's manager assumed they were the dancers he'd booked, who hadn't shown up. He came out and told them to get on stage and start dancing, and so of course they did what he said, and started dancing to the Twist sounds of Joey Dee and the Starliters: [Excerpt: Joey Dee and the Starliters, "The Peppermint Twist"] The girls' dancing went down well, and then the band started playing "What'd I Say?", a favourite song of Ronnie's and one the group did in their own act, and Ronnie danced over to David Brigati, who was singing lead on the song, and started dancing close to him. He handed her the mic as a joke, and she took over the song. They got a regular spot at the Peppermint Lounge, dancing behind the Starliters for their whole show and joining them on vocals for a few numbers every night. Inspired by the Bobbettes and the Marvelettes, Ronnie and Estelle's mother suggested changing the group's name. She suggested "the Rondettes", and they dropped the "d", becoming the Ronettes. The singles they released on ColPix under the new name did no better than the others, but they were such an important part of the Peppermint Lounge that when the Lounge's owners opened a second venue in Florida, the girls went down there with the Starliters and were part of the show.  That trip to Florida gave them two very different experiences. The first was that they got to see segregation firsthand for the first time, and they didn't like it -- especially when they, as light-skinned mixed-race women, were read as tanned white women and served in restaurants which then refused to serve their darker-skinned mothers. But the second was far more positive. They met Murray the K, who since Alan Freed had been driven out of his job had become the most popular DJ in New York. Murray was down in Florida for a holiday, and was impressed enough by the girls' dancing that he told them if they were ever in New York and wanted a spot on one of his regular shows at the Brooklyn Fox Theatre they should let him know. They replied that they lived in New York and went to those shows all the time -- of course they wanted to perform on his shows. They became regular performers at the Brooklyn Fox, where they danced between the other, bigger, acts, sang backing vocals, did a song or two themselves, and took part in comedy sketches with Murray. It was at these shows, as well, that they developed the look they would become famous with -- huge hair piled up on top of their heads, tons of mascara, and tight skirts slit to show their legs. It was a style inspired by street fashion rather than by what the other girl groups were wearing, and it made them incredibly popular with the Fox audience. But the Ronettes, even under their new name, and even with the backing of New York's most prominent DJ, were still not selling any records. They knew they were good, and the reaction to their stage performances proved as much, so they decided that the problem must be with Colpix. And so in 1963 they made a New Year's resolution -- they were going to get Phil Spector to produce them.  By this time, Spector was becoming very well known in the music industry as a hit maker. We already saw in the recent episode on the Crystals how he was making hits for that group and the Blossoms, but he was also making hits with studio groups like Bob B. Soxx and the Blue Jeans, who he took into the top ten with a remake of the old Disney song "Zip-a-Dee-Doo-Dah": [Excerpt: Bob B. Soxx and the Blue Jeans, "Zip-a-Dee-Doo-Dah"] and as well as the records he was putting out on Philles, he was also working as a freelance producer for people like Connie Francis, producing her top ten hit "Second-Hand Love": [Excerpt: Connie Francis, "Second-Hand Love"] So the Ronettes were convinced that he could make them into the stars they knew they had the potential to be. The group had no idea how to get in touch with Spector, so they tried the direct route -- Estelle called directory enquiries, got the number for Philles Records, and called and asked to be put through to Spector. She was as astonished as anyone when he agreed to talk to her -- and it turned out that he'd seen the group regularly at the Brooklyn Fox and was interested in working with them.  At their audition for Spector, the group first performed a close-harmony version of "When the Red Red Robin Goes Bob-Bob-Bobbin' Along", which they'd been taught by their singing teacher. Spector told them that he wanted to hear what they did when they were singing for themselves, not for a teacher, and so Ronnie launched into "Why Do Fools Fall In Love?"  It only took her getting to the second line of the song before Spector yelled at her to stop -- "THAT is the voice I've been looking for!" The Ronettes' first recordings for Spector weren't actually issued as by the Ronettes at all. To start with, he had them record a version of a song by the writing team of Jeff Barry and Ellie Greenwich, "Why Don't They Let Us Fall In Love?", but didn't release it at the time. It was later released as by "Veronica", the name under which he released solo records by Ronnie: [Excerpt: Veronica, "Why Don't They Let Us Fall In Love?"] But at the time, when Ronnie asked him when the record was coming out, Spector answered "Never". He explained to her that it was a good record, but it wasn't a number one, and he was still working on their first number one record. Their next few recordings were covers of then-current dance hits, like "The Twist": [Excerpt, "The Crystals", "The Twist"] And "The Wah-Watusi", one of the few times that one of the other Ronettes took the lead rather than Ronnie, as Nedra sang lead: [Excerpt, "The Crystals", "The Wah-Watusi"] But these, and two other tracks, were released as album tracks on a Crystals album, credited to the Crystals rather than the Ronettes. The song that eventually became the group's first hit, "Be My Baby", was mostly written by one of the many husband-and-wife songwriting teams that had developed at the Brill Building, Jeff Barry and Ellie Greenwich. Barry had started out as a performer who occasionally wrote, putting out records like "It's Called Rock and Roll": [Excerpt: Jeff Barry, "It's Called Rock and Roll"] But while his performing career had gone nowhere, he'd started to have some success as a songwriter, writing "Teenage Sonata" for Sam Cooke: [Excerpt: Sam Cooke, "Teenage Sonata"] And "Tell Laura I Love Her", which was recorded by several people, but the biggest hit version was the American number one by Ray Peterson: [Excerpt: Ray Peterson, "Tell Laura I Love Her"] Ellie Greenwich had also started as a performer, recording "Silly Isn't It?" under the name Ellie Gaye: [Excerpt: Ellie Gaye, "Silly, Isn't It?"] She'd become one of the most important demo singers in New York, and had also started writing songs. She'd first collaborated with Doc Pomus, cowriting songs like "This is It", which had been a flop single for Jay and the Americans: [Excerpt: Jay and the Americans, "This is It"] She'd then been taken on by Trio Music, Leiber and Stoller's company, where she had largely collaborated with another writer named Tony Powers. Trio had first refusal on anything the two of them wrote, and if Leiber and Stoller didn't like it, they could take the song elsewhere. Greenwich and Powers had their biggest successes with songs that Leiber and Stoller rejected, which they sold to Aaron Schroeder. And they'd started up a collaboration with Phil Spector -- although Spector and Greenwich's first meeting had not exactly gone smoothly. He'd gone into her office to hear her play a song that she thought would be suitable for the Paris Sisters, but had kept wandering out of the office, and had kept looking at himself in a mirror and primping himself rather than listen to her song. Eventually she said to him  "Listen to me, you little prick. Did you come to look at yourself or to hear my songs?", and she didn't make that sale. But later on, Spector became interested in a song she'd sold to Schroeder, and made an appointment to meet her and talk about her writing some stuff for him -- that second meeting, which Spector didn't realise was with someone he'd already made a bad impression on, Spector turned up four hours late.  But despite that, Greenwich and Powers wrote several songs for Spector, who was also given songwriting credit, and which became big hits in versions he produced -- "(Today I Met) The Boy I'm Gonna Marry", a single by Darlene Love: [Excerpt: Darlene Love, "(Today I Met) The Boy I'm Gonna Marry"] And "Why Do Lovers Break Each Others' Hearts?", released as by Bob B. Soxx and the Blue Jeans, but with Love once again on lead vocals: [Excerpt: Bob B. Soxx and the Blue Jeans, "Why Do Lovers Break Each Others' Hearts?"] I say that Spector was also given songwriting credit on those records, because there is some debate about how much he contributed to the songs he's credited on. Some of his co-writers have said that he would often only change a word or a phrase, and get himself cut in on an already-completed song, while others have said that he contributed a reasonable amount to the songwriting, though he was never the primary writer -- for example Barry Mann has said that Spector came up with the middle section for "You've Lost That Lovin' Feelin'". I tend towards the belief that Spector's contribution to the writing on those songs he's co-credited on was minimal -- in his whole career, the number of songs he wrote on his own seems to be in the single figures, while those other writers wrote dozens of hit records without any contribution from Spector -- and so when I talk about records he produced I'll tend to use phrasing like "a Goffin and King song co-credited to Phil Spector" rather than "a song by Goffin, King, and Spector", but I don't want that to give the impression that I'm certain Spector made no contribution.  But while Greenwich and Powers were a mildly successful team, their partnership ended when Greenwich met Jeff Barry at a family Thanksgiving dinner -- Greenwich's uncle was Barry's cousin. As Greenwich later put it, when they started talking together about music and realised how much they had in common, "I went 'ooh', he went 'mmmhh', and his wife went 'I don't think I like this'". Soon their previous partnerships, both romantic and musical, were over, and Jeff Barry and Ellie Greenwich became the third of the great Brill Building husband-and-wife songwriting teams.  Where Goffin and King had a sophisticated edge to their writing, with a hint of sexual subversion and the mingling of pain and pleasure, and Mann and Weill tried to incorporate social comment into their songs, Barry and Greenwich were happy to be silly -- they were writing songs like "Hanky Panky", "Da Doo Ron Ron",  and "Doo Wah Diddy Diddy": [Excerpt: Ellie Greenwich "Doo Wah Diddy Diddy (demo)"] This worked extremely well for them, to the extent that after they broke up a few years later, Barry would continue this formula with songs such as "Sugar Sugar", "Jingle Jangle" and "Bang Shang A Lang". Barry and Greenwich's style was to jam in as many hooks as possible, maybe put in a joke or two, keep the lyrics simple, and get out in two minutes. Very few of their songs were masterpieces of songwriting, but they *were* absolutely perfect templates for masterpieces of production. It sounds like I'm damning them with faint praise, but I'm really not. There is a huge skill involved in what they were doing -- if you're writing some heartwrenching masterpiece about the human condition, people will forgive the odd lapse in craft, but if you're writing "My baby does the hanky panky", there's no margin for error, and you're not going to get forgiven if you mess it up.  Barry and Greenwich were good enough at this that they became the go-to writers for Spector for the next couple of years. He would record songs by most of the Brill Building teams, but when you think of the classic records Spector produced, they're far more likely than not to be Barry and Greenwich songs -- of the twenty-seven Philles singles released after Barry and Greenwich started writing together, fourteen are credited to Barry/Greenwich/Spector, and other than the joke release "Let's Dance the Screw", which we talked about back in the episode on the Crystals, there's a run of eleven singles released on the label between late 1962 and early 1964 which are credited either as Greenwich/Powers/Spector or Barry/Greenwich/Spector. And so it was naturally to Barry and Greenwich that Spector turned to write the first big hit for the Ronettes -- and he let Ronnie hear the writing session. By this time, Spector had become romantically involved with Ronnie, and he invited her into his apartment to sit in the next room and listen to them working on the song -- usually they got together in hotels rather than at Spector's home. While she was there, she found several pairs of women's shoes -- Spector hadn't told her he was married, and claimed to her when she asked that they belonged to his sister. This should probably have been a sign of things to come. Assuming that Spector did contribute to the writing, I think it's easy to tell what he brought to “Be My Baby”. If you listen to that Connie Francis record I excerpted earlier, on which Spector is also a credited co-writer, the melody line for the line “that you don't feel the same” leading into the chorus: [Excerpt: Connie Francis, “Second-Hand Love”] is identical to the melody line leading into the chorus of “Be My Baby”: [Excerpt: The Ronettes, “Be My Baby”] So that transition between the verse and the chorus is likely his work. After rehearsing Ronnie for several weeks in New York, Spector flew her out to LA to make the record in Gold Star Studios, where she spent three days recording the lead vocals. The backing vocals weren't provided by the other Ronettes, but rather by the Blossoms, with a few extra singers -- notably Spector's assistant Sonny Bono, and his new girlfriend Cher -- but what really made the track was not the vocals -- although the song was perfect for Ronnie -- but Hal Blaine's drum intro: [Excerpt: The Ronettes, "Be My Baby"] That intro was utterly simple -- Blaine was always a minimalist player, someone who would play for the song rather than play fussy fills -- but that simple part, combined with the powerful sound that the engineer Larry Levine got, was enough to make it one of the most memorable intros in rock music history. Brian Wilson of the Beach Boys talks to this day about how he had to pull over to the side of the road when he first heard it on his car radio, and he would listen to the record incessantly for hours at a time. Incidentally, since I'm talking about the musicians, a lot of sources credit Carol Kaye for playing the bass on this track, so I'm going to say something once, here, which should be taken as read whenever I'm talking about records made in LA in the sixties -- Carol Kaye is not only an unreliable source about what records she played on, she is an utterly dishonest one. For those who don't know, Ms. Kaye was one of the great bass players of the sixties, and also one of the better session guitarists. She played on hundreds of records in the sixties, including many, many, classics from the Beach Boys, Spector, Frank Zappa, and others, and she was the only woman getting regular session work in LA on a rock instrument -- there may have been session orchestral musicians who were women, but when it comes to guitar, bass, drums, keyboards, sax, and so on, she was the only one. For that, she deserves a huge amount of credit. Unfortunately, she has never been happy only being credited for the records she actually played on, and insists she played on many, many, more. Some of this can be reasonably put down to lapses in memory more than fifty years later -- if you're playing two or three sessions a day, and you play on a bunch of Beach Boys records, then it's easy enough to misremember having played on "Surfin' USA" when maybe you played on a similar-sounding record, and there are things like her claiming to have played on "Good Vibrations", where there were multiple sessions for that track, and it happened that the takes eventually used weren't the ones where she was playing bass, but she had no way of knowing that. That's completely forgivable. But Ms. Kaye also claims, with no evidence whatsoever on her side and a great deal of evidence against her, to have been responsible for playing almost the entire recorded works of James Jamerson, Motown's main bass player, claiming tapes were secretly shipped from Detroit to LA -- something that has been denied by every single person working at Motown, and which can be easily disproved just by listening to the tapes. She claims to have played the bass on "I'm a Believer" by the Monkees -- a track recorded in New York, by New York musicians. And whenever anyone points out the falsehoods, rather than saying "I may have made a mistake" she hurls abuse at them, and in some cases libels them on her website. So, Carol Kaye did not play on this record, and we know that because we have the AFM session sheets, which show that the bass players on the track were Ray Pohlman and Jimmy Bond. I'll link a PDF of that sheet in the show notes. So in future, when I mention someone other than Carol Kaye playing on a song, and Wikipedia or somewhere says she played on it, bear this in mind. Two people who did play on the record were Bill Pitman and Tommy Tedesco, and this is why the B-side, an instrumental, is named "Tedesco and Pitman". Spector was enough of a control freak that he didn't want DJs ever to play the wrong side of his singles, so he stuck instrumental jam sessions by the studio musicians -- with the songwriting credited to him rather than to them -- on the B-sides. I don't know about you, but I actually quite like "Tedesco and Pitman", but then I've always had a soft spot for the vibraphone: [Excerpt: "The Ronettes" (The Wrecking Crew), Tedesco and Pitman"] "Be My Baby" was a massive hit -- it went to number one on the Cashbox chart, though only number two on the Billboard chart, and sold millions of copies. The group were invited on to Dick Clark's Caravan of Stars tour, but Spector wanted Ronnie to be in California to record the follow-up, so the girls' cousin Elaine filled in for her for the first couple of weeks of the tour, while Ronnie recorded another Barry, Greenwich and Spector song, "Baby I Love You": [Excerpt: The Ronettes, "Baby I Love You"] Ronnie didn't realise it at the time, but Spector was trying to isolate her from the other group members, and from her family. But at first this seemed to her like a sensible way of solving the problem, and she rejoined the tour after the record was made. Soon after this, the group travelled to the UK for a brief tour in early 1964, during which they became friendly with the Beatles -- Ronnie had a brief chaste flirtation with John Lennon, and Estelle something a little more with George Harrison. They also got to know their support act on the tour, the Rolling Stones -- at least once Ronnie had had a row with Andrew Loog Oldham, as Spector had sent a telegram forbidding the Rolling Stones from spending time with the Ronettes. Once Ronnie pointed out that they were there and Spector wasn't, the two groups became very friendly -- and more than friendly, if Keith Richards' autobiography is to be believed. On their return to the US, they continued having hits through 1964 -- nothing was as big as "Be My Baby", but they had three more top forty hits that year, with two mediocre records, "The Best Part of Breaking Up" and "Do I Love You?", co-written by the team of Pete Andreoli and Vini Poncia, and then a return to form with the magnificent "Walking in the Rain", written by Barry Mann and Cynthia Weill: [Excerpt: The Ronettes Featuring Veronica, "Walking in the Rain"] But Spector was becoming more and more erratic in his personal life, and more and more controlling. I won't go into too many details here, because we're going to see a lot more of Phil Spector over the next year or so, but he recorded many great records with the Ronettes which he refused to release, claiming they weren't quite right -- Ronnie has later realised that he was probably trying to sabotage their career so he could have her all to himself, though at the time she didn't know that. Neither of the two singles they did release in 1965 made the top fifty, and the one single they released in 1966, a return to songs by Barry and Greenwich, only made number one hundred, for one week: [Excerpt: The Ronettes, "I Can Hear Music"] Also in 1966, the Ronettes were invited by the Beatles to be their support act on their last ever tour, but once again Spector insisted that Ronnie couldn't go, because she needed to be in the studio, so Elaine substituted for her again, much to the Beatles' disappointment. Nothing from the studio sessions during that tour was released. The group broke up in 1967, and the next year Ronnie married Phil Spector, who became ever more controlling and abusive. I won't go into details of the way he treated her, which you can read all about in her autobiography, but suffice to say that I was completely unsurprised when he murdered a woman in 2003. You'll probably get some idea of his behaviours when I talk about him in future episodes, but what Ronnie suffered in the years they were together was something no-one should have to go through. By the time she managed to leave him, in June 1972, she had only released one track in years, a song that George Harrison had written for her called "Try Some, Buy Some", which Spector had recorded with her at Harrison's insistence, during a period when Spector was working with several of the ex-Beatles and trying to rebuild his own career on the back of them: [Excerpt: Ronnie Spector, "Try Some, Buy Some"] Neither Ronnie nor Spector were particularly keen on the track, and it was a commercial flop -- although John Lennon later said that the track had inspired his "Happy Xmas (War is Over)". Ronnie eventually escaped from Spector's abuse -- leaving the house barefoot, as Spector had stolen her shoes so she couldn't leave -- and started to build a new life for herself, though she would struggle with alcoholism for many years. She got nothing in their divorce settlement, as Spector threatened to hire a hit man to kill her if she tried to get anything from him, and she made a living by touring the nostalgia circuit with various new lineups of Ronettes -- the others having given up on their music careers -- and while she never had another hit, she did have a recording career. Her solo career got its proper start because of a chance meeting in New York. Her old friend John Lennon saw her on the street and called her over for a chat, and introduced her to the friend he was with, Jimmy Iovine, who was producing an album for Southside Johnny and the Asbury Dukes. Bruce Springsteen had written a song for that band, and Iovine thought it might work well as a duet with Ronnie, and he invited her to the studio that day, and she cut the song with them: [Excerpt: Southside Johnny and the Asbury Dukes, "You Mean So Much To Me"] That song became one of the most popular songs on the album, and so when the Asbury Dukes toured supporting Bruce Springsteen and the E-Street Band, they brought Ronnie along with them to sing on that song and do a couple of her own hits. That led to the E-Street Band themselves backing Ronnie on a single -- a version of Billy Joel's "Say Goodbye to Hollywood", a song that Joel had written with her in mind: [Excerpt: Ronnie Spector and the E-Street Band, "Say Goodbye to Hollywood"] However, that was a flop, and so were all her later attempts to have comebacks, though she worked with some great musicians over the years. But she was able to continue having a career as a performer, even if she never returned to stardom, and she never made much money from her hits. She did, though, sing on one more top-ten hit, singing backing vocals on Eddie Money's "Take Me Home Tonight": [Excerpt: Eddie Money, "Take Me Home Tonight"] Phil Spector continued to earn money from his ex-wife for a long time after their divorce. By 1998, when the Ronettes finally sued Spector for unpaid royalties, they had earned, between them, a total of $14,482.30 in royalties from all their hit records -- the amount that came from a single 1964 royalty payment. In court, Spector argued that he didn't owe them any more, and indeed that *they* still owed *him* money, because the cost of recording their singles meant that they had never actually earned more money than they cost. Eventually, after a series of appeals, the group members each got about half a million dollars in 2002 -- obviously a great deal of money, but a small fraction of what they actually earned. Spector, who was on the board of the Rock and Roll Hall of Fame, prevented the Ronettes from being inducted out of spite towards his ex until he was imprisoned, at which point they were finally recognised, in 2007.  Ronnie continues to perform, and seems to have a happy life. Estelle, sadly, did not -- she suffered from anorexia and schizophrenia, spent a period of time homeless, and died in 2009. Nedra became a born-again Christian shortly after the group split up, and recorded a couple of unsuccessful albums of Christian music in the seventies, before going off to work in real estate. In September last year, it was announced that a film is going to be made of Ronnie Spector's life story.  It's nice to know that there'll be something out there telling her story with her as the protagonist, rather than as a background character in the story of her abusive husband.

Topics: Y2K Bug, Eminem, The Best Man, 90's TV (Bonus Artist: Rocky Mtn. Rhyme Posse)   1999 Notes   Snapshots   1.    Bill Clinton President   2.    Jan – A snowstorm leaves 14 inches (36 cm) of snow in Milwaukee, Wisconsin and 21 inches (53 cm) in Chicago, Illinois, killing 68.   3.    Jan – The adult animated sitcom Family Guy debuts on the Fox network after Super Bowl XXXIII.   4.    Feb - Impeachment of Bill Clinton: President Bill Clinton is acquitted by the Senate.   5.    Mar - A Michigan jury finds Dr. Jack Kevorkian guilty of second-degree murder for administering a lethal injection to a terminally ill man.   6.    Apr - Columbine High School massacre: Two Littleton, Colorado teenagers, Eric Harris and Dylan Klebold, open fire on their teachers and classmates, killing 12 students and one teacher, and then themselves. It would be the deadliest shooting at a high school in U.S. history at the time. The shooting sparks debate on school bullying, gun control and violence in the media.   7.    May - The animated children's TV series SpongeBob SquarePants debuts on the cable network Nickelodeon.   8.    May - Star Wars: Episode I – The Phantom Menace is released in theaters.   9.    Jun - Texas Governor George W. Bush announces he will seek the Republican Party nomination for President of the United States.   10.    Jun - Napster Released. It was mainly used by people who shared MP3 music and digital audio files. As the laws about file sharing and copyright regarding the internet were just newly established, the service soon ran into legal troubles dealing with copyright infringement.   11.    Jul - U.S. soccer player Brandi Chastain scores the game winning penalty kick against China in the FIFA Women's World Cup. Briana Scurry, goalkeeper, was elected to the National Soccer Hall of Fame in 2017. She was the first woman goalkeeper and first black woman to be awarded the honor.   12.    Jun - Lance Armsrong wins the Tour de France. The United States Anti-Doping Agency announced in August 2012 that they had disqualified Armstrong from all his results since 1998, including his seven consecutive Tour de France wins from 1999 to 2005 (which were, originally, the most wins in the event's history)   13.    Sep - The West Nile Virus first appears in the United States. The disease spread quickly through infected birds. Mosquitoes spread the disease to mammals.   14.    Dec - Boris Yeltsin resigns as President of Russia, replaced by Vladimir Putin. Yeltsin has been describes as,  "Russia's first modern leader" and has been compared to Nelson Mandela.   15.    Top 3 Pop Songs   16.    #1 "Believe"    Cher   17.    #2 "No Scrubs"    TLC   18.    #3  "Angel of Mine"    Monica   19.    Record of the Year: "Smooth" – Santana featuring Rob Thomas   20.    Album of the Year: Supernatural – Santana   21.    Song of the Year: "Smooth" – Santana featuring Rob   22.    Best New Artist: Christina Aguilera (Note: Beat out Brittney Spears)   23.    Best Female R&B Vocal Performance: "It's Not Right but It's Okay" – Whitney Houston   24.    Best Male R&B Vocal Performance: "Staying Power" – Barry White   25.    Best R&B Performance by a Duo or Group with Vocal: "No Scrubs" – TLC   26.    Best R&B Song: "No Scrubs" – TLC   27.    Best R&B Album: FanMail – TLC   28.    Best Rap Solo Performance: "My Name Is" – Eminem   29.    Best Rap Performance by a Duo or Group: "You Got Me" – The Roots featuring Erykah Badu   30.    Best Rap Album: The Slim Shady LP – Eminem   31.    Top 3 Moives   32.    #1  Star Wars: Episode I – The Phantom Menace   33.    #2 The Sixth Sense   34.    #3 Toy Story 2   35.    Notables:  Office Space, Analyze This, Lock, Stock and Two Smoking Barrels, The Matrix (3/31/1999 - 20 days before Columbine), Life, The Mummy, Austin Powers: The Spy Who Shagged Me, Wild Wild West, American Pie, The Blair Witch Project, Eyes Wide Shut, The Wood, The Iron Giant, The Sixth Sense, The Thomas Crown Affair, Bowfinger, Three Kings, Fight Club, The Green Mile, Any Given Sunday   36.    Top 3 TV Shows   37.    #1 Who Wants to Be a Millionaire — Tuesday   38.    #2 Who Wants to Be a Millionaire — Thursday   39.    #3 Who Wants to Be a Millionaire — Sunday   40.    Debuts: The PJs, The Parkers, The Queen Latifah Show, Judge Mathis   41.    Economic Snapshots   42.    Income = 40.8k (Previously 38.1k)   43.    House = 131.7k (129.3k)   44.    Car = 21kk (17k)   45.    Rent = 645 (619)   46.    Harvard = 31.1k (30,080)   47.    Movie = 5.06 (4.69)   48.    Gas = 1.22 (1.15)   49.    Stamp = .33 (.32)   50.    Social Scene: Y2K Scare   51.    The Y2K problem and the millennium bug was the most important thing on most companies minds in 1999. This fear was fueled by the press coverage and other media speculation, as well as corporate and government reports. All over the world companies and organizations checked and upgraded their computer systems. Problems were anticipated, and arose, because many programs represented four-digit years with only the final two digits – making the year 2000 indistinguishable from 1900.   52.    (Audio Clip)   53.    Music Scene   54.    Music Scene: Black Songs from the Top 40   55.    #2 "No Scrubs" - TLC   56.    #3 "Angel of Mine" - Monica   57.    #4 "Heartbreak Hotel" - Whitney Houston featuring Faith Evans and Kelly Price   58.    #9 "Nobody's Supposed to Be Here" - Deborah Cox   59.    #11 "Where My Girls At?" - 702   60.    #12 "If You Had My Love" - Jennifer Lopez   61.    #14 "Have You Ever?" - Brandy   62.    #16 "I'm Your Angel" - R. Kelly and Celine Dion   63.    #19 "Smooth" - Santana featuring Rob Thomas   64.    #20 "Unpretty" - TLC   65.    #21 "Bills, Bills, Bills" - Destiny's Child   66.    #24 "Fortunate" - Maxwell   67.    #27 "What's It Gonna Be?!" - Busta Rhymes featuring Janet   68.    #28  "What It's Like" - Everlast   69.    #29 "Fly Away" - Lenny Kravitz   70.    #31 "Lately" - Divine   71.    #33 "Wild Wild West" - Will Smith featuring Dru Hill and Kool Moe Dee   72.    #35 "Heartbreaker" - Mariah Carey featuring Jay-Z   73.    #36 "I Still Believe" - Mariah Carey   74.    #39 "Can I Get A..." - Jay-Z featuring Amil and Ja Rule   75.    #42 "Mambo No. 5" - Lou Bega   76.    #43 "Sweet Lady" - Tyrese   77.    Top Rnb Albums   78.    Jan Ghetto Fabulous - Mystikal   79.    Jan Flesh of My Flesh, Blood of My Blood - DMX   80.    Feb Made Man - Silkk the Shocker   81.    Feb Chyna Doll - Foxy Brown   82.    Feb The Miseducation of Lauryn Hill - Lauryn Hill   83.    Mar Da Next Level - Mr. Serv-On   84.    Mar FanMail - TLC   85.    Mar Bossalinie - C-Murder   86.    Apr The Slim Shady LP - Eminem   87.    Apr I Am… - Nas   88.    May  Ryde or Die Vol. 1 - Ruff Ryders   89.    May No Limit Top Dogg - Snoop Dogg   90.    Jun In Our Lifetime - 8Ball & MJG   91.    Jun The Art of Storytelling - Slick Rick   92.    Jun Venni Vetti Vecci - Ja Rule   93.    Jul Da Real World - Missy "Misdemeanor" Elliott   94.    Jul Beneath the Surface - GZA/Genius   95.    Jul Street Life - Fiend   96.    Jul Can't Stay Away - Too Short   97.    Aug Guerrilla Warfare - Hot Boys   98.    Aug Coming of Age - Memphis Bleek   99.    Sep Mary - Mary J. Blige   100.    Sep Forever - Puff Daddy   101.    Oct Let There Be Eve...Ruff Ryders' First Lady - Eve   102.    Ocy Blackout! - Method Man & Redman   103.    Nov Only God Can Judge Me - Master P   104.    Nov Tha Block Is Hot - Lil Wayne   105.    Dec 2001 - Dr. Dre   106.    Dec Born Again - The Notorious B.I.G.   107.    Featured Artist: Eminem   108.    Childhood & Early Life: Born Marshall Bruce Mathers III in St. Joseph, Missouri, in 1972, to parents who were members of a band that used to perform at the hotel 'Ramada Inns.' He grew up in a predominantly black neighbourhood, where he was often bullied. As a child he showed affinity toward comics and music, particularly rapping. He had a difficult childhood and he was never on good terms with his mother. He was, however, close to her half-brother, Ronnie. Marshall's education suffered as a result of constant troubles with his mom and he dropped-out of 'Lincoln High School,' when he was seventeen.   109.    Career: When Marshall was fourteen years old, he started rapping and attenditg contetst with his friend DeShaun Dupree Holton, who later became famous as rapper Proof. The two friends formed their own group called 'D12' or 'The Dirty Dozen,' in 1996. Also in 1996, Eminem (@16) brought out his first album titled 'Infinite.' The album was recorded under the banner of 'FBT Productions,' and included songs that spoke about the struggles he faced after the birth of his daughter, at a time when he was financially unstable. His financial condition had worsened and by 1997, he was forced to live in his mother's house with his family. During this time, to let go of the frustration building inside him, he created an anti-social alter-ego named 'Slim Shady.' He even recorded his first extended play by the same name in the same year.   110.    After he was fired from his job and evicted from his home, Eminem went to Los Angeles to compete in the 1997 Rap Olympics, an annual, nationwide battle rap competition. He placed second, and an Interscope Records intern in attendance called asked Eminem for a copy of the Slim Shady EP, which was then sent to company CEO Jimmy Iovine. Iovine played the tape for record producer Dr. Dre, who recalled sayingd, "In my entire career in the music industry, I have never found anything from a demo tape or a CD. When Jimmy played this, I said, 'Find him. Now.'" Although Dre's friends criticized him for hiring a white rapper, he was confident in his decision: "I don't give a fuck if you're purple; if you can kick it, I'm working with you."   111.    In February 1999, Dr. Dre helped Eminem release an album titled 'The Slim Shady LP,' which immediately catapulted him to fame. With hits like 'My Name Is,' '97 Bonnie and Clyde,' and 'Guilty Conscience,' it was one of the most successful albums of the year.   112.    Movie Scene: The Best Man   113.    Harper Stewart (Taye Diggs), a commitment-shy writer and the best man at the wedding of Lance (Morris Chestnut) and Mia (Monica Calhoun), is nervous-and with good reason. His steamy new novel hits bookstores soon, and when his friends finally read it he knows they will notice more than just a passing resemblance to the characters depicted in the book.   114.    Director: Malcolm D. Lee, Debut film [Undercover Brother (2002), Roll Bounce (2005), Welcome Home Roscoe Jenkins (2008), Soul Men (2008), Scary Movie 5 (2013), The Best Man Holiday (2013), Girls Trip (2017), and Night School (2018)]   115.    Cast: Taye Diggs, Nia Long, Morris Chestnut, Harold Perrineau, Terance Howard, Sanaa Lathan, Monica Calhoun, Melissa De Sousa, Terrence Howard, Regina Hall [*Film Debut]   116.    'The Best Man': A Joyous Occasion [By Lonnae O'Neal Parker Washington Post Staff Writer, Oct 1999]   117.    This smart debut from filmmaker Malcolm D. Lee, cousin to the film's producer, Spike, centers around a group of old friends who reunite in New York for a wedding. Tapping into the Zeitgeist of young black professionals starving to see themselves on film, it hits all the right cultural touchstones: from BET to Stevie Wonder, Chubb Rock to bid whist. Although the film is produced by Spike Lee, don't expect racial politics. And while comparisons to another black wedding-themed movie starring Taye Diggs, "The Wood," are bound to come up, resist.   118.    James Berardinelli - Reelviews   119.    The Best Man is not what it initially seems to be. Despite starting out with all the earmarks of a fairly ordinary romantic comedy, the project develops into a surprisingly effective look at a man's quest for rebirth after events topple him from a pedestal of arrogance. And, while there are plenty of laughs to be had, The Best Man functions better as a light drama than a straight comedy, with several scenes packing a punch because they're played straight. The film is the directorial debut of Malcolm D. Lee (Spike's cousin), who may have gotten this chance because of family connections but shows enough promise to earn further opportunities on his own.   120.    The Best Man (1999) - 1½ Stars [Reviewed by Dustin Putman, October 1999]   121.    As with 1997's melodramatic, corny "Soul Food," and last summer's "The Wood," which also starred Diggs in a story set around a wedding(!), "The Best Man" aspires to be something more than it actually is. Kudos to Lee for trying his hand at a more knowledgeable picture that all audiences (not just African-Americans) might enjoy, but he also gets more than his share of debits for its severely flawed treatment. At over two hours in length, "The Best Man" thankfully never overstays its welcome and goes by fairly fast, but by the time the Electric Slide was carried out by everyone at the wedding reception over the end credits, I realized that the actors deserved far better. As is, the conclusion plays like an excuse for each of the cast members to give themselves a pat on the back, when they really didn't earn that pat to begin with.   122.    Denzel Washington, film debut in Carbon Copy (1981) and in 1982, Denzel made his first appearance in the medical drama St. Elsewhere as Dr. Philip Chandler. The role proved to be the breakthrough in his career.   123.    Nominated for Best Supporting Actor: Cry Freedom (1988) and Glory (1990)(*won)   124.    Nominated for Best Actor for Malcolm X (1993)   125.    1981 Carbon Copy / 1984 A Soldier's Story / 1986 Power / 1987 Cry Freedom / 1988 For Queen and Country / 1989 The Mighty Quinn / 1989 Glory / 1990 Heart Condition / 1990 Mo' Better Blues / 1991 Mississippi Masala / 1991 Ricochet / 1992 Malcolm X / 1993 Much Ado About Nothing / 1993 The Pelican Brief / 1993 Philadelphia / 1995 Crimson Tide / 1995 Virtuosity / 1995 Devil in a Blue Dress / 1996 Courage Under Fire / 1996 The Preacher's Wife / 1998 Fallen / 1998 He Got Game / 1998 The Siege / 1999 The Bone Collector / 1999 The Hurricane - [25 films]   126.    Samuel L. Jackson.   127.    Nominated for Best Supporting Actor: Pulp Fiction (1994)   128.    1981 Ragtime / 1987 Magic Sticks / 1988 Coming to America / 1988 School Daze / 1989 Do the Right Thing / 1989 Sea of Love / 1990 Def by Temptation / 1990 A Shock to the System / 1990 Betsy's Wedding / 1990 Mo' Better Blues / 1990 The Exorcist III / 1990 Goodfellas / 1990 The Return of Superfly / 1991 Strictly Business / 1991 Jungle Fever / 1991 Jumpin' at the Boneyard / 1991 Johnny Suede / 1992 Juice / 1992 Patriot Games /1992 White Sands / 1992 Fathers & Sons / 1993 Menace II Society /1993 Loaded Weapon / 1993 Amos & Andrew / 1993 Jurassic Park / 1993 True Romance / 1994 Fresh / 1994 Pulp Fiction / 1994 The New Age / 1994 Hail Caesar / 1994 Assault at West Point: The Court-Martial of Johnson Whittaker / 1994 The Search for One-eye Jimmy / 1995 Kiss of Death / 1995 Die Hard with a Vengeance / 1995 Losing Isaiah / 1995 Fluke / 1996 The Great White Hype / 1996 A Time to Kill / 1996 The Long Kiss Goodnight / 1996 Hard Eight / 1996 Trees Lounge / 1997 One Eight Seven / 1997 Eve's Bayou / 1997 Jackie Brown / 1998 Sphere / 1998 The Negotiator / 1998 The Red Violin / 1998 Out of Sight / 1999 Star Wars: Episode I – The Phantom Menace / 1999 Deep Blue Sea - [50 films]   129.    Question: DW vs. SLJ?   130.    Television Scene:   131.    18 Black Sitcoms of the '90s That Changed the Game: Published Jan 24, 2020 - By Damarys Ocaña Perez   132.    Black sitcoms have been popular since classics like Good Times, The Jeffersons, and Sanford and Son hit television screens nationwide in the '70s. But it wasn't until The Cosby Show became a ratings juggernaut in the mid '80s that networks finally saw the potential in investing heavily in sitcoms with black leads.   133.    And so the '90s became a decade in which more black sitcoms than ever made it onto TV   134.    Naturally, given the success of The Cosby Show, a lot of shows that followed featured families. But they didn't just simply copy the formula.   135.    The lives of younger people took center stage as well in the '90s. So, instead of being the token black friend within the larger context of a show, black teens, college students, 20-something professionals became the vehicle for funny and even poignant stories.   136.    The '90s turned hugely talented black comedians and actors into stars who remain household names to this day, and it goes to show the impact that being given a seat at the table and a voice on prime time television can accomplish.   137.    Here are 18 black '90s sitcoms that we love do this day for the impact they had on our lives then and now.   138.    'A Different World' (1987-1993): One of the show's major accomplishments was being among the first to tackle real issues like date rape, racism, and HIV, things that the Cosby Show had avoided. A Different World is the gem that created a bridge to the '90s black sitcom boom.   139.    'Family Matters' (1989-1997): The longest-running sitcom about a black family (it spanned nine seasons to The Cosby Show's eight), Family Matters was not only funny -- especially after introducing super-nerd Urkel -- but managed to balance big laughs with more serious moments. There were episodes that centered around civil rights history and police mistreatment of young black men, and a wide-ranging audience got to see them, thanks to the show's across-the-board popularity.   140.    'The Fresh Prince of Bel-Air' (1990-1996): Nestled between Will Smith's rapping days and his status as one of the world's most bankable A-list movie stars was The Fresh Prince of Bel-Air, which made his a household name and produced one of the longest-running fan debates in TV history on which of the two actresses who played Aunt Viv was the best one.   141.    'Roc' (1991-1994): Before Charles S. Dutton went on to win three Emmys for his work on other shows, he starred in this underrated and brief series that was fairly typical sitcom until the second season, which aired each episode live. Roc was a treat because Dutton and several of the other cast members were trained stage actors.   142.    'Martin' (1992-1997): Martin Lawrence was all edge when he wasn't doing Martin. (One of his stand-up specials was slapped with an NC-17 rating, and he was banned from Saturday Night Live for delivering a hilariously raunchy monologue.) That makes it all the more interesting that on the show Martin, he played a lovably manic man-boy. We lost count of how many characters Martin played on the show (in disguise), each one of them hilarious in their own specific way.   143.    'Hangin' With Mr. Cooper' (1992-1997): This sitcom had a great cast, including comedian Raven-Symoné, Holly Robinson Peete, and Mark Curry.   144.    'Living Single' (1993-1998): The show marked the first time that we saw young black women portrayed as professionals and given well-rounded personalities, have healthy relationships, and pave the way for black female-centered shows - nlike Girlfriends and Insecure.   145.    'Sister, Sister' (1994-1999): There are so many reasons why we loved Sister,Sister, and one of them was that the show would occasionally break the fourth wall and talk directly to the audience, which made us feel part of the action. But the show also had layers that deepened its story: The girls had been the product of an interracial relationship between a black mom and a white dad who never had the chance to marry before being separated in tragic circumstances.   146.    'In The House' (1995-1999): It wasn't the world's best sitcom, but hey, LL Cool J has always been a snack.   147.    'The Parent 'Hood' (1995-1999): One of the four original Wednesday night shows that helped launched the WB (The Wayans Bros was another), what sets the show apart are the whimsical fantasy sequences that the dad dreams up to help him solve family issues in a creative and unexpected way.   148.    'The Wayans Bros.' (1995-1999): In Living Color, it's not, but this sitcom from younger Wayans siblings Shawn and Marlon is still simple fun that doesn't require too many brain cells -- and that can be a good thing.   149.    'Moesha' (1996-2001): Moesha centered around a black teenager diving into deeper explorations of all kinds of relationships and left cliffhangers in several story lines dangling when it was canceled.   150.    'The Jamie Foxx Show' (1996-2001): Fresh off the groundbreaking comedy sketch show In Living Color and before he becoming an movie star, Jamie Foxx starred as an aspiring actor who works at his relatives' hotel.   151.    'Kenan & Kel' (1996-2000): Kenan Thompson and Kel Mitchell were Nickelodeon's first black sitcom stars, having landed their own show when producers saw them joking around on the set of All That when they were series regulars.   152.    'The Steve Harvey Show' (1996-2002): A big highlight is the constant guest star roster that's a who's who of black TV stars and musicians -- like Snoop Dogg, Diddy, Kim Fields, and Ja’Net DuBois of the classic sitcom Good Times.   153.    'The Hughleys' (1998-2002): Two decades before Black-ish tackled a similar premise, The Hughleys featured a family that lives in a predominantly white neighborhood.   154.    'The Famous Jett Jackson' (1998-2001): This show had just 65 episodes but has a special place in our hearts as the first Disney Channel show to feature a black actor as the lead. The immensely talented and magnetic Lee Thompson Young starred as Jett Jackson, a kid who tries to live a normal life when he's not filming. Thompson tragically died at age 29, after struggling with bipolar disorder and depression, but the heartwarming show lives on.   155.    'The Parkers' (1999-2004): It's no surprise that one of the most down-to-earth black sitcoms from the '90s starred Mo'Nique as a single mom who dropped out of high school to raise her baby.   156.    Question: Most Liked Show of the 90’s?   157.    Vote: Best/most important/favorite pop culture item from 1999

Wrestling Inc. Managing Editor Nick Hausman is back to host the latest episode of WrestlingInc.com's podcast, The Wrestling Inc. Daily! Today's episode includes: Christy Olson joining Nick to talk all the pro wrestling news from the last twenty-four hours. Including AEW Dynamite seeing a big dip in viewership, reported controversy backstage in AEW around comments Jim Ross made, WWE management reportedly getting the message with low RAW ratings, Triple H creating an "NXT of NXT", backstage news on Lars Sullivan on WWE TV, Cameron Grimes undergoing surgery, Ben Carter joining WWE NXT UK, and moreNick's interview with Jamie Iovine. Featuring Iovine discussing his upbringing in the music business, meeting Hulk Hogan alongside Marky Mark as a child, working as part of WWE production for a year, why he decided to promote Prochella, the need to save independent wrestling, and moreThe latest installment of the Wrestling Inc. Daily mailbag looking at who you would like to see Asuka team with at WWE TLC

One of the most salient images of America's tattered democracy is Ed Ruscha's Our Flag, a startling painting of Old Glory, shredded and flapping against a dark sky. Ruscha painted it at the request of his longtime friend, music impresario Jimmy Iovine, who has loaned it to the Brooklyn Museum, which has been transformed into a polling place for the 2020 election. Ruscha and Iovine are giants of American ingenuity and success. Ruscha, one of America's most treasured contemporary artists, is known for his California cool aesthetic and stunning word-and-image canvases, and Iovine is lauded for his contributions to music, working with the likes of John Lennon, Patti Smith, Bruce Springsteen, and Tupac Shakur; founding Interscope Records and Beats with Dr. Dre; and launching Apple Music.

https://www.105.net/audio/tutto-esaurito/1265533/al-vostro-servizio-andrea-iovine-presenta-il-suo-disco.htmlhttps://www.105.net/audio/tutto-esaurito/1265533/al-vostro-servizio-andrea-iovine-presenta-il-suo-disco.htmlThu, 02 Jul 2020 14:44:57 +0200Radio 105Radio 105noMarco Galli presenta l'esclusivo Podcast di Tutto Esaurito0:06:00

It is with great enthusiasm that I introduce you to Matthew Manos. He doesn’t just practice at the intersection of design, technology, entrepreneurship and innovation, he teaches you how as well.    He is an award winning design strategist, founder and managing director of VeryNice, a design strategy firm that designs and facilitates workshops for creative problem solving.    He’s also the assistant dean and professor at Iovine and Young Academy, a school at the University of Southern California, that brings together design, business, and technology in order to create the next generation of entrepreneurs and innovators.    Forbes calls him a crazy genius and HOW magazine recognized him as one of the top 100 most influential creatives working today and he’s also the author of, “Toward a Preemptive Social Enterprise.”   In this episode Matthew shares: How he launched a business at 16 years old The role of design strategy How you enhance and nurture a creative mindset The value of being a professor and practitioner The future of social entrepreneurship His plans for the future   There’s a quote by George Bernard Shaw where he says, “You see things; and you say, ‘Why?' But I dream things that never were; and I say, ‘Why not?” Matthew isn’t afraid to dream and he’s created the tools and resources to help make your dreams come true as well. I hope you all enjoy my conversation with Matthew Manos, and as always tag us online and share your thoughts and takeaways.    You can connect with Matthew on Instagram @veryniceinstagram and you can find the resources he mentions at verynice.co and modelsofimpact.co You can connect with me, Sabba on Instagram and Twitter @AskMsQ or visit my website askmsq.com.

Shadow sponsor de l’émission : https://shadow.tech/ - Code parrainage et promo : NOWTECH 1 mois de Shadow à gagner toutes les semaines ► Pour participer : 1 - Suivez le twitter @shadow_France 2 - Postez un tweet "Je veux gagner un #ShadowPC avec #LeMugNowtech pour jouer à ................." (ou utiliser un logiciel si c'est pas un gamer) ► Annonce du gagnant le vendredi sur la chaîne principale : https://www.youtube.com/nowtech Sommaire #LeMugNowtech 070 : 02:00 Le Kawa 02:00 Arnaque et Disney+ en France 05:00 AI de Google et dépistage du cancer du sein 08:00 Streaming musical est dans l'impasse 16:00 MacBook avec haut-parleurs virtuels 24:00 Apple et casque audio porté à l'envers 28:00 Selfies de célébrités et livres de philosophie 32:00 Concours Shadow 35:00 La tartine de Jérôme : Ancien PDG de HBO et Apple TV+ 51:00 Les corn FAQ #LeMugNowtech est une émission quotidienne qui parle de technologie. C'est une revue de presse des meilleurs articles que nous retenons pour nos Flipboards. Elle est enregistrée en Live à 08h00 (heure de Paris) tous les matins de la semaine. #LeMugNowtech du lundi au jeudi sur la chaîne live : https://www.youtube.com/c/NowtechLive et le vendredi sur la chaîne principale : https://www.youtube.com/nowtech ●♦● ABONNEZ-VOUS à nos chaînes ●♦● ►Nowtech Live : http://bit.ly/2weGg0f Revue de presse Tech, Unboxings, reportages, Q&A etc... ►Nowtech : http://bit.ly/19lUGZZ Tests vidéo d'applications mobiles et tech. ●♦● SOUTENEZ LA CHAÎNE ●♦●►En contribuant financièrement : https://www.tipeee.com/nowtechtv A partir de 2€/mois, vous avez accès aux lives privés et à partir de 4€/mois à notre forum privé sur Slack... ►En devenant Sponsors de la chaîne principale : https://www.youtube.com/channel/UCVwG9JHqGLfEO-4TkF-lf2g/join ►Lien uTip Nowtech : https://utip.io/nowtech ►En devenant bénévole : benevoles.nowtech@gmail.com ►D'autres façons de nous soutenir : http://nowtech.tv/soutenir-nowtechtv/ ↓ PLUS D'INFOS ↓ ------------ Nos Flipboards --------------------------------------------------------- ►nowtech.tv : https://flipboard.com/@jkeinborg/nowtechtv-ogcbmgbby ►SHOOT : https://flipboard.com/@jkeinborg/nowtechtv-shoot-p3e5vba1y ------------ Suivez NowTech ---------------------------------------------------- ►Lien Instagram de Jérôme : https://www.instagram.com/jerome_nowtech/ ►Twitter : https://twitter.com/NowTechTV ►Facebook : https://www.facebook.com/Nowtechtv ►Site Web : http://nowtech.tv ►Discord Nowtech Gaming : http://bit.ly/discordnowtech ►►► EN LIVE tous les matins sur la Chaîne ! Nowtech, chaîne indépendante de tests d'applications mobile et de Tech, est présentée par des passionnés qui partagent leurs avis, astuces et conseils. L'idée derrière Nowtech, c'est de vous offrir des tests soignés et divertissants, pas forcément liés à l'actualité et aux nouveautés, mais avec un vrai ton « homemade ». Nous pensons fondamentalement qu'il est important, en tant que consommateurs, qu'un maximum de personnes s'expriment sur les produits et nous avons voulu apporter notre pierre à l'édifice.

Sommaire #LeMugNowtech 070 : 02:00 Le Kawa 02:00 Arnaque et Disney+ en France 05:00 AI de Google et dépistage du cancer du sein 08:00 Streaming musical est dans l'impasse 16:00 MacBook avec haut-parleurs virtuels 24:00 Apple et casque audio porté à l'envers 28:00 Selfies de célébrités et livres de philosophie 32:00 Concours Shadow 35:00 La tartine de Jérôme : Ancien PDG de HBO et Apple TV+ 51:00 Les corn FAQ --- Send in a voice message: https://anchor.fm/nowtechlive/message

Grant Delgatty is the Associate Professor and Chair of Product Design at Iovine and Young Academy at the University of Southern California. A significant portion of Grant's career has been in athletic footwear, where he has led design teams for a number of successful shoe companies. In 2013, Grant founded the company URB-E where he invented a super-compact folding e-vehicle designed as a 'last mile' transportation solution for urban commuters. Over 6,000 URB-Es have been sold and shipped to more than 40 countries worldwide. From 2007 to 2018, he taught at ArtCenter, his alma mater.  Grant holds several utility and design patents has won many awards for his designs, has been published extensively, and was included on the list of Southern California entrepreneurs to watch for 2015.

What should we make of yet another party app marketed to USC students? And what will the newly christened Iovine and Young Hall mean for students of the prestigious, and often secluded school, as well as students outside it? Podcast staffers Nayeli Ayala, Shreya Gopala and Leslie Hwang report. Music by Joakim Karud.

We had the pleasure of speaking with Cathy Heller, the host of Don't Keep Your Day Job podcast. Cathy shares her incredible story of escaping her childhood struggles to pursue her passion, and how she manifested her dream of a major record deal — only to lose it. She shares how she bounced back full-circle and built a career doing what she loves, created a course that has generated millions of dollars and has helped thousands achieve wild success in the music industry, and started a top-rated podcast listened to by millions of people. Cathy gives advice on shifting your mindset, persevering through difficult times and having the courage to go after your dreams.    Connect with Cathy on IG @Cathy.Heller Connect with us on IG @ConsciousManifesto   Bluehost discounted offer + 24/7 support, FREE domain name for 1 year, FREE SSL certificate, and 1-click Wordpress Install: https://www.bluehost.com/track/consciousmanifesto/  

After yet ANOTHER long hiatus, we're back... again!Join the TGS crew and special guests Jamison Iovine (Texas Runaway) and Shaun Q (The Bar Bros) as we review Captain Marvel and talk about some of the latest trending topics in entertainment news, including GoT, Brightburn, Disney+ and more.Also in this episode:TGS picks of the week (or months, since we've been gone awhile!)Today’s podcast is brought to you by:Atom Tickets - Get $5 off your first ticket purchase here: tgs.promo/ATOM (enter code SQUAD at checkout)Be sure to subscribe to the show on any podcast provider, and give us a friendly follow on the social media network of your choice!Buy some new merch from our store! - tgsmerch.bigcartel.comGot a tip? Email us ► erik@thatgeekshow.comFollow us on Twitter ► twitter.com/thatgeekshowLike us on Facebook ► www.fb.com/thatgeekshowFollow us on Instagram ► instagram.com/thatgeekshowGuests:Jamison Iovine: texasrunawayband.comShaun Q: facebook.com/therealshaunq, instagram.com/the_bar_brosMichelle NoriegaHosted by Erik Lucas: twitter.com/erikdlucasSeries Created by Erik Lucas and Jhovani Estrada --- Support this podcast: https://anchor.fm/thatgeekshow/support

El segundo larga duración del grupo conformado por la escocesa Manson, el productor de 'Nevermind' de Nirvana Butch Vig, Duke Erikson y Stever Marker fue la conexión entre el bajo mundo de la electrónica y el rock de ahí su nombre, 'Version 2.0', que vaticinó - junto a otras grabaciones de la época como 'You've Come A Long Way Baby' de Fatboy Slim, 'The Fat Of The Land' de The Prodigy y 'Mezzanine' de Massive Attack - el comienzo de la era moderna, la desaparición del CD y el final del siglo veinte musical. La diva de Garbage cuenta cómo el grupo logró estatus de celebridad sin perder la independencia y cómo nunca, a pesar de la presión, decidieron meterse al mundo del hip hop para mantenerse vigentes.  Este episodio es patrocinado por el BOmm, cuyas inscripciones están abiertas hasta el 8 de junio.

Bruce Springsteen, John Lennon and Patti Smith are just a few of the artists who trusted an inexperienced recording engineer, Jimmy Iovine, at the controls of their albums in the '70s. Iovine discusses a new documentary series The Defiant Ones, in which he looks back at 40 years in the record business: from those early beginnings, teaming up with hip hop artist Dr Dre, creating the Beats audio brand and running Apple Music.Award-winning Irish novelist Donal Ryan on his fifth novel, From a Low and Quiet Sea, which tells the story of three men, from war-torn Syria to small-town Ireland. Three apparently disparate stories that come together in the most unexpected of ways.An international competition for young singers, The Glyndebourne Opera Cup is being televised this week. Samira talks Maria Mot, one of the jury, about what she's looking for in such a wide range of voices and styles and its appeal to a younger audience of opera aficionados.Today is the spring equinox and through the day Radio 4 has been broadcasting new poems to mark the (official) start of the season when life quickens. On Front Row we welcome, with a poem each, Caleb Femi, the Young People's Laureate for London, and Scotland's Makar Jackie Kay.Presenter Samira Ahmed Producer Harry Parker.

After nearly five decades of success and history making moments in the music business, it is safe to say that Jimmy Iovine is a veritable institution. The relatively reserved music executive---who most notably co-founded Interscope Records and later co-founded BEATS By Dre---chronicled his rise in ranks in the GRAMMY® winning 2017 documentary The Defiant Ones. In this installment, Scott Goldman chats with Iovine and doc’s director Allen Hughes. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

If you are not a marketer or work with marketing folks, you are probably not aware of the importance of authenticity. Companies are constantly challenged with finding ways to connect in a genuine and meaningful way. Some brands, like Nike and Apple have mastered the art of authenticity when it comes to representing their brands. The marketing landscape is evolving more now and quicker than it ever has before, and the customers are getting smarter and aware of the products around them. You can't just throw dollars at your brand... you have to connect with customers. Today I sit down with the Head of Data and Analytics at PMG, Dustin Engel and we walk through the recent history of Beats and how it went up against the big boys and eventually became one of them. We talk about the difference some companies make and why they understand how to make that connection better than others. Apple has spent less money on advertising for their phones and iTunes than their competitors, and they have focused that money on experience. Store experiences. How do you make the store a part of the sales process? Apple has a unique way of making the shopping experience authentic, Apple has figured out to charge people premium prices and have created a luxury brand that is being consumed by the masses. They have bucked traditional trends of focusing on premium customers with higher margins and leaving the lower margin customers behinds. If customer experience is about delivering a consistent experience, then many companies have proven that. Where do these leaders fear disruption? What does Apple see on the horizon? What are they seeing around the next corner? SHOW NOTES Dustin Engel is the leader of the Advanced Media Team (data activated media) and the Analytics and Data Science Team at PMG Advertising Agency. In this episode we talk about his journey from aspiring Marine Biologist to a career in Digital Marketing. We get his perspective on many aspects of digital disruption, including beacons, Apple's next big move, airline fee's and late fee's.  We talk everything from Dr. Dre and Trent Reznor to Angela Ahrendts the Sr Vice President of Retail at Apple who used to be the CEO at Burberry. We talk Lebron, Neymar and Winning Moments That Matter with Beats by Dre headphones. Check out episode 109 for the deep dive with Dustin on Blockbuster Please subscribe and leave a review. www.wordsofmassdisruption.net   Instagram   |   Twitter   |   LinkedIn

Join the Acquired Limited Partner program! https://kimberlite.fm/acquired/ (works best on mobile) Acquired crosses the half-century mark with an instant classic: Apple’s 2014 purchase of Beats, its largest acquisition ever. If you knew Beats as just another headphone company, think again—the history on this one will keep your heads ringin’. SF Acquired Meetup! * Mark your calendars: we’ll be hosting an Acquired Meetup in SF the evening of January 18, 2018. More details to come soon. Carve Outs: * Ben: HQ * David: Wooden on Leadership Sponsor: * Thanks to Perkins Coie, Counsel to Great Companies, for sponsoring this podcast. You can get in touch with Nick Ferrer, who you heard at the beginning of this podcast, here.

El DJ de radio más importante del mundo curiosamente no está en radio, sino en Beats 1. Luego de comenzar su carrera vendiendo discos en el Record Exchange de Londres tras migrar de su nativa Nueva Zelanda en 1997, Lowe pasó a las nóminas de MTV 2 a hacer programas como ‘Gonzo’ y ‘Brand: New’ y luego de eso, incursionó en la radio en emisoras como X FM y Capital FM.   Su dedicación a la música, su pasión por los artistas y su compromiso como radiodifusor lo llevaron a hacer parte del “dream team” de la BBC Radio 1, donde desde 2003 hasta 2015 ocupó los primeros lugares de la sintonía en el horario de 7 a 9 PM. Bajo la bandera de “In New Music We Trust”, Lowe se convirtió en un micrófono esencial para la música moderna, extendiendo el mensaje de Adele, Arctic Monkeys, Gnarls Barkley y muchos más a una audiencia de más de 10 millones de personas diarias en el Reino Unido.   Sus propósitos profesional y humano lo llevaron ahora al streaming, donde encabeza la avanzada de Apple hacia el liderazgo del negocio de la música con Beats 1, estrategia de radio online del servicio de streaming Apple Music, un agresivo competidor con 20 millones de usuarios suscritos en tan solo 2 años, sin duda el más fuerte contrincante de Spotify en la batalla por hacer de la música alquilada un negocio comercial y global.   Luego de un par de años de buscarlo para hablar con él, Zane finalmente accedió a darme esta entrevista en su oficina en las instalaciones de Apple Music en Culver City, California luego de su programa, que se emite en vivo desde los estudios de Beats 1 todos los días de 9 a 11 de la mañana horario de la costa pacífica y se puede escuchar a través de la app Apple Music gratis en vivo y a la carta por una suscripción mensual.   Acompañado de una vela aromatizante y el ronroneo del aire acondicionado de fondo en el abrasador verano californiano, la charla con Zane abarca todas las preguntas que se me ocurrieron como colega hacerle a una súper estrella de la radio, y a quien considero es verdaderamente “El Ultimo Discjockey”.

When talking about girlfriends, no one has more insight than the original “best girlfriend” herself – Vicki Iovine! Author of the “Girlfriends Guide” series, Vicki has guided a slew of women through pregnancy, motherhood, toddlers, and even getting their groove back! She shares how she started writing for girlfriends from a practical standpoint, peppering her stories with her hilarious take on all the things women face. She also shows us her perspective on how “lifetime” girlfriends bring us joy, strength and a lot of fun. 

Gil is joined by Jamie Iovine (DJ, Wrestling Sheet Radio, CRO of Meltdown Comics)!

If you enjoy this podcast, consider buying me a coffee: https://adamstoner.com/support ‘Defying Conventions: Is Beats 1 Redefining Radio?' was originally submitted as part of a University of Gloucestershire Radio Production module. With the exception of two small typographical changes, this essay is posted exactly as it was submitted. Appendices have been redacted but bibliography and in-line references remain – get in touch if you need to chase anything. Apple's annual World Wide Developer Conference is a showcase of the company's latest software and technology. Described by CEO Tim Cook as the ‘epicentre of change', 2015 marked their ‘most global conference ever' (Apple, 2015), a fitting stage to announce their new ‘worldwide' and ‘always on' internet radio station, Beats 1. The announcement of Beats 1 came as a footnote to an addendum. The presentation mainly dealt with Apple's latest technological offering, ‘Apple Music' – a streaming service and social network combined, of which the radio station is merely a subsidiary – rather than with Beats 1 Radio directly. Nevertheless, speaker, record producer, and entrepreneur Jimmy Iovine painted it as a nod to the company's history; the minds behind the iPod and media software iTunes were returning to the grassroots of music sharing: radio. This essay will look at the early success and criticisms of Beats 1. It will do this by examining how the station defies established radio theory and is helping to evolve the medium both technologically and stylistically. It will contextualise these findings in the form of current industry practice, as well as what pressures the station may put on commercial and public service radio broadcasting in the United Kingdom. The essay aims to explore the timing and reasons behind the inception of the station and will raise questions behind its ideology. It will draw on a range of practitioner, academic and secondary sources as well as personal listening and theorisation in order to explore whether Apple's Beats 1 is ‘redefining radio'. Defining Radio From the offset, a couple of basic but important distinctions need to be made. As the Radio Advertising Bureau reflect in their 2014 report Audio Now (p.10), new forms of audio are continually emerging. The report highlights three main forms of consumer-level audio, with the latest — ‘on-demand' — being less than ten years old: ‘Owned audio': Here, the consumer owns the physical or digital audio format. This may include digital downloads, gathered legally or otherwise, or physical copies of the sound, such as CD, cassette or vinyl. ‘Live audio': This is the oldest of the three forms. The report refers to it as ‘live radio' but for the purposes of this essay we shall expand its definition to all audio consumed in real-time, as it is performed or transmitted. ‘On-demand': The newest of the three and the most complex to define due to its multifaceted nature. This encapsulates audio where the consumer does not have the original file and listens in isolation. Examples cited in Audio Now include streaming services, podcasts and YouTube videos. This notion of ‘owned audio' can be entirely discounted when discussing Apple Music as a standalone product; the user never gets physical access to the music files, just the right to stream them in exchange for a monthly membership fee of £9.99. The second and third definitions – ‘live audio' and ‘on-demand' respectively – are vital when addressing Beats 1 and Apple Music's other ‘radio'-esqué offerings, the definition of which has been somewhat corrupted by modern-day ‘on-demand' music streaming services. ‘Radio', as understood by the likes of Spotify, Deezer, Pandora, or similar, is intrinsically different from the traditional and well-established institution of radio broadcasting. This is not to say traditional radio is out-dated – far from it – but that ‘on-demand' services have appropriated the name of the medium and have used it incorrectly. There are multiple differences between the two, with the most notable being that the more traditional notion of radio broadcasting features human presence. Chignell (2009, p.33) explains people ‘add meaning' and context, and also provide a sense of co-presence. This is the complete antithesis of so-called ‘radio stations' on streaming services which strip broadcasting of its ‘essential element' (Priestman, 2006, p.36): human-to-human contact. As Corderio (2011, p.499) highlights, there is a long line of radio theorists who contend ‘music playlists, without human interaction, should not be confused with radio', and that radio can be easily defined as public, point-to-point_s_ broadcasting. Priestman describes the aforementioned, human-bare stations as ‘automated web “jukebox[es]”' and for the purposes of this essay, these on-demand web-jukeboxes will be called exactly that. iTunes Radio – the 2013 predecessor of Apple Music – was one such service. Allowing users to create ‘stations' around a single artist or band, algorithms mixed content from one band with similar material by similar artists. As Baldwin (2013) reports, iTunes Radio let users ‘rate the songs (…) as they stream[ed]', thereby learning individual preference in order to modify the output to better suit taste. While iTunes Radio was by no means a failure, algorithms, as Iovine himself admits, ‘can't do it alone' (Dredge, 2015). While movements in the realm of acoustic and computer science are moving in the right direction, machines currently fail to recognise mood, thus playing inappropriate or mismatched tracks sequentially, and cannot provide all important context. Enter Apple Music. While the newer service still contains web-jukeboxes, Apple makes a clear point of distinguishing Beats 1 Radio from them. In the native Music application on iOS, a graphic inviting people to ‘Listen Now' takes centre stage (appendix; a), occupying well over 50% of the screen space. Not only does this force automated-jukebox stations to exist several swipes away but it also separates Beats 1 from these lesser-refined services. The Beats 1 landing page on the Apple website makes a further point of highlighting this distinction by defining the true meaning of radio itself: ‘No matter where you are or when you tune in, you'll hear the same great programming as every other listener' (2015b). This reinforces a concept Chignell (2009, p.74) writes about, co-presence, a theory Scannell and Cardiff (1991) highlight, imagined community, and Marshal McLuhan's Global Village, ‘one world connected by an electronic nervous system' (Stewart, n.d.). Irrespective of scale, collective listening is precisely what radio is all about. As a technology company, there are technological considerations to take in to account when defining what ‘radio' means to Apple. As the smartphone market leader (Forbes, 2015), it is fitting of Apple to create a station that is marketed at, and primarily received on, mobile devices. According to a 2015 report from the International Federation of the Phonographic Industry, the digital music industry is worth $6.85 billion worldwide per annum (IFPI, p.6), with ‘music subscription services' accounting for 22.75% of revenue. On the other hand, ‘radio is a massive $20 billion industry' (Truong, 2015). At a time where physical format sales are declining (IFPI, 2015b), where the revenue share of music streaming is growing exponentially, and where radio is still ‘able to command the largest share of the listening ear' (Lloyd, 2015, p.293), Apple wants in. Moreover, there are some strong statistics to suggest mobile listening is quick becoming a force to be reckoned with. ‘31 minutes a day is the average amount of time spent listening to music on a phone', Global (2015) claims, and ‘65% of “digital audio” streamers' – both live audio and on-demand consumers – ‘listen with head[/ear]phones'. Undoubtedly, radio is an intimate and personal medium, esteemed by consumers (McLeish, 2016, pp.3 to 6). To further emphasise this, by interacting through earphones, listeners are choosing to place broadcasters in their ears, to make the broadcast a part of their body, a sacred trust and one only radio could garner. Global also claim ‘44% of 35-44 year-olds' stream music over tablet devices. Logically, what with early adoption rates and increased technological competence in younger generations who have grown up with this hardware from an early age, this number will only be higher in the 15 to 24 and 25 to 34 demographics, precisely the age of consumer Apple is attempting to capture with Beats 1 Radio. Defying Radio In the words of both Finer (2003, p.32) and Castelles (2003, p.17), the internet is the world's first international radio frequency. Apple not only advertise Beats 1 as being ‘worldwide', but as ‘a truly global listening experience', letting audience members discover ‘what's going on in the world of music'. While parts of this statement are correct – the station can be received in 100 countries around the world (Apple, 2015c), although that is only 51% of the planet – the overall sentiment could not be further from the truth. At present, the BBC World Service is the world's largest international broadcaster (House of Commons, 2010, ev.11) serving over 188 million people per week (BBC, 2009). Whilst the on-air content of each station cannot be compared – the BBC World Service is primarily a news and informational platform, while Beats 1 is purely a music station – there are, in terms of scale, many similarities. Evident from its marketing decisions and branding, Apple's goal is for Beats 1 to adopt an audience of ‘World Service' magnitude – ‘truly global', ‘worldwide'. However, in the same way Beats 1 broadcasts from exclusively Western locations – New York City, London, and Los Angeles – yet claims it is a ‘global' voice, the BBC World Service soldiers in a similar vein. The Operating Agreement of the World Service (BBC Trust, 2012, p.6) sets out English language services as their ‘core offer' and designates 75% of overall output worldwide to English language programming each week. Even the name of the BBC World Service contains a jarring juxtaposition, seating ‘British' and ‘World' two words apart. On the other hand, ‘beats' – acoustically speaking – know no borders and are not unique to any specific genre of music. Here, Beats 1's lack of cultural identity, as far as the name of the station and the simplistic graphical signifiers and branding it uses, allows the station to be transient in nature. However, as O'Malley (2015) reflects, this ‘ill-defined genre remit' hasn't come without criticism – He goes on to state ‘if you make content so broad, it becomes meaningless'. Beats 1 contradicts Priestman's (2006, p.233) argument that ‘web radio works best as a narrow-cast or niche medium' and Nyre's argument (2008, p.192) that music radio stations attempt ‘to attract niche audiences'. Roy Martin, managing editor of Radio Today, claims Beats 1 threatens ‘specialist music stations such as 1Xtra, Kiss [and BBC Radio] 6 Music' (2015). The breadth of music these stations play is replicated on Beats 1 without advertisements or pressures to fill remit goals. Contrasting Martin's sentiment, BBC Radio 1's controller Ben Cooper – who has lost two talents: Head of Music George Ergatoudis to Spotify (Lunden, 2015) and Lowe to Apple – claims ‘a rising tide lifts all boats' (Griffiths, 2015). Martin continues, ‘the likes of Radio Plymouth, The Bee [Lancashire] and Clyde 1 [Glasgow]' need not feel at risk, despite Beats 1 being billed as ‘the world's local station' (Quartz, 2015). Although Beats 1 can attempt to masquerade as local radio, when it comes to discussing truly local news and events, even at its closest level of inspection Beats 1 has to take a national view for fear of alienating other listeners. Locality is what makes radio work and Beats 1, with its syndicated, single, linear programming which never once breaks out in to local titbits, cannot possibly achieve the same effect on its desired scale. The on-air content of Apple's Beats 1 behaves as a BBC Radio 1Xtra and Radio 6 Music hybrid. The station is clearly attempting to promote ‘challenging, innovative' (BBC Trust, 2012b, p.2) music, with a distinctive focus on ‘contemporary black music (…) rarely heard elsewhere' (BBC Trust, 2015, pp.2 to 4), as the aforementioned BBC stations also reflect in their respective remits. Introducing challenging music comes with the need to reason track selection and explain why the creation deserves respect. BBC Radio 6 Music achieves this through interviews and technical discussions, many of which deconstruct musical theory, and through detailed back-announcements that may include the name of record labels, similar musicians, and artist influences. BBC Radio 1 Xtra achieves the same effect by discussing the artists' potential influence in relation to black British culture. This form of education, required by remit, is evident in the plays-per-day of each station, with BBC Radio 6 Music totaling an average of 172 plays per day and 1Xtra averaging 159 (Last FM, 2016, 2016b). The breaks are filled with news, documentaries and interviews. This is a stark contrast to Beats 1, a station that plays an average of 300 songs per weekday, peaking to 600 on weekends due in part to ‘high-track-turnover DJ mix shows that play during prime party hours' (Quartz, 2015). The on-air schedule of Apple's Beats 1 Radio is unlike any other station. Those familiar with radio will be aware of dayparting, ‘the practice of segmenting the broadcast schedule in to blocks (…) programmed for unique audience demographics and listeners' daily habits' (Piasek, 1998). Dayparting helps broadcasters provide more of that all-important context Chignell (2009, p.33) discusses. Nielsen Audio (2015, p.23), one of several U.S. audience rating services, divides a weekday into five such parts. Having slightly adjusted the times for an audience based in the United Kingdom, those dayparts are as follows: 0600 to 9000: Breakfast 0900 to 1600: Daytime 1600 to 1900: Evening Drive Time 1900 to 2300: Late Night 2300 to 0600: Overnight (colloquially known as the ‘graveyard slot') James Cridland believes (2015) ‘it makes no sense putting the money into a great breakfast show (…) because the timezones mean it's always breakfast somewhere'. Beats 1 replays its three flagship programmes – Zane Lowe, Ebro Darden, and Julie Adenuga – on a twelve-hour loop, thus hitting both eastern and western-based audiences with all three shows in any given 24-hour period. The rest of the schedule is comprised of irregular and one-off programmes fronted by musicians from Elton John to HAIM, and organisations like Noisey and Pitchfork. This pre-recorded content, masquerading ‘as live', is broadcast at times relevant to the market Apple is attempting to target. For example, St. Vincent's programme is played at 3 a.m. GMT, 7 p.m. PST (American East-Coast) and 11 a.m. CST (Mainland China), evidently targeting listeners in the Americas and Asia rather than the United Kingdom. Whilst this may seem a strange idea, it works. One of radio's early strengths, the art of ephemeral broadcasting, is being eroded in the age of podcasting, ‘owned audio' and ‘on-demand'. With this comes a pressure for more refined content – producers now must craft sound not only for initial impact, but also for replay value. Transmitting great content once then losing it to the ether is neither cost effective nor clever. LBC – a commercial, London-based news and talk station – is one of the first in the United Kingdom to implement pay-for catch-up services. Subscription services on a rolling monthly basis cost £3.99 (AudioAgain, 2014). In comparison, Beats 1 offers the same catch-up method: pay to become an Apple Music member. ‘While it doesn't quite provide the experience of listening to the show live, (…) every DJ will post a set playlist for their show a few hours after it ends' (iMore, 2015). Most commercial radio stations are yet to offer on-demand catch-up services at all, but some, like Fun Kids – the UK's only radio station aimed at under-12s – have in excess of 80 podcast channels (Think Fun Kids, n.d.). It is as-of-yet unclear whether the pay-for catch-up model works well enough to warrant the long-term investment required by commercial radio stations in order to develop distribution platforms. However, empowering the consumer through this medium provides another point-of-entry to the station and rewards active consumers with the opportunity to replay their favourite moments from past programmes, or to store the show for posterity. Given the high profile musicians Beats 1 has access to and the respective fan-bases of those musicians, Apple's move is clearly another call to subscribe. Once an interview or programme has been broadcast, the only way for dedicated fans to hear that content again – or catch-up, if they missed it first time around – is to pay. Apple know many fans have a fear of missing out, desperate to hear content from their favourite creators, therefore can reasonably assure themselves a select number of subscribers by providing exclusive content hidden behind paywalls. Redefining Radio Being owned by a multinational, technological giant has its advantages. While the equipment Beats 1 uses to broadcast is the same as any other digital radio station, the techniques are certainly groundbreaking. Beats 1 is available in two stream formats, 64 kbps and 256 kbps (Painter, 2015) AAC, superior to DAB's MP2 streams which vary from 64 kbps – for stations including Absolute Radio, Amazing Radio and BBC Radio 5 Live – to 192 kbps – used exclusively by BBC Radio 3 (Laird, 2015). With concern to mobile devices, where the vast majority of stations stream second-by-second, Beats 1 utilises the new HLS streaming format. HLS is HTTP Live Streaming, a new communications protocol developed and implemented by Apple (2014). Designed to be adaptive, devices request stream information in packets of varying quality, and, if at any point diminished bandwidth or download speed causes stress to the stream, devices will request the next packet in a lower quality. This creates the effect of zero buffering, allowing for a smooth and more dynamic listening experience. The highly customisable nature of mobile phones makes this next statistic hard to measure but assuming a couple of reasonable conditions – that a user has biometric Touch ID enabled and has not moved the Music application from the factory default setting in their iPhone's docking bar – an ordinary mobile user can become a Beats 1 listener in only four taps. If Siri's newer hands-free function – ‘Hey Siri' – is enabled, a user can become a listener without even having to touch their device (appendix; b). In stark contrast to popular radio streaming applications such as TuneIn or RadioPlayer – two of numerous for desktop and smartphone – Apple forces consumers to use their dedicated Music application in order to hear Beats 1. The reason behind this decision is simple: Apple is a lover of control; proven by the fact Beats 1 audio steams are encrypted. The keys to decrypt the audio streams lay within the Music application itself. When addressing Apple's design decisions, the company has previously been accused of attempting to create a ‘totalitarian monoculture' (Bissell, 2008), a statement that is hard to defend Apple against. Indeed, in order for a listener to switch from Apple's Beats 1 to a potential rival – say, BBC Radio 1 or Capital FM – they would have to conduct at least eighteen further interactions with their device, first by launching a non-native iPhone application, then by having to search for the station before launching it, an overwhelming contrast in user-friendliness from the potential hands-free starting of Beats 1. Matt Deegan – radio practitioner and Creative Director of Folder Media – emphasised this, explaining the inception of Beats 1 is a move to ‘keep people in the Apple Music ecosystem' (University of Gloucestershire, 2015). On December 29th 2015 it was reported (RadioToday) Beats Electronics LLC., a division of Apple and the owners of the Beats brand, had put in a bid to internationally trademark the names of four potential new stations, Beats 2 through 5 and respective station logos ‘B2' through ‘B5'. Whilst Apple has made their intention to expand its radio arm clear (Billboard, 2015), it is unknown whether the filings are just a protective measure to prevent others piggybacking the Beats Radio brand. In the United Kingdom, the government-approved communications and competition regulator Ofcom, can step-in to ensure monopolies of broadcasting remain fair. If a station like Beats 1 wanted to broadcast on FM, AM, or even DAB, there's a high likelihood that Apple – with their marketing budget in excess of $1 billion USD (United States Securities and Exchange Commission, 2012) and end-goal of creating several ‘Beats'-branded stations – would not be in receipt of an license. This is where broadcasting solely online has measureable advantages, namely in the lack of regulation. Under the sole condition Apple pays for the rights to stream music in the 100 countries Beats 1 is playable from, there are no further restrictions. Although indecency regulations do not apply to its online streams, Apple still chooses to play non-explicit, clean, radio-edited versions of tracks 24/7. ‘[C]ensoring explicit language could be a matter of playing it safe rather than hoping the content flies everywhere it's played,' Kastrenakes (2015) believes, ‘it's likely a way to stay in advertisers' good graces — and it's certainly possible that ads will show up on Beats 1 eventually, especially since it's available for free', he adds. Where a track has a particularly high number of expletives, presenters signpost the non-censored version as ‘now streaming on Apple Music', a call to subscribe to the service for uncensored content ‘as the artist intended'. As Priestman (2006, p.3) reminds us, ‘[r]adio was supposed to mean the end of newspapers [and] television was supposed to mean the end of radio', but as is now evident, newer mediums change their predecessors but do not replace them. Criticism aside, Apple has made some logical additions to the visual and multimedia assets accompanying radio. Beats 1's metadata – ‘data that provides information about other data' (Merriam Webster, n.d.) such as what is playing on the station – is visualised on the iPhone lock-screen (appendix; c, d). If users are Apple Music subscribers they can ‘favourite' tracks, add them to personal playlists for offline ‘on-demand' streaming, and share the station via social media channels. Moreover, the synergy Apple's Beats 1 manages to achieve by embedding its content within the native Music application is unrivalled. Presenters regularly direct listeners to their ‘Connect' pages – the social networking arm of Apple Music – to see content complimentary to on-air discussions. Apple's monopolistic attitude over its content pays-off here, where the dynamo and fluidity of content publishing aids the sense of liveness. While it is clear to see Apple have brought many innovations to the worlds of technology and of music – and is continuing to experiment, along with on-demand streaming services, with the power of radio – I am unconvinced Beats 1 poses a threat to traditional notions of radio broadcasting. I believe Apple has missed a trick by failing to make the station more revolutionary. The stream is ‘live' but its DJs are not, the station is ‘global' but radio works best locally. It is entirely within Apple's capabilities to syndicate international programming with local break-offs, in the same way Heart FM syndicates a national breakfast show with regional news and travel. Similarly, Apple could easily syndicate its presenters across several genres of station, unifying links but playing different tracks, thus narrowcasting to niche audiences while still maintaining an overall brand identity. Absolute Radio's ‘Project Banana', piloted during Christian O'Connell's breakfast show, adopts this method, handing consumers the power to ‘choose the music to suit their tastes, while enjoying and interacting with the show's hosts' live (MediaWeek, 2014). While the station certainly has had success in marketing itself as a ‘breakthrough', in the words of James Cridland (2015) ‘I'm not sure it'll set the world on fire'. Moreover, the move to launch a radio station has attracted many critics, one of which stated it was ‘a terribly exclusive vanity project' (O'Malley, 2015), a statement I'm inclined to agree with. Matt Deegan is correct; Beats 1 is an advertising space for Apple Music, and contains measureable disadvantages for non-subscribers. Nevertheless, Beats 1 does pose serious questions for Station Managers and Radio Futurologists alike, namely around sharing multimedia content, ideas of exclusivity and privilege, and scheduling for maximum impact. Where Beats 1 excels, such as in technological competence and innovation, it is my opinion more traditional stations fall far behind. Here, they really are ‘redefining radio'. In this digital age, stations need to strive for technological excellence and Beats 1 is a prime example. This is not shocking, as the biggest and most valuable technology company in the world owns Beats 1. It is just a shame that, as far as content is concerned, where other stations excel, Beats 1 misses the boat. 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It’s all happening!  WWDC 2014 is right around the corner, and if recent rumors are true, Apple’s about to make major moves into your home with iOS 8—we’ll fill you in.  Plus, the Apple/Beats deal is a reality, and the news hits right as we’re recording.   And don't miss an all new CultCast 2nd Hour.  We'll be speaking to popular Youtuber Jonathan Mann, who, for the last five years, has written one song every. single. day.  We talk to Jonathan about the inspiration, perspiration, and agony of making art, and what it was like to have his songs unexpectedly featured by Steve Jobs at one of Apple's most infamous press conferences. Our thanks to Slingbox for supporting this episode! Slingbox is the best way to watch your TV anywhere, and brings your cable set-top box, satellite receiver or DVR, right to your favorite mobile device, wherever you are in the world. With no monthly fees.  Check it out at http://slingbox.com/cult, and get $50 off plus free shipping on a new Slingbox.

This week: two incredible Apple artifacts hit the auction block; the Govern-na-tah uses iPad for shirtless selfies; Oompa-loompas leak iPad Pro pics; why the Beats acquisition could be all about video; Woz sets the FCC straight on net neutrality; and a popular travel app you should definitely download like, right now. Our thanks to Smile Software for supporting this episode!  If you haven't tried TextExpander from Smile software, you’re missing out on one of the most useful apps available for the Mac and iOS.  TextExpander saves you time and effort by expanding short abbreviations into frequently-used text,  pictures, code blocks, and more, and it's an application we use every single day.  Try it out for free at http://smilesoftware.com/cultcast WWDC Keynote - they’re gonna have one at 10am June 2nd Apple’s original rainbow office signs hit the auction block Read more at http://www.cultofmac.com/279529/apples-sign-auction/#2hw6u2lJJgLFPITO.99 iPad selfies gone wrong: Arnold Schwarzenegger edition Read more at http://www.cultofmac.com/279926/caption-contest-arnold-schwarzenegger-taking-ipad-selfies/#m639ZUEZMv6OR71Z.99 Insanely huge iPad Pro dummy part leaks out of China Read more at http://www.cultofmac.com/279434/insanely-huge-ipad-pro-dummy-part-leaks-china/#MSPxC5j4SsgXZpT0.99 Apple bought Beats for video, suggests Steve Jobs’ biographer Read more at http://www.cultofmac.com/279728/apple-bought-beats-video-says-steve-jobs-biographer/#bOkq2ITUgoxR4cBG.99 Google snatches up Word Lens, the most magical translation app for iPhone Read more at http://www.cultofmac.com/279486/google-snatches-word-lens-magical-translation-app-iphone/#kgPHomBS 

This week, the FCC hears your Net Neutrality concerns, Twitter gets less tweety, Dogecoin suffers much hack, so heist, Why Apple may be banking on Beats Electronics,  the Google court ruling that could change the web, and more... Favorite Tech Story of the Week Andy: Desperate Microsoft removes Xbox Live Gold paywall for Netflix, Hulu, other web services Tosin: MIcrosoft says XBox can be sold without Kinect Dwayne: Alibaba's IPO largest Tech offering ever. But what is it? Headlines FCC Head to Revise Broadband Rules Plan Twitter Is Adding an Option to ‘Mute' People The popular online wallet Dogevault is offline, large amounts of Dogecoin appear to have been stolen Google Must Honor Requests to Delete Links, E.U. Court Says EU Court Rules Google Should Edit History Audible Book of the Week The Big Payback: The History of the Business of Hip-Hop by Dan Charnas Sign up at AudibleTrial.com/TheDrillDown Music Break: The Next Episode by Dr. Dre Hot Topic: Apple Beats Apple kicks off its big in-store iPhone upgrade event Apple reportedly planning to add split-screen iPad multitasking in iOS 8 Turn the Beat around! Why Apple buying Beats for $3.2 billion makes sense Did Dr. Dre just confirm that Apple is buying Beats for $3.2 billion? Dr. Dre, Jimmy Iovine expected to take on senior roles at Apple as part of Beats acquisition Music Break: This Is The Best Burrito I've Ever Eaten by Parry Gripp Final Word Google Glass on Sale Again The Drill Down Video of the Week Tiny Hamsters Eating Tiny Burritos Subscribe! The Drill Down on iTunes (Subscribe now!) Add us on Stitcher! The Drill Down on Facebook The Drill Down on Twitter Geeks Of Doom's The Drill Down is a roundtable-style audio podcast where we discuss the most important issues of the week, in tech and on the web and how they affect us all. Hosts are Geeks of Doom contributor Andrew Sorcini (Mr. BabyMan), marketing research analyst Dwayne De Freitas, and Box tech consultant Tosin Onafowokan. Occasionally joining them is Startup Digest CTO Christopher Burnor.

If all the reports ring true, Apple is about to embark on their largest acquisition ever, and the ramifications could be massive. And on this episode of The CultCast, we dissect the Apple/Beats merger, and ask the questions: what could Apple possibly have planned for the worlds most popular headphone brand?  Are new wearable headphone tech a part of Apple's future?  And most importantly, could the Doctor D-R-E be Apple’s next CEO?     Strap on ya gats, ya’ll...   Thanks to Lynda.com for sponsoring this episode!  With over 2,000 high quality video courses taught by industry-leading experts, Lynda.com will help you master virtually any application, all on your own time and at your own pace.  Learn all you want for free for 7 days with a free trial.  Try it now at http://lynda.com/CultCast

Dr. Dre is awesome but neither he nor Maria Carey's ex, Iovine, are not techies and Apple needs to keep innovating with tech, not celebrity marketers on their payroll. This acquisition of Beats at this time and place for this kind of money is indeed yet another indicator that we are in my App Revolution Stock Market Bubble, capitalized because it just keeps getting bigger. I sure wish Apple were spending that money and time on much-needed improved operating systems and mind-blowing features for their gadgets instead of buying a fashion accessory tied to music app company instead. That said, Apple remains one of my biggest positions since I'd recently built it back up a few months ago and I'm holding that position steady because they still have a lot more going right and are cheap enough that I still like the risk/reward for the next couple years at least in the stock.

Paul Pratt (aka Pollo Del Mar) joining Nick Hausman to discuss the Kevin Dunn - WWE note that is making the rounds, Bryan Danielson's WWE exit, Bray Wyatt's latest tease and scrapped WWE plans, Charlotte Flair's response to recent rumors, and moreAlso, Nick's conversation with Jamie Iovine and the latest installment of The Wrestling Inc. Daily mailbag discussing who you think is the best male world champion at the momentThe Wrestling Inc Daily is released Monday-Friday afternoon on all major podcast platforms. Click HERE to subscribe on iTunes. The news and mailbag portion of the show stream live Monday-Friday at 5 pm EST on our YouTube and social channels!Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Scout and Mady sit down with skincare enthusiast Jade Iovine, the blogger behind The Highest.