Podcast appearances and mentions of janice joplin

In this interview episode of Seeing Them Live, Charles interviews singer BB from BB & The Honey. BB is an American singer and songwriter who has been an integral part of the Chicago music scene for 20 years.  Audiences say her voice is a blend of Brandy Carlisle, Janice Joplin, Patsy Klein, Stevie Nicks, and Amelda May. Her powerful interpretations range from blues, funk, soul, classic country to jazz, rockabilly, and classic rock. BB & the Honey have released a new EP of original songs called Reckless Heart, which is available on all major streaming platforms.BB reminisces about her first concert at age five, seeing Sean Cassidy at Navy Pier in Chicago, and shares memorable concert experiences with Mumford and Sons, contrasting them with a lackluster performance by Bob Dylan she attended in the early 90s. She discusses a formative experience in her music career when she and a friend were invited to join Arise Records after singing 'Amazing Grace' in a Chicago subway. This fortuitous event laid the groundwork for BB's extensive music journey, performing with various bands and writing a wide range of musical genres from blues, funk, soul, classic country, to jazz and rock. The episode also dives into BB's musical projects, from her early involvement with hip hop group Schmoov and the Family to later bands like Super D, The Jesters, and Seeking Wonderland. BB elaborates on how she transitioned into learning the piano during the COVID-19 pandemic, which allowed her to contribute more dynamically to her current band. BB & The Honey recently released a new EP called 'Reckless Heart,' comprising four original songs. The interview touches on the practicalities of their live performances, noting the flexibility in band size depending on the venue. BB delves into the recording process of the EP, aiming to capture the live energy of their performances. The episode wraps up with BB talking about their upcoming release party, their ongoing music journey, and where fans can find their music and live performance updates.BANDS: BB & the Honey, Bob Dylan, C&C Music Factory, Chicago, Full Moon Vixen, Groove X, Kris Kross, Lucinda Williams, Modern Day Romeos, Mumford and Sons, Poi Dog Pondering, Santana, Sean Cassidy, Seeking Wonderland, Stock Boy, Super D, The Dead, The Jesters, ZZ TopVENUES: Abbey Pub, Alpine Valley, Bacon Fest, beer fest in Kenosha, Baker House, Crystal Lake, Dole Mansion, Double Door, Goose Island, Hard Rock Cafe, Lake Como, Lou's Lounge, Mars Resort, Naperville, Navy Pier, Riviera, Riviera in Chicago, Ryman, Ryman Theater, Ryman Theatre, Sean Cassidy concert, Subterranean, Tinley Park, Walworth County Fair PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

In this episode I welcomed Greg Yows to The Survival Podcast.  Greg is a great friend to both the show and me personally.  Together we wrote “The Revolution is You” our show theme. When asked about himself Greg says, “I am a simple songwriter. The hippies in the 60s had their “protest” bards in the form of Bob Dylan, The Byrds, Janice Joplin, John Lennon, Joan Baez…the list goes on. Now, I ain't claimin' to have their skill. But I have just as much passion for my cause. And that cause is making sure my kids enjoy freedom from the … Continue reading →

Ohio born T Brodzinski was given a child-sized guitar in the 1st grade and took lessons for several years before taking up the trumpet and joining the school band. T was captivated by her father's 8-track player, taking in the sounds of doo wop, Janice Joplin and Bob Dylan. But it wasn't until she turned 30 that she wrote her first song, and then, after founding a women's collaborative music night, she formed her first band, the non-denominational string trio, Lois and the Lantern. And once the pandemic hit, she formed Ruthless Ginsberg, a band that seeks to sweep aside mistrust and grief with their anti-establishment melodies and tear-down-the-patriarchy harmonies. Now residing in Fort Collins, Colorado, T Brodzinski crafts heartfelt narratives through her song lyrics. With a soulful voice and expressive guitar playing, her songs are poignant reflections on life's journey and her personal experiences —honest, introspective tales that weave a musical tapestry which captures the essence of both the Midwest and the Rockies, from small-town roots to the majestic landscapes surrounding her chosen home and travels beyond. Her latest collection of original songs explores themes of loss, forgiveness and gratitude, while addressing social issues and calling for activism. T Brodzinski's performances overflow with authenticity as she invites listeners into a world of musical emotion, a space in which song and strings resonate with the universal human experience.To hear more of T's music, check out:https://soundcloud.com/theresa-brodzinskihttps://www.loisandthelantern.com/https://ruthlessginsburg.bandcamp.com/

We've been doing the podcast for almost 5 years and in that time we've discussed all variety of concept albums. We've discussed brilliantly crafted social commentaries, deeply personal tragedies, space oddities, and brat reinventions. We've followed the rise of King Crimson and the fall of Pink Floyd, the tragedy of Janice Joplin and the triumph of Louryn Hill, and the forerunners of the concept albums we enjoy today. This has been an incredible journey and we couldn't have done it without each and every listener that tunes in. You have let me do a thing I have a passion for and I get to keep doing it because you keep listening! I'll be forever grateful. And I'm especially grateful for my cohosts, past and present, for giving me their time and energy these past 5 years. John Griffith, Jake "the Snake" Foster, Trevor "The Altered Beast" Kolden, Scott Westley, Nathan Maney, Reis Galvan, and of course, the cohosts with the mo-host Jon Acker and Dave Gallagher. I love you guys and I couldn't be happier with this podcast and the people I make it with. Links: Full Livestream of the episode: https://youtube.com/live/GQYjgTod1ZY?feature=share OUR DISCORD: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/2stA2P7pTC⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/flyoverstatepark⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  EVERYTHING ELSE: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/FlyoverStatePark⁠⁠⁠⁠⁠⁠⁠⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/albumconcepthour/support

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Jim Rutledge and Matt Hamilton continue into Hour 2 by imploring people not to panic about the area's severe weather and just hunker down inside. Jim also compares what we currently know about Jordan Love to musicians who "went out on top" like Kurt Cobain, Janice Joplin, Tupac and others. They also ask the fans to name the musical album that best describes Jordan Love's first season as the Packers' starting QB. During Throwing Stones, Primetime asks Jim and Matt if they'd wanna see the Bears or Packers play an international game in Australia one day, whether Justin Fields or Russel Wilson should start Week 1 in Pittsburgh, and if Aaron Rodgers made the right decision to come back and play football rather than join RFK Jr's presidential campaign. Jason Wilde joins Jim and Matt on this very musical edition of Rutledge & Hamilton. They ask Jason to chime in on today's talk/text line question: what album title best describes Jordan Love's first season as the Packers starting QB? Jason also talks about his conversations with Jordan Love up at OTAs this week and how he's compart-mentalizing his lingering contract talks while participating with the team this offseason. Jason also talks about if it's smart for NFL teams to repeatedly franchise-tag their QBs and the risk versus reward of signing Jordan Love to a long-term extension THIS offseason. Jim and Matt wrap up talking about the NFL QB who best fit the mold of Jim's comp for a musicians who started strong but sputtered in the back-half of their career: Carson Wentz.

 | Artist  | Title  | Album Name  | Album Copyright  | Michael Messer and Chaz Jankel  | Slow Down Billy  | Mostly We Drive  |   | Big Bill Broonzy  | Just A Dream  | Big Bill Broonzy Vol 12 (1945-1947)  | Bonnie Raitt  | Blender Blues Live  | The Lost Broadcast: Philadelphia 1972  | Guy Davis  | Madison & The Pigs  | The Adventures Of Fishy Waters In Bed With The Blues (2012)  -   | Frank Frost  | Gonna Put Her Down  | Midnight Prowler  |   | Dik Banovich  | Walking Blues  | Hot Cooking Mama  |   | Charles 'Cow Cow' Davenport  | Don't You Loud Mouth Me  | Complete Recorded Works, Vol. 2  (1929-1945)  | Robert Pete Williams  | Rub Me Until My Love Comes Down  | Robert Pete Williams  | Andy Cohen  | Earwig Stomp  | Andy Cohen Tryin' To Get Home MP3  | Catfish Keith  | Come On, Boys, Let's Do That Messaround  | Wild Ox Moan  |   | Lightnin' Hopkins  | Freight Train Blues  | Blues Master Works: Lightnin' Hopkins  | Otto Virgial  | Got The Blues About Rome  | When The Levee Breaks, Mississippi Blues (Rare Cuts CD C)  | 2007 JSP  Records  | Gary Grainger  | I Know You Rider  | LIve at the Brooklyn Bowl  | Sam Chatmon  | God Don't Like Ugly  | Sam Chatmon 1972-1974  | Hans Theessink  | Cuckoo [Trad, Rory Gallagher, Janice Joplin, Taj Mahal]  | Jedermann Remixed [Movie Score]  | Memphis Minnie  | You Can't Give It Away  | Classic Blues Artwork From  the 1920's

Derek from TMZ calls in to the show to talk about the charges against Alec Baldwin, Janice Joplin pool table auction, and Arnold Schwarzenegger. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Derek from TMZ calls in to the show to talk about the charges against Alec Baldwin, Janice Joplin pool table auction, and Arnold Schwarzenegger. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join Harmony and Russell as they take a light-hearted yet insightful stroll down memory lane, reflecting on the rollercoaster ride that was 2023. From humorous anecdotes to profound moments of gratitude and love, this special Christmas Eve episode blends the warm holiday spirit with the unique twists and turns of the past year. It's a blend of yoga philosophy, personal growth, and a touch of the irreverent humor you love! In This Episode: Reflections on 2023: Harmony and Russell discuss the major events of 2023, interweaving global happenings with personal experiences and growth. The Power of Humor: Delve into how humor has played a pivotal role in navigating the year's challenges. Gratitude and Love: Discover the moments that brought joy, learning, and love into their lives, emphasizing the importance of gratitude. Musical Highlights: Harmony and Russell share the diverse range of tunes that resonated with Harmony and Russell throughout the year. (Check out the playlist too!) Entertainment Picks: Recommendations for movies, TV shows, and restaurants that made an impact in 2023. Yoga and Personal Development: Insights into how yoga philosophy and personal development themes wove through their experiences of the year. ⭐️ Get the full ⁠ Finding Harmony Playlist⁠ from this episode! 2023 Playlist Highlights: "That's How I Got To Memphis" - Tom T. Hall "Summertime" - Janice Joplin and Billie Holiday "California Stars" - Wilco "All Things Go" - Sufjan Stevens [And more... including the mysterious Chicken Wing song] FIND IT ALL RIGHT HERE Recommended Watch List: Elvis Leave The World Behind Project Runway Hell's Kitchen The Vow (HBO Series) Seduced: Inside the NXIVM Cult Chef's Table Barbie Movie Oppenheimer (You can watch it for us and let us know what you think…) Succession Galaxy Quest Home Improvement (for people who like sitcoms. Russell is not one of them.) Harry Potter Galaxy Quest again, for obvious reasons. Restaurant Recommendations: Alinea Restaurant Plant Based Heat Husk Nashville Andrew Michael Italian Kitchen Connect with Harmony: NEW FACEBOOK PAGE: /harmonyslatercoaching NEW Personal FB Profile: /HarmonyDSlater Website: harmonyslater.com Instagram: @harmonyslaterofficial Connect with Russell: Instagram: @racdesignstudio Personal IG: @russell_altice_case Website: russellalticecase.me MORE than ASANA Mentorship Starts January 3rd! SAVE YOUR SPOT TODAY! - harmonyslater.com/more-than-asana >>> GET YOUR FREE REFLECTION WORKBOOK FOR 2023 & 2024 Subscribe and Follow: Don't forget to subscribe and follow the Finding Harmony Podcast for more heartwarming and thought-provoking episodes. 

In this episode of Cloudlandia, we navigate the intriguing notion that our world as we know it is entirely constructed by individuals just like us. From the mundane aspects of traffic rules to the profound sacred texts influencing civilizations, it's all the product of the human mind.   SHOW HIGHLIGHTS The world as we know it is entirely constructed by individuals like us, with everything from traffic rules to profound sacred texts being the product of the human mind. The art of argument is discussed, with insights from Jerry Spence's enlightening book. The best argument won is one that doesn't feel like a fight. They explore the perception of change and how a single country's decision can shift the global landscape. Embracing change and moving fluidly in a world in constant flux is important. Dean and Dan take a nostalgic trip through the transformative era of 1950 to 1980, discussing the assimilation of technological advancements like electricity, radio, television, cars, planes, and telephones. Exploration of the future of entertainment includes pondering whether YouTube could be the new generational torchbearer for cross-generational awareness of stars. The evolution of work is discussed, including the importance of strategic coaching in achieving success. The right people can make a world of difference. It's not just about working hard, but also about working smart. They explore how everything is made up by specific individuals, including the fear that gripped society at the advent of automobiles and how we've evolved to take speed for granted. They discuss the importance of winning arguments and how the best way to win is to not make it feel like an argument. It also explores how people perceive change differently. The podcast compares the 1950s and the present day in terms of success, discussing how quickly a book can be produced now, thanks to the internet and Zoom. The importance of having a designer who can understand and deliver what is desired is emphasized. Links: WelcomeToCloudlandia.com StrategicCoach.com DeanJackson.com ListingAgentLifestyle.com TRANSCRIPT (AI transcript provided as supporting material and may contain errors) Dan Sullivan welcome. We're being recorded, that's right. Welcome, always welcome. Dean Jackson Welcome to cloudland here, that's right. We're, we're always recording. Well we're always Everything is recorded. Dan Sullivan Yeah, nobody's in charge, and and life's not fair. Dean Jackson Exactly right. I'm holding in my hand my Geometry for staying cool and calm book yeah it's very exciting. Dan Sullivan Yeah, this one has gotten Kind of surprising to me anyway. Just, it sort of clicks. Those three things seem to do some Mental geometry, you know, when you put the three of them together as a triangle. Yeah, yeah, yeah yeah. Dean Jackson I love it and the I was once the cartoons like that's my. You know my process for reading the book is. I like I open up the inside cover and I see the overview of the Graphical overview within cartoons and tells you the whole Everything you need to know, kind of just looking at it. I love this guessing and betting. It's very good. Then I go to the contents and I look at the titles of Chapters and I'm very interested in, and haven't gotten to yet, chapter 750 out of 8 billion. I'm not sure what that's, the cops. Yet but, then I go and I read the headlines, the chapters and the. You know your opening statements that you say about them. So, chapter one everything's made up. You realize that everything in the world is always made up by specific individuals. And then I skip to the cartoons, mm-hmm in between the chapters that I look at those and I see the Yep. Gandhi was making it up, confucius was making it up. Everybody seems to be that. They've been making it up since the beginning of time, right to three to today. Yeah, I'm making it up. Dan Sullivan I love it. You're making it? Yeah, we, we've been making it up. This whole thing got made up. Dean Jackson Yeah, but the interesting thing. Dan Sullivan I mean, the interesting thing is that I have people say well, you know what about, like sacred books? And I said well, I said, and they said aren't they divinely inspired? And I said, yeah, they're a finally inspired, but it takes somebody to write them down. Right, Right then you and you, and you hope you hope they got it right. Yeah, yeah, but what it does is, I notice in the I just brought it up as a talking point in maybe five or six workshops, both free zone, in ten times and you can see people they have this almost like little mental jolt. They get a jolt and they say, wow, that's true, isn't? I said, yeah, so you can make things up, so you're freed up to make anything. I said everybody else does it, why don't you do it? And then nobody's in charge. And they said, well, what's in charge? I said rules are in charge. We make up rules and you know, send every situation, if people are cooperating and doing things together, make they make up rules. You know, not not necessarily at one time, but they gradually put up a set of rules. You know, if we approach things this way, things work. You know, think of traffic. You know think of if there were no rules. Dean Jackson Right, exactly, that's one of the frightening things about driving in India, say oh yeah, I was just thinking of India. Dan Sullivan I mean, you don't need brakes, you just need a horn. Dean Jackson And get quick reflexes. Dan Sullivan And and a lot of determination. Yeah, exactly. Dan Sullivan Sensor. You're right, you're first and you're right. These are all good things. Yeah, I was thinking about that one day. We were going, you know, on the Gardner Expressway in Toronto and we were, you know the traffic was flowing really, really quickly. You know it was 50 of these 50, you know 50 miles an hour and you know there were hundreds of cars In sight going both ways and I said, if you took somebody in time, traveled them back a century, back to 1923, and you put them in this situation, they, they would go catatonic in about 60 seconds. Just the Motion, yeah, yeah, and but we take it completely normal. And what normalizes it? We know, we know everybody else knows the rules. Dean Jackson Yeah, I understood. I Think I remember reading that people when automobiles were first getting started, that people there was fear that your brain might explode at speed. Oh yeah, 30 miles an hour. Speaker 1 Yeah, yeah. Dan Sullivan Yeah, well, and I think that there's. I Don't think that was a stupid worry, you know, we just had never, experienced. Nobody had ever experienced speed like that. You know, yeah, and I think one of the attractions of Maritime travel, let's say, two or three centuries ago, like one of those sailing ships with full sails and, you know, properly constructed, you know the whole structure of the boat was meant for speed and you know they could get up to, you know, if they had a tide with them and they have current with them and everything else, they get up to 30 miles an hour. You know, at some speeds, you know, and this were sailing ships, you know, and that must have been extraordinarily thrilling to. That was about it, for you know, all of human history, up until trains. Dean Jackson Horses, I guess I mean. Dan Sullivan Think about probably about 30 horses, horses probably about 30, you know, they would be. They would be that that fast and you know. But then all of a sudden, geez, you know, you know they were getting in. And from the Wright brothers, in 1903, I think, the Wright brothers, their first flight, you know, which lasted about 15 seconds, and and to Even the second world war, at the end of the war, they were introducing jets that could fly 500, 450, 500 miles an hour. Let's just yeah. But we've just showed you that the human brain adjusted these things, we normalize. Yeah, you know, Well, number one skills that humans have is we can normalize new situations really quite quickly. Yeah, that's true. People saying you know this, all this AI stuff, yeah, I don't think our brains. So I said we'll normalize it just like we did anything else, you know we will normalize it. Dean Jackson It's so. It's so true. I've been getting, I've been seeing a lot of you know, what I wouldn't call AI enabled. You know, you know I've been seeing a lot of AI content or outreach, and you can. I was thinking about Jerry Spence and he wrote a great book called how to Argue and Win Every Time, and he said that our brains are equipped with psychic tentacles that are reaching out and testing everything for truth and realness and congruence, and these psychic tentacles can detect what he calls the sin clank of the counterfeit. I thought that's the truth. Dan Sullivan You could tell that something was not written by a person. Yeah, I mean, on my birthday there was a company party for me. They do it all the time. Usually they lied to me in some way to think it's something else, and there's this big party. When they put it in your schedule, they're not gonna have to lie, and so, anyway, I go in and there's, this person gets up and, on behalf of the company, gives this very, very flattering talk about me. And I could tell she was five seconds into it, this chat, gpt, I could just tell. So afterwards I went up to her and I said, did you get a little art of AI help with that? And she said, yeah, I did a show. And I said, yeah, right, and you know, what's missing is that we have a feel that there's a heart there, there's a mind there, there's a soul there when it's human. Dean Jackson What do you know? You know what one of the what I take as one of the highest compliments I've ever received about an email that I sent is Kim White said to me, or Daniel said to me, that you know. He says I know that these emails that you're sending are sent to thousands of people, but when I got it I always think it feels like you're speaking right to me and that was really that was really something you know. As a guy who's a energy plumber worker, you know whose whole thing is being coming into energy, yeah. Dan Sullivan Well, it's really interesting. We went to see we're in Chicago today and Joe and Eunice and Mike Koenigs were here early, so they come in for Monday and Tuesday, but they came in yesterday and then Daniel White was with us and we went down to the theater to see personality because Joe hadn't seen it and the others hadn't seen it and there was an extraordinary actress in this play, or I don't know her last name, but her first name is Alexandria, and she plays the role of Lloyd Price's wife and she turns out to be a complete and total scammer. Like she's getting them for his money, she's getting them for his celebrity and everything like that, and when he goes through rough times she gives him a rough time, you know, and anyway and then later on. she plays a completely different person who seems great. That's actually the person depicted in the play is Bertha Franklin, who is the, who is the older sister of Bertha Franklin, okay, and she seems this great hit to actually Janice Joplin became famous for her called A Piece of my Heart, and she just knocks it out. And then afterwards I meet her and it turns out she's 19 years old. You know, she's 19 years old and she's easily portraying someone in their 30s, you know. And as an actress, as a singer, the way she moves and everything, you get a sense that she's you know. And but I was introduced to her by Jeff Mattoff, who was the producer and writer of the play, and I said I wanna pay you a compliment and I said I want you to know how much I totally disliked you as the play won you. Just, we're just a horrible person. And she said, oh, oh, thank you very much. That feels so great. Dean Jackson That feels great that you I love it, I love it yeah. Dan Sullivan Because she was supposed to. I mean, that's it calls for her. To be that type of person and she nailed it, but she's 19,. You know she's 19 years old and it was really quite you know, but you really, I mean I, but I spotted her from the moment she came on stage. This is a scammer. I can tell this person is a scammer. You know, oh, that's amazing, but I do think you're going back to the jury spent comment that you made. I'm gonna read that book. I'm always interested in winning. Dan Sullivan I'm always interested in winning an argument, you know. Dean Jackson Yeah, yeah, no, I would highly recommend. I mean, I tried to avoid. Dan Sullivan I tried to avoid them, but I said you know I can't avoid them, I wanna win. Dean Jackson Well, and this is he's talking and this is like it's like one of my top five wisdom books ever, like it's, I think, one of the biggest impacts on me and his. Of course, you know who Jerry is the attorney, yeah, yeah, yeah, it's a defendant of Mel DeMarco's and the whole thing's never lost a case and the. You know he thinks in the proactive thing about. You know he's using argument in the sense of your idea. You're more persuasive, what you're more persuasive. Dean Jackson You're a person. That's what the lawyers make an argument. What's your argument for your idea? here no. Dean Jackson And this is how he's presenting things, and it's just been such a such an amazing, such an amazing thing, so I would highly recommend it. Dan Sullivan I've never experienced Dean Jackson in an argument but, maybe it's all argument. Dean Jackson It's all argument. That's what he's saying. That's exactly right, the best way to win is to win. Dan Sullivan Actually, you've never seen Dean when he wasn't arguing. Dean Jackson That's right. That's it feels like that's the point of it. It's the best way to win an argument is to not make it feel like you're in an argument. Yes. Dan Sullivan It's just, you're in normal experience. Yeah, right, yeah, but the thing of normalizing. Peter DM Monace and I had a podcast about three weeks ago and he was talking about the future and everything else. I said you know one thing I've noticed? I said and I've got I'm closing in on 80 years of dealing with the future. You know probably didn't yeah, really. You know probably didn't really have it as a mental capacity 80 years of guessing and batting Six or yes, ain't batting, but I said, you know something when you get to the future, it's always normal, it always feels normal when you get to the future, yeah, no matter how different it was from the past. The moment you get there and you're and. I go back to your, the Jerry Spence line, that every second we're feeling out what's coming next. Okay, and so it's not like you suddenly went from white to black or you went from light to dark and then you went through infinite little second by second, gradations of adjusting yourself to a new set of circumstances. Yeah, yeah, yeah you are absolutely right and that's, you've closed down your thinking and you're not taking in the new stuff. You know, I mean, that's also possible. And then you know, I say people, people sense that something's changing in different ways. Some people, some people. All you need is to touch their head with a feather and they say oh, something new is happening. Some people. Dan Sullivan you need a sledgehammer and some people need a Mack truck. Dean Jackson Yes, exactly Wow. Yeah. Dan Sullivan But the big thing is that I'm super sensitive, you know, to changes of circumstances or something I notice is out of place or something's happening. And I get that sense about the whole world right now. And I think you know I'm very influenced by Peter Zion's take that we've been living in essentially an artificial world since the end of the Second World War and it's been overseen by one country and its military just to keep trade routes reliable and on time. And now that country's decided that they've done that for enough and they don't want to do that anymore and they want to get back to their own affairs. And everything vibrates and shakes just because of that one decision. Yeah. Dean Jackson Yeah, that really is. I mean, you look at it, you think about it since the, it's true, right Since the. You know, I often think back then to that, the big change, the book from 1950. And. Dean Jackson I think if we were to look at the you know, the big change from you know, 1973 to 2023, that's been, that's really you think about all of the changes that are going to take place. And what I really wonder is are we entering into another phase of the period from you know, 1950 to 1980 where there's not a lot of, where it's more of a normalization? Right by 1950, what you were saying is it feels normal. By 1950, it felt normal that you have electricity and radio and you go to the movies, and you've got TV now and you've got an automobile and you're living in the suburbs and we're flying on planes and everybody's got a telephone. All those things felt probably normal. Dan Sullivan Why was it that I was in 1950 and felt normal to me? Felt normal to me Exactly, yeah. Dean Jackson So you didn't feel the sense of why, then, how it was to go from, you know, not having these things to having them, and you enjoyed that 30 year period where, I mean, what would you call the difference between you know, like, do you buy into that premise that from 1950 to 1980, there weren't the same level of changes from 1900 to 1950, or was it just a mass of migrations? Dan Sullivan Yeah, I mean you can take cars, for example you know, Cars were kind of stylish up until about the early 50s and then they started taking on this very, very conforming they you know, they got a lot longer, they got a lot bigger and they were like rodeoids. Dean Jackson Right, right, exactly they can't. Dan Sullivan and that continued and meanwhile they were getting blindsided. In the 60s I probably started low in the 50s with Volkswagen, but then you started getting these really small sort of stylish imported cars, you know as they came over. And then they really got their clock cleaned in the 70s, you know, but there was. I mean you don't look back at that period, 1950 to 1980, as a particularly stylish or the only one I can think of that, and they really stuck to. their look was Corvette, corvette came in around 54, I think 1954 is when it came in. And it was, and Thunderbird came in at the same time. This was Ford. You know Chevy was Corvette and Ford was the Thunderbird, and then Thunderbird went all over the place. You know it changed every and then it disappeared and then they brought it back. But the Corvette if you look at a Corvette for this year 2023, and you look back at the original Corvette, you can see that this is the same car with numerous, you know, technological changes. But no, it's very definitely a Corvette today and it was a Corvette back there. They've made the only American car that I can think of that maintained its look over that long period of time, but it was great. It was great to begin with and they didn't screw it up, you know. But planes, you know. 1950s, you were already when the first 707, the first well, you had the DeHavilland comet. That was the British plane, was the first real no worthy, and that was around 1950. And they could do 550 miles an hour. And they do 550 miles an hour. Well, they still don't do that because that's the optimum speed for the combination of fuel, passengers, cargo, and that is 550, you know, I gotcha, yeah, but I think you're right, I think you're really right. And computers were coming in, but they weren't a big deal in 1980 yet, right. Dean Jackson Exactly, there was the beginning of them. It was like you either. If you were looking back now, like on it, if you were paying attention, you would have seen the seed of everything was kind of getting into position. The transition from mainframe to personal computing. That was a big thing but it took a while to you know. It took another decade to get to that level. Dan Sullivan Yeah, really, television was still the trade networks. Dean Jackson That's exactly it. I mean from 1950 to 1980, it was really just the three networks and that's where everybody had a very homogenous experience. You know everybody watched the same. You know I love Lucy and Guns Most. Ed Sullivan Show. Dan Sullivan Ed. Dean Jackson Sullivan Show Exactly. Dan Sullivan Yeah, yeah. Dean Jackson So when the Beatles came, all they had to do was be in one place. Yeah. Dean Jackson And on the Ed Sullivan Show they're automatically a rantic. Dan Sullivan You could see it in music too. Yeah, If you look at the last 10 years, let's say, of the biggest grossing concert tours, they're all guys, mostly guys who are in their 70s. Because they became famous. Dan Sullivan They became famous when there was a national audience. Yes, that's right, there's not a national audience for any particular star these days. Dean Jackson Well, that's where I was going with this that there is, in a way, that YouTube. Is that now for the new generations, right, like they're growing up? The kids that grew up now they all know who Mr Beast is, they all know Casey Neistat, they all know the top YouTube star way more than television. Dan Sullivan Well, here's a question I have for you, though. What I noticed is that there was a continuity between the generations, in other words, that when Elvis came on, people in their 50s saw Elvis, people at five saw Elvis on the. Ed. Dean Jackson Sullivan Show. Dan Sullivan I don't think you have this cross generation awareness of great stars. Dean Jackson That's true. That's exactly right, because nobody, not everybody's gathered around the television with their TV dinners watching the same shows all three generations and one now watching them with the kids and the parents and the grandparents. Oh, what are we going to watch on television tonight? They're often in the room with their iPods and their phones looking at their own individual, everybody's their own individual. Entertainment director. Dopamine dealer. Yeah, it's interesting. Dan Sullivan My sense and here I'm kind of interpreting the predictions that Peter Zion is making about the way the world's going to go on the future it's actually going to look quite a bit like the world looked like before the First World War, so back in 1914. So what he says is. There's now going to be regional markets and regional political alliances. He gives a series of examples of that Anywhere that the US pulls its military out of, and the first area where the US has pulled its military out of is the Middle East. There's no presence of the US military in the Eastern Mediterranean or the Red. Dean Jackson Sea. Dan Sullivan The reason is the US is self-sufficient for oil. They're completely self-sufficient for oil and gas. The US is the lead exporter now of fossil fuels. I think, that's why the rest of the all of a sudden, there's this anti-fossil fuel movement. I mean it's one of the reasons. There's never one reason for anything. It's always a confluence of different forces. But the US was just doubled down on the Middle East because they needed the oil. The economy needed the oil, the world that they traded with needed the oil, so they had to protect the sources of oil. But fracking fracking is one of the great breakthroughs. They can get fuel out of the rocks and it's really good oil. It's really. I mean, it looks like baby oil when it comes out. It's like Johnson's baby oil. It's the purest, cleanest oil in the world because it's just oil. There's no grime and dirt and everything that comes up with it, just the oil comes up and then the gas comes along with it. And that changed the world. Dan Sullivan I mean that just utterly changed the world. There's one event in the last 30 years, since the Soviet collapse, that changed the world. It was the fracking, the American fracking revolution and Texas Permian basis, because once the US doesn't need anybody else's fossil fuels, then they rethink their entire military, they rethink their entire political, they rethink their entire economic view towards the world and they're the spoon that stirs the global soup. Yeah, so I think that was a huge change and I think that a lot of the changes that are taking place right now are a function of that breakthrough. Because it's a transportation breakthrough, because you saw all you want about electricity those freighters aren't electric. Dean Jackson That's true, but it's funny, the US military the staples are nuclear submarines and ships that can go forever. Dan Sullivan Seven years, seven years without I think the subs are seven years. The aircraft carriers, I think, are about the same and they've had no killing accidents with those since 1953. So it's 70 years. They've had crises, but nobody's been killed. Dan Sullivan There's been no radiation and I think that's coming back in a big way. I think that they've Mike Wanler, who is a free zone terrific guy from Wyoming, and he's in the process of manufacturing these little micro reactors. I mean, people think of a nuclear reactor and that looks like the Taj Mahal, it looks like the US capital, it's like with huge smoke stacks. These are the size of a standard carrier box. So if you think they're 40 feet or 20 feet, the ones that go on board ship or they're on trains or they're on semis, and this is about 40 feet, so you can walk into it. It's probably about six feet, six feet by six, eight feet by eight feet. I don't know what the dimensions are exactly, but and it's a nuke, it's a little nuclear station. They use spent nuclear. They use this spent nuclear fuel or they have a new kind of salt compound that they use. So think of it. You're building a factory, like outside there's a lot of factories. I see the area north of Toronto now the number of warehouses and factories that are going in. They're immense. Up the 404 and up the 400. Dean Jackson And anyway. Dan Sullivan But the US is going. Us, Canada, mexico are going through a huge reindustrialization with new factories. But you're outside the city and you got a farm line. You got 600 acres of land and you built a factory on it. What you do is you bring in the little nuclear power plant first, and then the entire energy that's needed for building the factory is supplied by that little nuclear plant. And then when it's built, the nuclear plant powers the factory and it's manufacturing thing, and you don't go to the grid at all. You don't have to pull any electricity from the grid at all. Dean Jackson Wow, that's a big deal. Totally self-contained, it is a big deal. Dan Sullivan Yeah, you're putting in a new housing development, I think it's north of Las Vegas they're building a new 100,000 person city. It's called the Galaxy City. It has put a nuclear, it has put in three or four of these little nuclear plants into it and you don't have to. You build the houses, you build the stores, you build the businesses, you build everything, but it comes from the little nuclear plant. I think that's breakthrough. Dan Sullivan I think that's a breakthrough. Dean Jackson Yeah, and that's the model of it, I guess, in process right now. Yeah. Dan Sullivan Yeah, actually, paul Van Dijn, who's a FreeZone member, has got the complete engineering contract for that new city. Wow. Dean Jackson Yeah, these are amazing times, you know, like I think. But, they're completely normal. What does it look like now in a normalized world where you can literally go? Dan Sullivan anywhere you tell people this sort of thing, they say, oh, that's interesting, that's interesting yeah. Yeah. Dan Sullivan Yankees went last night. Right exactly. Oh. Dan Sullivan Taylor Swift. Taylor Swift, you know she's got 150 million hours. Now they're having trouble getting ticket story concerts now and they're stealing the pirating live stream from her concerts and I said, oh, that's interesting. Yeah, that's pretty cool. Dean Jackson Yeah, I wonder. You know the? So if that is true, then if we're in a stage right now- where you know. I mean Cloudlandia is, less than you know, viably, 25 years old in the first 25 years of it here. Everything, all of these things are normalized here. If we equate right now 2023 with 1953 kind of thing that all the infrastructure of the big factories innovation wave. All of that was in place. We had, you know, radio, television, automobiles, movies, all of that. Whowhat's the similar playbook for thriving in this? You know, next 25 years? Where it's not, you know, I think. If you look at AI, I don't see anything on the horizon that is as big an innovation, possibly, as what the Internet and all of that has brought for us. Dan Sullivan Yeah, because AI is only meaningful because of the Internet. Dean Jackson Right, it's. I think the pinnacle achievement of the Internet is that we've gotten to a point where you know there's an artificial intelligence that knows everything that's happened on the Internet so far and can access. Dan Sullivan No it doesn't know anything that you want to find out. You can find out with a few prompts. Yeah, I think that's it. Dan Sullivan It doesn't think. It doesn't feel, it doesn't understand it just smells like sardars. Yeah, yeah, yeah. Dan Sullivan I think that's a big deal. But you know, what really strikes me is the huge difference from the 1950s because I was, you know, fully active through that entire decade of the 1950s is that the way to succeed was to kind of be good at standardized, conforming activities where you were guaranteed employment. You were guaranteed you know, lifetime employment if you, you know, got into the right place, and it seems to me that that is 180 degrees changed. Dean Jackson Yeah, yeah, that there's now. Dan Sullivan you look, just be good at just just be good at nine word emails, that's right. Dean Jackson That's the truth, isn't it? And that's it. Dan Sullivan Yeah, or little more creative new book every quarter. Dean Jackson Yeah, so I think, what's going to be fun is to, you know, track the zeitgeist with your, with your trail of 90 minute books. That's kind of a you know how many is this? Now, which one is this? Dan Sullivan This is the one. The one you're reading is 34. And, and I'm just getting to the final stages of the 35. I do it by quarters, so it's quarter 34, book 34. And this is quarter 35. I did, I started on my um in my right, you know, within six months after my 70th birthday, and I said, you know, next 25 years, I think I'll write a hundred books. A hundred books, yeah. Dan Sullivan Yeah and uh, so I'm, I'm on track, you know, and um, but the the thing about it is is that, um, and we had the conversations back then of how fast you could, you know, turn out a book, and we had a little one week contest where we both created a book and one week, and you know, and uh, and and so the the whole point is that it's just a quarterly process, you know, as part of the it's just normalized. For a lot of people, writing a book is the scariest, scariest project of their, of their life, you know you know, right, yeah, um, uh, you know. On their gravestones says didn't get the book finished. Right, I mean you know, or uh, we're on chapter 38. Dan Sullivan I said well, I saw that problem, just make each chapter a book. Yeah, right, exactly. Dan Sullivan Yeah, so the, I think the um thing is. But think about 1950. I couldn't even conceive of how you could turn out a book like that, you know yeah you know, it's all internet based teamwork. I mean, everything I do is internet. I've been cartoonist. I see him about once a year, you know personally. He lives in Prince Edward Island and, uh, the smallest of the Canadian provinces. Uh, way out, way out of these kind of Cape Coddage type of place. And you know and I see him. He's in Scotland. He's living for Scotland for two weeks tomorrow, so we'll have a little interruption. But uh, you know it's all on the internet he's, and zoom has been a wonderful breakthrough, you know. Yeah, he can actually draw the pictures. Dean Jackson Do you um? Do you storyboard the, the cartoons, or talk about what, what you're seeing for them? Dan Sullivan No no no, he just gets the rate on. You know, he gives a page on zoom so we're off to the side. You know our two little pictures are up to the side. And then he draws the two page outline, because there are always two pages in the book format. And then he we say you know, I think this starts in the center. I says I think something in the center and I think it's a person and the one thing we uh, at a certain point we just didn't pay any attention to the galley in the middle the you know the separation of the two pages we just treated it as a single page and that was a great right. Exactly, and then we um uh I have a fast filter that I've created laying out what the chapter headings are and what the context of the chapter is, and then we read it through and I talked to him and I said, okay, so what's this look like? You know what's this look like. You know where's it start. Where's the center of action? Yeah, center is a lower left hand corner, is it? And yeah, if you look through the cartoons to this one, you'll notice that the real energetic center of the cartoon moves around. Dean Jackson Yeah, yes, I love it. I mean, I'm looking at the. Nobody's in charge, you're completely free with the, the arrows in the path and it's just. Yeah, I like that idea of just treating the whole two pages as one. Yeah, one thing that makes sense, yeah. Dan Sullivan And if you um said to people you don't mind the separation between the pages and the middle because you have to do that for the book, and I said, yeah, I don't know they're, they're, they're. Their mind has eliminated that separating thing down the center of the human brain. Yeah, treats it as one thing you know. And I said oh no there's a separation down the middle of every cartoon picture and I said really, and I said yeah, look. And they said, oh my, I never saw it. Right, that's great yeah. Dean Jackson It's very obvious in the what the world is made up by you. Yeah, just big circle. But as you're looking at it, it looks like one one thing I like this I'm, you know, I have a um, you got to have a wonderful designer who, uh, you know, can do these kind of things. It's so, uh, it's so nice to be able to articulate with words what you're looking for and have somebody be able to interpret that and deliver what you're looking for, you know. Dan Sullivan Well, the interesting thing is, uh, t um, uh, we have two kind of artistic skills with Amish. Amish is Amish, mcdonald is my cartoonist name, and we've been working together now for you know long, long time, you know. But the other thing that's happened is the technology has gotten so good, okay, and uh, we were just finishing one off before he took off for Scotland and literally um, dean, I could say I said okay, let's put that into the complete color spectrum, and he hit a button and the whole background was a complete color, you know, sort of like a. It went from the colors of the spectrum and but it was sort of a continuous change. You know, it wasn't right, uh, separate colors. And I said, okay, now uh, the characters here. I said let's move the characters around a little, and he moved them around and everything like that. And I can remember first working with my first computer artist back in 1990, let's say, and the changes that Hamish and I just made in about. I would say two minutes would take two and a half days. Dean Jackson Yeah, and that amazing right. Dan Sullivan Chip speed and the great capabilities of software, you know, yeah, and it's. I mean it just goes together. I mean we used to, we used to take about um, I would say it would take about three days, three days of three, the three days work to get a cartoon done, and now we do the storyboard and he checks in the next day and he's got it almost completed. Artwork. Mm, hmm. Dean Jackson Yeah, so, uh, that's great, yeah, that's great. Dan Sullivan And I think that's a I. You know the fact that he can do that, and uh actual intelligence right? Yeah Well, evan Ryan, who was one of our panel speakers on a, he's got a neat little book and we're going to send it out. Maybe you already have it, but it's called AI as a teammate. Okay, and uh, he's putting our entire company, 130 of our team members, through uh starting in September, and it's six modules, two hours each, and all they do is analyze their work between what's their unique ability and what shouldn't. Somebody else could do, so anything a who can do. Then you find the AI who, who can actually do it without having to hire another person. Dean Jackson Oh, nice, I mean. So that's yeah, talking about being able to for people to uh multiply, you know yeah. Dan Sullivan Yeah. But he says, uh, people freak out about this word AI. He says zoom is AI. He said the internet is the AI. He said you know all the programs you use on the computer you know already from you, know from Apple or from ours are mostly Apple, you know in design is artificial intelligence. He says it's just automation. He says don't talk about artificial intelligence. He says it's just automated. Okay A machine function can do what a person used to be able to do. He says that's all that it is. And he said you know, that's been going on for a long time. Dean Jackson Yeah, well, and you still have to just think about what you're trying to do. Yeah, you still have to understand what the outcome you want. Yeah, yeah. Dan Sullivan Yeah. Yeah. Dan Sullivan That's the big skill. Dean Jackson The big skill is being able to identify what you want. Dan Sullivan Yeah, yeah, that is the skill of skills that is. That is that is. Yeah, yeah, yeah. How many years? Dean Jackson did you do that every day? You said, well, it wouldn't be the same without our appearance from theory. Dan Sullivan Yeah, Well, it just shows you that you know that there's real progress to be made in that field, Anyway, anyway, yeah, I did 25 years. Dean Jackson I have 25 years every day. Dan Sullivan What do I want? Every day for except for 12. Dan Sullivan So there's 9,131 days and 25 years. And I did it 9,119 days and you know and and and and. What I got really good at over that period is just, in any situation, kind of knowing what I want, you know and and and. The one thing I cut off of you know I want this and the next. If you wrote that down for an AI program, they'd say the next word is because. And I said I just leave the because off because I want the truth, because is some sort of fiction. I'm making it up to make it. Everything is made up. Yeah, yeah, everything is made up, yeah. And so so I got real good at that and, you know, my life changed from the first day to the 25th day. My life really changed. Coach came into existence, my partnership with Babs came into existence, strategies, strategy circle, and then a whole bunch of other tools came into existence, you know. So, yeah, it's a great skill. I mean, if you know, if, how would these? Dean Jackson is there? What were the? Were there any particular prompts? Let's call it in modern terms that you would use or or no, I just I would go through that process yeah. Dan Sullivan Well, I just had to do this every day. You know that that was I committed myself. I had just gone through a divorce and a bankruptcy on the same day, in August of 1978. And I said you know, the only way I'm going to come to grips with this is to take total responsibility for what's happened up until now. So no blaming anyone else, no saying and no going back and reworking it. If only I had done. I said, let's just accept it, that and that I wasn't. And I said, I came to the conclusion all that bad stuff had happened because I wasn't telling myself what I wanted. Okay, I was expecting other people to tell me what. Dean Jackson I wanted and. Dan Sullivan I said so next 25 years, I'm just going to get really good at telling myself what I actually want and that's it. That's. That was the only requirement and it could be a set it had to be at least a sentence. It could be a whole page, it could be two pages, but it had to be at least a sentence once a day, and I just did it for. I just did it for. I had notebook after notebook after notebook after notebook. And yeah and we had a flood, you know, in our business last August and all these files were in the basement. That got flooded and disrupted and they're all gone all the, all the files, all my notes are gone and I feel so, and I feel so freed up. Right right. Dan Sullivan Did you ever? Look at those Did you ever. No no, never went back and the and the reason is it was the skill. Dan Sullivan it was the skill I was developing. That wasn't what I wrote down, Right yeah. Dean Jackson Yeah, yeah, this is that's really but we went to Matt. Dan Sullivan if I hadn't done that, I wouldn't never been in position to me to Because you never would have started strategic coach or never would have gotten off the ground, started looking for certain kinds of people. Right. Dan Sullivan You being one of them. Well, I'm glad you're here I wanted someone who is incredibly smart, and if only he'd apply himself. Dean Jackson And a lot of them. You want a lot of those people. Dan Sullivan Yeah, and money comes easy, money comes easy. Yeah, the great ones, and once they have a purpose, the money flows, yeah. So anyway, I got to jump early because I have a little bit of a question, Okay my friend Daniel Wait in about five minutes but real pleasure. Yeah, thanks for the feedback on the geometry book. You know, this one surprised me. You know, this one caught me by surprise. Dean Jackson Well, it's fantastic, like I was curious what it was going to be about. You know, when you look at the, just the title geometry for staying cool and calm. And now, as I look through the content, this is my. I'm going to pretend I'm hopping on a flight to Chicago right now. Yeah, toronto, and read the whole book in one hour. That's my, that's my next hour right now, yeah, good. Dan Sullivan Alrighty. I got a question yeah, thank you very much. Dean Jackson Next week I'm good. Okay, good, me too. Dan Sullivan Bye, okay, bye.

We can't tell the story of hip-hop without mentioning Diddy and the record label he started. Bad Boy took off in 1993 after Puff was fired from Uptown Records. He brought TheNotorious B.I.G. with him from Uptown Record, and signed a 50-50 deal with Clive Davis's Arista Records, and it was off to the races.Bad Boy survived the tragic fallout of the East Coast vs. West Coast rivalry, and reached even bigger heights after Biggie's death. Puff began to rise as a solo artist, but did the rest of the artists suffer as a result?Friend of the pod, Zack O'Malley Greenburg, joins me on this episode to cover 30 years of Bad Boy Entertainment. Here's what we hit on:0:35 Sean Combs come-up story5:16 Diddy breaks in with Uptown Records8:22 Starting Bad Boy Records14:11 What sets Diddy apart21:04 How Diddy controlled the narrative23:58 Bad Boy's formula for success 29:00 East Coast vs. West Coast rivalry30:39 Bad Boy's historic 1997-98 run45:42 Bad Boy curse?48:44 Diddy's reputation compared to Cash Money54:50 Best signing? 55:19 Best business move?57:19 Best dark horse move?1:00:19 Missed opportunity?1:08:52 Possibility of biopic?Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Zack O'Malley Greenburg, @zogblogThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Zack Greenburg: Diddy's ability to sort of walk the line and step back, you know, I think that's what ultimately kept Bad Boy in the position that, you know, that stayed and kept him in the position that he continued to be in.[00:00:09] Dan Runcie Outro Audio: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:35] Dan Runcie Guest Intro: Today's episode is another case study style breakdown, and this time we chose to dive deep on the one, the only Bad Boy Entertainment when it comes to branding and when it comes to marketing. I don't know if there's another record label that has as identifiable as a sound of vibe as bad Boy, you knew what that vibe was.Puff said it himself, they take hits from the eighties, but do it sound so crazy? And that was the formula, and it worked time and time again. What Puff did was smart, it was a modern approach to how Berry Gordy approached the record business with Motown. But then he put his own spin on it, interning with Andre Harrell at Uptown Records, learning from him and then putting his own spin on it even more, making it relevant for the 90s and truly becoming the icon that was synonymous with shiny suits with that Bad Boy flavor.And so much of the success of one of the best MCs ever, the Notorious BIG, some of the most iconic R&B groups at the time, and singers such as Faith Evans, 112 and many more. And plenty of artists that unfortunately also had plenty of challenges and issues when it came to payment, drama, legal disputes and more.And we dive into all of that. I'm joined again by Zack O'Malley Greenburg. He wrote a book called Three Kings, where he dived deep into Diddy, as well as Dr. Dre and Jay-Z in this book, so he's well-versed and shared a bunch of great stories in this one. So let's dive in, really excited for this one. Hope you enjoy it.[00:02:06] Dan Runcie: We are back to talk about the wondrous world that Sean Combs built himself Bad Boy entertainment and joined by the one and only Zach Greenburg. Welcome back[00:02:15] Zack Greenburg: Oh, thanks for having me, Dan.[00:02:17] Dan Runcie: Bad Boy is so fascinating because Puff is someone who has in many ways been this larger than life character even before people knew him externally as that.And he has really stayed true with that throughout his time in hip hop and even before then. And most people know the origin story starting back in his days at Howard. But I think based on the research you've done, I know you have some backstory with some of the lessons and some of the things he did even before that.So walk us back. Who was puff in the early days before the world? Got to know him.[00:02:52] Zack Greenburg: Yeah, I mean, you know, I think the funny part is that, that puffy was always puffy and, you know, it just took a while for a little while for the world to kind of figure it out. But you know, there are these kind of consistent themes when you go back through his youth and you, kind of get a sense of who he was.And, you know, I remember writing my book Three Kings, you know, Diddy being one of these kings, talking to people who grew up around him. He really was that same guy from the very beginning. So even when he was a kid, you know, he spent his very earliest years in Harlem, but then moved to Mount Vernon, kind of a suburban neighborhood.you know, just north of the city limits. And you know, he had not just one paper route, he had multiple paper routes and on every, you know, every route. He had this philosophy of like, he wasn't just gonna take the paper and fling it into the family's yard. He was gonna get up and he was gonna go, you know, open the screen door and put the paper in between the screen door and the main door so that people didn't have to go up and do so like he was, you know, that dedicated, that hardworking from the very beginning. you know, I think another story I learned from his youth, Puffy was like, there was some, Some debate, you know, some kid had a pool party and, Puffy wasn't invited. there may have been some racism at play, we don't know. But anyway, Puffy's solution was to convince his mom to build a pool in their backyard and then start his own pool parties and, you know, I mean, it's like the most puffy move ever, right? So he just ended up finding, you know, wealthier and wealthier backers to build the proverbial pool as the years went on.[00:04:23] Dan Runcie: That is the perfect story to encapsulate him because I feel like I could imagine other people having white parties. He doesn't get invited to the white party, so he's like, all right, bet I'm gonna go start my own white party. And now it's this annual thing, however many years running.[00:04:37] Zack Greenburg: Exactly. I mean, and you know, you know, as you kind of trace his evolution, you know, in between it was the same thing. So, you know, we all know the Howard Days, he was taking the Amtrak up, sometimes hiding in the bathroom, so they didn't have to pay for the tickets. He didn't have any money but, you know, he would go up back up to New York on the weekends, he would plan these parties.He started to build a name for himself. and it was exactly that, you know, so from the pool parties, in Mount Vernon to the parties that he was throwing, you know, his colleges to the White party, you get that through line of Puffy that, you know, kind of continues all the way through, through the Ciroc era, you know, I think, which really makes this sort of art celebration, ethos, you know, all the more credible, right.[00:05:16] Dan Runcie: Right, and you mentioning him taking Amtrak. Of course, that's him going from DC to New York to go to Uptown Records where he pushes and fights to get his unpaid internship. Working with Andre Harrell, who was on the Ascension himself. He had started that record label in the mid to late eighties. He then sees the rise.He's early on, new Jack Swing has so many of the early folks making that sound there. And then Puff comes in, he sees a opportunity to elevate and position that brand because the whole thing that Uptown was about, they were trying to push Ghetto Fabulous. They wanted to show that there was a opportunity for people who grew up with nothing to feel like they had that release.And Andre Harrell, he since passed away a few years ago, but he spoken about this a few times and you can see how Puff at the time adapted a lot of that. He worked with Jodeci. He was so integral with how he styled them and making sure they had the right jackets. And at the time, Jodeci was very much seen as this alternative to Boys to Men, Boys to Men was a bit more buttoned up.They made music that was G-rated that you could play everywhere. And Jodeci definitely leaned into the sex appeal, which is something that we saw continue play through with. Bad Boy records of Bad Boy Entertainment in the future. He did similar with Mary J. Blige, taking her from just being a R&B singer to giving her more of a hip hop Ben, and doing a bit more of that crossover vibe, which is something that we saw again with Bad Boy too.And as Puff continued to show his influence, things started to clash because the intern then becomes VP of A and R, and that VP in A and R starts to butt heads and really challenge Andre Harrell on a number of things.[00:07:06] Zack Greenburg: Yeah. And, you know, I think, you know, like you said, Puff really had an idea of what Uptown could be that was, you know, a little bit different from Andre. But it really worked, right? It was the idea that it was, it had a little bit more of an edge to it. you know, like Jodeci had a little more edge than boys to men.you know, that every artist that was gonna be out on Bad Boy would have like, you know, would have that level of class, but also would have kind of like, you know, kind of like a street smart edge. And so, right, it was like the Tims and the backwards hat, but, you know, maybe you had like a nice jacket.It was that kind of mix. And it was very much like in line with Puffy himself. and I think, you know, it's a theme that you kind of started to see. as kind of, he moved on, you know, whether it was Bad Boy or Roc or whatever it was, the thing was synonymous with Puffy. Puffy was synonymous with the thing. But as he began to later on build these assets, you know, he could sell the businesses in a way that he couldn't sort of sell his own image and likeness necessarily. So, that started with, Uptown for sure, it was Andre's thing, but it started to feel like it was Puffy's thing.And I think there was some thought that, you know, that there sort of couldn't be two kings in the castle. And Andre eventually pushed him out and, you know, that kind of left it, the Diddy, you know, in his early twenties kind of figuring out like, Hey, you know, what am I gonna do next? How am I gonna really start my own thing here?[00:08:22] Dan Runcie: And I have this quote from Andre. This was from a documentary a few years later. He says, when Puff got fired, he was on payroll and his artists were on payroll. He's still recording his artists, but he was able to find the best deal, so we never fired him to hurt him. But he fired him to basically make him rich.I will say that quote is much nicer than certain things that Andre said immediately after that firing, especially in the 90s. But it was cool to see the two of them find opportunities to continue to work together after that. But I think the key thing from his time in Uptown is that he was able to find and work with art is that eventually he started working with on Bad Boy.That's when he first works and discovers Big. That's when he first works and really begins to hone in on that sound. And then he officially launched Bad Boy in 1991, but it really wasn't until 1993. He starts working with Big, he starts working with Craig Mack and then it all leads up to this deal that he ends up signing with Arista records to officially do this joint venture with Arista.Arista, of course, was run by Clive Owen, legendary music executive, and they do their 50 50 split. And as the story goes, Clive was on the fence. At first he wanted to hear more, but then Puff Plays flavor in your ear. Craig Max first single, and he was like, all right, I need to be part of this, whatever it is.So that was the song that took things off and made it happen.[00:09:50] Zack Greenburg: Yeah, I mean, Clive Davis, of course, you know, legendary, record men, you know, discovered Janice Joplin, Whitney Houston, Puffy, like you could say, he discovered all these people. they were, they were kind of there already, and, I sort of suspect they would've had their success even if it were not for Clive Davis.But, you know, that, we could debate that. But, know, Clive Davis certainly had an eye for talent, one way or the other. So, I mean, I think what's really fascinating too is, you know, you got think where Puffy was at that point in his life before he got that deal. He was shopping Bad Boy around right?To a bunch of different labels and it says so much about him and his whole ethos, the way he approached it, and this was another anecdote that I found in my reporting, by one of the founders of The Fader who happened to work at EMI at the time. He was in the room when Puffy brought the Bad Boy deal, to the folks at e Emmi and, you know, so like, just to refresh, here's Puff early twenties, just been fired.Just had his first kid, I think. And also, you know, he'd been a part of, this charity basketball tournament at City College where a bunch of people got, crushed in a stampede. He was ultimately found, you know, not guilty of any kind of criminal charges or anything, but his name was all over the papers.Like there's a lot of negative press around him. He was kind of, you know, almost radioactive at this point, or at least one might have thought that turned out he wasn't. But, so anyway, he goes into this meeting with e Emmi and, you know, Their big thing was, Vanilla Ice. And he sort of goes into this meeting and he's like, that dude's corny.Like, I have no interest in anything having to do with Vanilla Ice. Let me tell you how to run your business. And, you know, so he proceeds to like, give them this vision. And then at the end of it, I mean, and I'll read the quote cause it's just so good. he says, when you guys get in a room with all them suits and you're gonna decide what you're gonna pay Puff, just when you get to a number that you think is gonna make Puff happy, I love how he was referring to himself the third person, right?He says, get crazy on top of that. And then when you're there, I want whipped cream and a cherry on top. and this is the best part, he goes, I don't even want to think about the money. That shouldn't even be an issue. Don't be coming at me with no n-word money. Goodbye. And like that was vintage puff.Like that was billionaire Puffy. Before he was billionaire, before he even had. Like before we had a company. So, you know, I think there's just such a great lesson in there, which is kind of like, you know, the sort of, if you can pull off the, fake it till you make it, if you can have that kind of swagger. And to be fair, not available to everybody and like, you know, don't try this at home, kind of if you don't have it.But man, if you can pull that off, if you have that kind of confidence in yourself, you can accomplish some pretty incredible things. He didn't even, you know, end up going with EMI but I think he made a similar pitch at Arista and, you know, and that ultimately got him the deal, that created Bad Boy and, you know, that was really the engine for so much of, what he ended up achieving as the years went on.[00:12:46] Dan Runcie: That story is one of the reasons why he has lived on to become meed and in many ways become a bit of a gift himself. Whether you look at the Chappelle Show skit where, Dave Chappelle is making fun of making the band, and he has that whole sketch about, I want you to get me some Cambodian milk from a goat, or whatever it is.And it's something that sounds completely absurd, but one, it sounded like a lot of the shit that he would say in that MTV show make in the band. And it sounds exactly like that quote that you just shared from that story. The difference is he did this, whether it was for pure entertainment on a show like making the band or when there was really things at stake, like he was at this point when there wasn't a deal in place, he was recently fired.But regardless of whether he's up or down, trying to get it still the same guy.[00:13:39] Zack Greenburg: Absolutely. You know, and I think it just kind of goes to the point like, did he creates brands. He is the brand. He imbued the brand with his essence. And then the brand becomes that much more valuable, whether it's a brand that he can sell, you know, for some huge gain, or whether it's a brand that is compensating him, you know, handsomely for his association or in some cases both. That's kind of the formula and, you know, not everybody can pull it off because not everybody has a brand that is that clear.[00:14:11] Dan Runcie: And let's dig into this because I think this is one of the things that does set him apart. Denny used to be a club promoter as well. And this is a persona that we've seen oftentimes in music where the club promoter or the party promoter works their way up to then become the executive. You see it now with Scooter Braun, someone who's a billionaire now, or close to it in his own right.And he was a party promoter in Atlanta. You saw with Desiree Perez who now runs Roc Nation. She was a party and a club promoter before as well. And you've seen it plenty of times before and I think there's a few things there. There's a hustle and a relentlessness that you need to have to make that work.You need to create momentum around some of that isn't there. You need to understand and be tapped into what people want to hear and what people wanna do and how people wanna feel entertained and how they wanna leave from something feeling like, damn, I had a good time. We need to go do that again. And that is a lifestyle and what Puff did was aligned himself by building businesses that allowed him to do that. Some of those businesses worked better than others, but I think that is the key through line there. On the flip side, I do think that some of these operators and business leaders can often struggle with the bigger picture because there's so many more elements to building companies outside of the marketing brand promotion and those things, and I think we can get into some of that here because I think we saw some of those dynamics play out with Bad Boy as well.[00:15:39] Zack Greenburg: Yeah, for sure. And you know, I mean, I think one of the things about Bad Boy is it wasn't like this was the first record label to develop an ethos and kind of build a lifestyle around it. And, almost like, assembly line, right? I mean, Puffy was doing that himself at Uptown before he just took that same idea and, Pufified it even more.But, you know, I would kind of almost liken it to Motown. I mean, if you look at, Berry Gordy's role, I mean, you see Berry Gordy, credited as a producer on so many, of those songs and, you know, he wasn't like the only person in the room, producing right? he was putting together the right songwriters, the right musicians, everybody to be in the same place. And he was tying it all together with this kind of Motown ethos. And when, you know, when you had a Motown record coming out, you knew what it was. And I think that's why people in the old days used to be fan people would be fans of like, specific labels, right? They're like, I like the stuff that this label puts out, you know, I trust them. It's almost like, you know, I don't know, you know, Coachella sells out, even before the artists are announced because you know what you're gonna get if you like Coachella and you just trust that that's what's gonna happen. That's what it was like, Motown, that's what it's like with Bad Boy.So I think Diddy really followed that model that he was going to be the person, you know, sort of putting things together, you know, maybe he was going to, do a guest verse here and there. Maybe he was gonna be more involved in the production of this play of this song or another song. but it was really more in the vision and the ethos of the brand, the Bad Boy brand, what that looked like, what success looked like, you know, the Diddy version of success looked like maybe a little different from the Uptown Andre Herrell version. And, you know, it was like, like a little more swagger, like, you know, like a little more edge to it. And he was really able to kind of like, make that tangible. So, you know, I would keep going back to that as like something that sets him apart, you know, following the footsteps of the likes of Berry Gordy and[00:17:34] Dan Runcie: The Motown example is good because they also were able to maximize the most from the broader roster they had from the hits that they had Berry Gordy, of course, was famous for one artist on his record, has a huge deal. Okay, we're gonna get another artist on that record on that label to then do it again.You saw that with Aint' No Mountain High Enough. Marvin Gaye has his version that goes through the roof. Okay, let's get Diana Ross to do her own version, her own spin on it. That becomes a song in its own right. And you saw, did he do this to some extent with remixes? How one artist had the remix that worked out well.Okay, or one artist had the original song that worked out well, okay, let's get the remix now. Let's get the whole Bad Boy crew on this remix to go do their own verse and do this thing. They did that time and time again, and then in the early two thousands he had that album. We invented the remix, and there's plenty of debate on whether or not they actually did invent the remix, but that remix that they did of Flava in Ya Ear with, Craig Mack, and they had Biggie on that one as well. That is one of the more classic iconic remixes that people do go back to. And I think the other way that they're , similar too is some of the disputes that artists have had about pavements and things like that, which we can get into eventually.But that's always been the model. I think there in many ways, you're right, it's more like Motown than it is like uptown.[00:18:58] Zack Greenburg: for sure. And you know, on the Biggie point, I mean, people forget sometimes, but Biggie was originally signed to Uptown and Puffy had to go and get him back, and I think they were able to negotiate his release or his transfer of his deal from Uptown to Bad Boy for something like half a million dollars, which, you know, turned out to be, a pretty good deal all the way around.So, you know, he knew that sometimes he would have to shell out and, you know, he did from time to time. That certainly didn't stop there from being disputes, as time went on. But, you know, I think one of the other fascinating things is sort of this interplay, you know, he really walked this line, of sort of like, you know, the corner in the corner office, right?you know, the boardroom, and the street, and, he played up this sort of like lineage that he had of the Harlem gangster world like his dad, Melvin was an associate of Frank Lucas from, you know, the subject of American gangster. And you know, like his dad was known in Harlem. I think they called him, pretty Melvin.Like he was very flashy, you know, he always had the best suits and, you know, and all that kind of thing. But, you know, he definitely came from that sort of like grand gangster era. you know, Frank Lucas and Nick Barnes and all those guys. I mean, that was sort of Puffs lineage.And he definitely played up and he certainly played up, you know, sort of different sort of, street edge, you know, when things got heated in the Bad Boy Death Row situation. But at the same time, he never really wanted to go too deep into it.And I talked to somebody who sort of grew up around him, and he called him Jimmy Clean Hands, you know, because he didn't really want to get like, like he used the association. When it was sort of convenient, but also he didn't want to get too deeply associated, with that side of things.So, to me it's, a really fascinating tightrope walk, how he pulled it off. And, if he'd gone further, toward that side of things, I don't think that would've ended well for him. And if he hadn't gone quite as far as he might not have had, you know, a certain credibility or an edge that, you know, that contributed to so much of the success of Bad Boy, especially in those days.[00:21:04] Dan Runcie: And he did it at a time in the 90s when it was easier for hip hop stars to be able to control the narrative and push what they wanna push and not have other things cover or not have other things be uncovered, or all these internet rabbit holes. I could imagine him trying to do this 10, 15 years later, and it could be a situation like Rick Ross where all of a sudden there's photos of you as a correctional officer popping up on the internet and people are like, bro, what the hell's going on here?I thought every day you were hustling. I could have seen something like that happening the same way that Diddy, but by the time that plenty of people have had those debates about, oh, well, you know, Diddy was actually a kid that grew up in the suburbs and went to college and X, Y, Z, and there's plenty of ways that you could flip that story, but by the time that even became a discussion point, at least in circles where I heard him growing up, he was already an established star.So there was really nothing else that you could do at that point.[00:21:58] Zack Greenburg: yeah. And I guess he could walk that line because he really did kind of embody both, right? Like he was the son of a, you know, a Harlem gangster. he was born in Harlem. His dad was killed, you know, on I think Central Park West and 108th Street or something, you know, in a dispute a case of I think mistaken identity.I mean, so there were real, you know, tough things that, he was born into. And at the same time, he was also, you know, like the college dropout. Like you know, he went to school, he did his thing like, you know, you could say he was like a proto backpack rapper in some ways, like if you wanted to spin it that way.And he kind of embodied both of these worlds, but I think that really, if he hadn't actually lived both those lives, it would've been harder to sort of embody them simultaneously as he did.[00:22:47] Dan Runcie: And even in him, in his own right, there were many incidents that he had that people felt could have supported this narrative that he wanted to, for better or worse, whether it was the 1990 Club nightclub, the 1999 nightclub shooting after the Nas Hate Me Now Music video, him and his team going into Steve Stout's office and then, you know, assaulting him.And then everything that came up after that, or even as recently as within the past 10 years, the incident at UCLA with the coach yelling at his son. There's been plenty of things that have came up that show, you know, that the relentless, the temperament that could often work against his advantage as well.[00:23:26] Zack Greenburg: Yeah. I mean, you know, didn't he bash Steve Stout over the head with a champagne bottle or something? I mean, you know, but what's that line? We back friends like Puffy and Steve Stout, you know, like it, 50 cent had that line. I think he has a remarkable ability to, you know, to end up being sort of friendly with, people who he had these disputes with in the past.So, you know, whether, Steve Stout or, Shine or whoever, like, he finds, various ways to, sort of bridge divides in the end. I don't know how it turned out with the coach from, was it UCLA, or USC. But I suspect that's fine too. but yeah, he does find a way of patching things up.[00:23:59] Dan Runcie: No, he definitely has and we could talk a little bit more about some of the disputes that came with some of the artists, but I do wanna talk a bit about the business of Bad Boy itself and how it went about things. And one of the things that we saw from successful record labels, of course, Zach and I have done past conversations on Cash money, and Roc-A-Fella, and they'll always find innovative ways to work within their constraints or find ways to make things work even when you don't have all of the resources in the world.And one of the things that Bad Boy did was they really leaned into sampling and sampling hits from the eighties and making them the most successful things they could be. What's that line from that May song Making, taking hits from the eighties make 'em soundso Make it sound so crazy. Yeah.so they have their in-house production as well with hit men who then do most of the production, and they give you that Bad Boy sound that you can identify when you hear it immediately on a song, whether it's a total song or it's a one 12 song.And they were able to do that and that formula worked so well because you had this generation that grew up listening to those songs because their parents heard all those songs as well. These are black music classics and then they were able to repurpose them and because of the time and things weren't quite as oversaturated, it sounded quite authentic in a way where I think even some samples now can feel almost a bit forced because you can be like, okay, they're really trying to work that artist.And who knows? I might be also looking at this now, someone in my thirties as opposed to in the 90s, looking at it as someone that's growing up experiencing this. But still, I do think that there was a bit of like a authenticity and a vibe that they were able to create with each of those sample tracks.And plenty people tried to do it. Of course they didn't invent it. I know that Death Row and NWA, Dr. Dre had done it successfully before Diddy, but Diddy and Bad Boy were definitely able to put their own unique spin on making that as effective as it was.[00:25:57] Zack Greenburg: Yeah, definitely. I think, you know, I mean, I think to your point, but it, like it really opened up this sort of aspect of mainstream hip hop when, you know, maybe there were some radio stations that weren't gonna play some of these songs, but, you know, like a puffy song or a biggie song ordinarily, but, you know, if you have like, Oh, that's David Bowie in the background.Like I'm familiar with this. then, you might be sort of like more inclined to put it on the radio if you were a certain kind of dj, which then might reach a certain kind of listener who didn't, you know, ordinarily listen in hip hop and, you know, and you kind of have this, kind of snowball effect.you know, sure.[00:26:32] Dan Runcie: And then from a personal perspective, I'll be the first to admit the amount of songs that I had heard the first time as Bad Boy Version. And then growing up, you then later hear the original one that they sampled from the eighties or seventies, whatever Disco tracker, soul Tracker was, and you're like, oh, that's what that song was from.It's happened endless times and it continues to still happen.[00:26:54] Zack Greenburg: Yeah. I must confess, I heard I'll be missing you before, I heard I'll be watching you, so, yeah, yeah, yeah, yeah. you know, so yeah, and I think a lot of that narrative around the sort of peak Bad Boy sampling era, you know, I think it gets unfairly criticized as sort of being uncreative and like, you know, essentially just being cover and, not adding much to it.But, I disagree entirely, and I think that in addition to creating a different song with a different vibe and everything, you know, th those songs did introduce a whole generation of people, to eighties music that, you know, they may not have been alive to have heard, you know, from, you know, let's say I was born 85, some of these songs came out before I was born.So, yeah, I think that does get missed sometimes.[00:27:35] Dan Runcie: Yeah, and I'm in the same boat. I knew Juicy before. I knew the original Juicy Fruit. I knew Mase Bad Boy before I knew Hollywood Swinging, and I could go on and on with all the songs that they were able to help in introduce and connect the dots there. Another thing that I think Bad Boy did at this time that was a continuation of Uptown was how intentional and borderline maniacal Puff was about continuing that image.So, they had the Can't Stop Boat Stop documentary that came out a couple years ago. And the artist from one 12, which was the main male R&B group that Puff had signed to the record label at the time, they said that they were styled, dressed and personified to be an image of Puff themselves, to essentially be Puff as R&B singers, which was really interesting.And then on the more controversial side, which I don't think would ever fly in the same way today, Faith Evans, who was married to Biggie at the time, she was sent by Puff to go to tanning salons cuz she a light-skinned black woman. They sent her to tanning salons so that her skin can be darker because he wanted to be able to sell her as a certain image that would never fly again the same way today.But that's how Puff was. He was so maniacal, even things down to the nail color and things like that for women. He wanted to make sure that people looked a certain way.[00:29:01] Zack Greenburg: Yeah, and I think what's, you know, especially interesting when you, kind of zoom back on the 90s and that, that era of Bad Boys, you know, given the level of control he had over, you know, that level of detail, you know, the whole east coast, west coast thing, the whole Bad Boy Death Row thing obviously got way out of control.and, you know, culminating in, the desert of big and pop and you know, obviously we don't know exactly who was behind each of those things, but it's, you know, still kind of debate to this day. But, the fact is that, you know, got kind of wrapped up in this kind of, know, sort of thing, like the fact that Puffy could bring Bad Boy back from that, and kind of like continue to have the same brand, you know, after everything that went down, you know, I think is another testament to like the identity of the brand, right? I mean, you know, cuz I remember in that period of time hip hop was really under fire from, you know, so, you know, like the Tipper Gores of the world and the parental advisories and all that, and there was this narrative of like, oh, this music is dangerous.And there was a whole period of time, you know, after everything that went down, in the mid to late 90s, like there were questions like, is hip hop? You know, really a viable commercial genre? Are brands really gonna want to be attached to this? you know, because of the violence that happened, you know, really publicly there.And I think, you know, whether you love him or hate him, like, I think he deserves some credit for pulling things back from the brink. you know, regardless of whatever role he played in getting them, to the brink, but he really did kind of pull things back from the brink and show that hip hop could be this, you know, commercial force.you know, that would be like a mainstream success sort of thing. And really pretty quickly, after all this went down,[00:30:39] Dan Runcie: If you go back to winter 96, the height of this beef, you have that infamous vibe cover with Tupac, Dr. Dre Snoop, and Suge Knight. They're there, the Beef and Bad Boy and, Biggie as well. Were on respective vibe covers as well. If you asked people, okay, five, 10 years from now, which of these two record labels will be in the stronger position, you probably would've put your money on Death Row.To be frank, they had the better artists just from like a roster perspective. With those four, the leadership seemed in many ways quite as strong and there were similarities there as well. You had these two relentless, large and life figures. Granted, Suge and Puff are very different in a lot of ways, but that's where you would've taken things.But then two years later, it's a completely different story. Death Row is imploding and bad Boy had the biggest year that any record label has ever had. If you look back at that 1997 to 1998 stretch, and this is after the death of the biggest rapper as well, they end up releasing Biggie's second album, Life After Death, ironically, 16 days after he passed away.And then Puff himself becomes this larger than life icon. He releases his own album, Puffy, P uff Daddy, the Family, No Way Out. And they continue to go on this run. And in many ways, as other heads and other figures in hip hop have faded and necessarily taken their own path, he continued to stay on that.It really is a remarkable journey when you look at each of those steps in it, because I probably would've put my money on Death Row if I didn't know better.[00:32:21] Zack Greenburg: Yeah, Yeah, I mean, it sure felt that way, right? I mean, but if you kinda, if you compare the leadership, if you compare Puffy to Suge, you know, I think that so much of, you know, the back and forth between Bad Boy and Death Row, you know, it was a case of like, these guys were playing a role, right?I mean, they were, it is funny in some of my reporting, people say like, both Puffy and Suge, especially Suge, were sort of, it was like they were acting in their own bad gangster movie. And I think the main difference was, you know, Suge really came to believe it and live it in a way, that Diddy, didn't quite do it you know, as we were saying before, Diddy kind of walked that line.but Suge just kind of got deeper and deeper into it, and that was kind of who he was, you know, all the time. So, you know, that there's not really like, kind of like a way to, back out, you know, to kind of come up for air when you, when you've kind of like gotten that deep into it like Suge did. I think that was the main difference, you know? I mean, I think he became just completely, you know, is like possessed by this image that he created for himself. And he started to live it, you know, all the time and Diddy's ability to sort of walk the line and step back, you know, I think that's what ultimately kept Bad Boy in the position that, you know, that stayed and kept him in the position that he continued to be in.in[00:33:42] Dan Runcie: And everything that went down to that 1995 Source Awards is a perfect example about how they dealt with this whole thing. Suge and Death Row, famously win Best soundtrack for Above the Rim. He goes up, accepts the award, and he makes the infamous line. If you wanna sign with the label, you don't wanna have your executive producer all on the record, all on the video dancing come to Death Row, and then you see.Puff is there just looking, not saying anything, but everyone knows who he's talking about. But then later on the night Puff goes and is on the mic, he doesn't go necessarily take a shot back at Suge, but he just makes some type of more global statement, Hey, we're all in this together. I forget Puff's exact quote, but that's a perfect example of this, right?Of knowing that line cuz as we know, puff had a temper. Puff wasn't afraid to throw down in the moments, right? But he knew that in that stage, in that setting, especially even on his home turf, this was all the West Coast guys coming there because, you know, there was that famous scene of Snoop Dogg standing up being like, East Coast ain't got no love for Dr. Dre and Snoop.That's my horrible Snoop dog voice there. But Puff was cool, calm, collected during all of that, and as you put it, the difference behind the difference between the two of them is more than puff deciding to be all the video and should not be in, the video. The same way it was everything that you explained it more.And that is one of the biggest reasons, I think for that difference. And what helped Bad Boys essentially be even stronger, unfortunately. So after Big's death,[00:35:21] Zack Greenburg: yeah, totally. And you know, I think with Puff, he ultimately. He had that calm, cool, collected side to him that came out, you know, I think at, helpful points, but he was ultimately about, you know, protecting the bag, right? Like Diddy is a business, he is the business. And he, knows that he has to kind of keep that in mind.And I think, you know, Suge on the other hand just kind of like got too deep in his own narrative and couldn't kind of like poke his head up over the clouds and see the view from, you know, 35,000 feet or whatever. So, I think Diddy's business sense, you know, I think ultimately helped keep him, keep him, you know, just above the fray.So, still super remarkable when you look at it. He threw that first white party in 1998. That was really, that was what, like a year, a year after Biggie was killed. And, you know, just to give you an idea of the kind of stuff that was going down. I mean, he bought this house in East Hampton, and he decided that he was gonna throw the most exclusive party people just to give the background.I did some reporting on this too, but like, it apparently if you got invited to the white party and Puffy's White party, you could not get in If you wore like a cream suit, they'd throw you out. If you had, like a blue stripe on your white shirt, they would throw you out.So you had like grown men running home to get like an all white proper shirt to go to these parties. And you know, like pretty quickly you had Martha Stewart and Howard Stern and Donna Koran and like, Donald Trump used to go to these parties, you know, with his daughter everything. So, it was kind of like a who's who of like a certain type of celebrity in the late 90s.And to go from, you know, from the depths of the East coast, West coast thing to that, in like a year. I think it just shows how Puffy's able to kind of flip things around and that's what he was able to do with Bad Boy. He pivoted the whole narrative and suddenly it was about Puff Daddy, the family.It was about, you know, Godzilla soundtrack and, you know, doing the thing with an orchestra and Jimmy Page and whatever. And, you know, singing, he's able to like recreate himself and also these brands like Bad Boy that's created in his image. you know, like in a remarkably quick timeframe, I think.[00:37:38] Dan Runcie: And to share some numbers on this era. This is peak Bad Boy. I would say this whole 97 to 1999 stretch. 1999, they sold 130 million worth of records. And for some context there, that was more than Madonna's Maverick label had that year. And this was, or Madonna, during that whole Ray of Light era, if I'm remembering the timeline, and Beautiful Stranger, if I remember the timeline correctly and more than Def Jam had at its peak that year, and this was, we did the Def Jam pod recently.This was around the same time that Lyor was trying to get X and Jay-Z to release those albums in the same year, and Bad Boy was still doing its thing then they're Puff Daddy and the Family Tour. They went on their own arena tour, they made 15 million that year, and Puff was starting to extend himself in the same way that we saw other moguls do the same.We talked in the Roc-A-Fella episode about, this was the time that Dame Dash had started to have different partnerships in film and district and sports and things like that. We saw Master P as well in the late 90s get his hand involved with a number of things. And one of the things that stuck out from this era is that Sean, is that, did he actually made a partnership with Johnny Cochran at the time, who was his attorney during all of the drama that he had in the late 90s after that nightclub shooting. And they started a management business that was gonna be focused on NBA players. And this just gives you an idea of all of the things that he was interested at the time.So it really is remarkable. And a lot of it came because Diddy himself was putting himself out there. He became the brand, it was him putting it on, and he really became the most successful artist on this label. But around this time, if you start talking to some of the other artists on the label, they start to get a bit frustrated because they feel it's no longer about their development.It is now about Puff building and doing everything for himself.[00:39:36] Zack Greenburg: Yeah, and I think that's when you know, he really starts to have all these brand extensions and, you know, you can see there's actually, I think the first Forbes cover on a hip hop artist was Puffy in 1999. And, it was a celebrity issue. And they had, Puffy and Jerry Seinfeld on the cover together, which always cracks me up.But, you know, Seinfeld's wearing this suit and Puffy's got this like Sean John denim t-shirt on. you know, just like a walking advertisement on the front of this magazine, which is just brilliant. And, you know, so he is got that going. He's like opening restaurants, you know, and like really kind of like realizing that, he could be not only the sort of the straw that stirs the drink and like the producer and whoever behind the scenes, but also the, you know, the main artist.And you know, I can imagine that being another artist on Bad Boy at this point, could start to get a little frustrating.[00:40:28] Dan Runcie: Right. And I think he had a quote around the time he wanted to be David Geffen. He wanted to be bigger than David Geffen. And of course this was Pete Geffen making moves with Dreamworks and everything else. Still being, in many ways, music's prominent mogul. That was due his thing there. And this was around the same time that we have another quote from, Andre Harrell.And I remember if you mentioned earlier, or if I mentioned earlier, there were some other quotes at the time that were less favorable than Diddy, than the ones that Harrell ended up having later. This was one of them. He said, and this was in a New York Times 1999 interview. He, Puff, gotta separate the young man thing from the business thing.If there's an incident where the situation is going in a way that he feels slighted or disrespected, the only way for him to handle it is as if he was a 45 year old IBM, CEO, which is a very interesting way. But he's essentially saying, Hey, you gotta change your act based on where you're going and where things are.And this is, that trending the line that we're talking about that I think that Diddy was eventually able to get to. But there was still some question marks about that and the trajectory in 1999. But to some extent, I think that kind of played to as factor. There was something about, especially some of those celebrities you mentioned, these are some more buttoned up, you know, white celebrities that never really did much on a, anything that was risky.So someone that has the image of Puff at that time, it's like, Ooh, I'm doing this risky thing. It's almost like the person in high school that wants to date the Bad Boy literally called his label bad voice. So they're leading into that whole persona, and I think it worked a bit to his advantage there as well.[00:42:07] Zack Greenburg: Yeah, totally. And you know, another thing people talk about, you know, I think that this time, and a lot of times I think there's a lot of jealousy going around and, you know, Puffy does this, puffy does that. But, know, one of the things that I, that I've always heard is that, Like, yeah, he's the last one at the club and you know, he's always out and, doing whatever, but he's also the, first one in, like, he outworks everybody and you know, he's somehow manages on, you know, like a couple hours of sleep at night or something.I mean, this is another thing you sometimes hear about fantastically successful people. I hear about this, about like Richard Branson and other people too, that they just can operate on four hours of sleep or something like that. And man, you know, I mean, if you think about it, if you have that much confidence and you're that brilliant, and then also you get an extra four hours a day, you know, you get another, was it, 28 hours a week, you get like an extra day every week basically to just like do shit.that's pretty hard to, contend with. I mean, like an extra day, like two extra waking days, to get things done. I mean, that, that's a pretty big advantage.[00:43:13] Dan Runcie: That was a whole 90s mentality from, overall, from people that were successful. Now that I'm thinking about it, cuz of course Richard Branson, that the 90s was a transformational decade for him. You are Bill Clinton, especially when he was president, talk about getting four or five hours of sleep at night, still being able to operate and do his thing.Even folks like Madeline Albright, who worked for him and in his cabinet were doing the same thing. And even someone like Kobe Bryant, there's that memorable. A piece of the Redeem Team documentary that came out on Netflix last year, where the younger guys at the time, LeBron, Bosh, Wade, were all going out to the club.Were all gonna go out for the night because that Olympics was in Beijing and they're coming back from the club and Kobe's on his way to the gym in the morning. And then Kobe spoke about this himself as well. He is like, no, I'm gonna do another practice to wake up earlier than everyone else. So you think about how this compounds over time, and that's what you're saying about how that essentially gives you two, three extra days a week.You do that time and time again, and just how much better you get. Granted the fact that those people can still do that while not requiring that much sleep. I know. I mean, I couldn't do that myself. I need those hours of sleep, but I commend those people that can.[00:44:25] Zack Greenburg: Yeah. I mean, and who knows, you know, from a health perspective, how it affects you, you know, sort of like later in life and whatever. And, you know, do you lose more years of your life on the tail end because you didn't sleep more earlier? I mean, I guess we'll never really know, and it's hard to kind of pull out the factors and really test that. But in any case, you know, it does give a decided advantage, at least in the, present tense. And, he really kind of like worked with that. but you know, I mean, and then just when you thought that he was kind of out of the woods, with the specter of violence, you know, again, 1999, there's the whole thing in the club, a gun goes off, you know, there's this whole like, situation, Diddy and Shine are in the club. There's this dispute, whatever, and you know, who knows what really happened, but at the end of it, Shine went off to go to jail. And, you know, and Diddy ended up, you know, without really any kind of anything other than like, a little bit of reputational hit.So, I think that, you know, he continued to walk that line, right? And there were just these instances kept popping up. But once again, he always managed to sort of, you know, avoid any really serious repercussions and then, you know, go on to some even bigger and better commercial thing, shortly thereafter, you know, which he did eventually with Ciroc and, what have you.But, you know, it didn't really seem to hurt anything with Bad Boy. Although I think around that time, you know, his career as a solo artist started faltering a little bit to be sure[00:45:42] Dan Runcie: And I think this is a good time to talk about the proverbial Bad Boy curse that's been discussed. There are a number of artists that have had their issues with Bad Boys, specifically with Diddy in terms of whether they feel like they were fairly compensated for things. And it's artists like Faith Evans 112, Mark Curry, and the Locks as well as most recently as a couple years ago, Mase famously people that have publicly claimed to try to get what's theirs called out Diddy for not doing certain things.And then on the flip side, you have people that surrounded themselves with Diddy, and Diddy was the one that came out, scott free, and they were the ones that ended up in challenges and some of that Diddy benefited from by associating himself with them, but they didn't necessarily work outta that same way.You of course mentioned Shine, who, his career never really took off after he had that brief moment where that Bad Boy song came out. I think that was in 2000. They had sampled that, the Barrington Levee reggae song and then had him on that. But you had a few instances like that. I look back on one of my favorite songs from The Bad Boy era.let's Get It with G. Dep and Black Rob. And the sad part about that song is that you have G. Dep, the first person that was. Or essentially his lead single, he's saying that he's saying, or he did special delivery as well. G. Dep eventually ended up being locked up for a murder that he had done in the 90s, but then it had some run-ins after that Black Rob unfortunately passed away a few years ago, and I don't think was ever really able to capture that momentum after Whoa. And a few of the other songs he had with Bad Boy had come out. And then of course you had Diddy who, you know, is still thriving doing his thing.And I think that's true as well. You look at an artist like Lone who l kind of had his moment where they were trying to make lone really be a thing, especially with the, I need a girl, part one and part two, but then Loon as well, ends up getting locked up. I think there was a heroin charge or something like that.So all of these folks that were around Diddy in some way ended up having their challenges. Not all of them, but some of them.[00:47:50] Zack Greenburg: For sure. And I think, you know, probably around this time, you know, the sort of like the turn of the millennium was, you know, the moment, when did he kind of realize that he had to, he did have to start figuring out his next step. And if it wasn't gonna be him, as an artist, you know, and it wasn't gonna be somebody else on his roster, it was gonna have to be something else. And so I think this is sort of like when you think about the Bad Boy era, you know, I don't know, I think about it as sort of like early 90s to late to, you know, to really the end of the decade. And although, you know, of course it went on and it continues to stay at different, you know, sort of capacities.It's like that was sort of the prime era. And, I think once the fortunes of the label became too closely intertwined with Diddy's as a solo artist, then when he stopped being such a big deal as a solo artist, the prospects of the of Bad Boy itself were a little bit more limited.[00:48:45] Dan Runcie: Agreed. Question for you. Do you think that, well, lemme take a step back. In the Cash Money episode that we talked about not just the disputes people have had with Birdman and Slim over the years, over disputes, but also the notorious reputation that they've built up. Do you feel like the reputation with Puff is similar in that way?And if it's different, why do you think so?[00:49:09] Zack Greenburg: So you mean Puff like the Cash Money sort of similarly having trouble paying people?[00:49:13] Dan Runcie: Yeah, Yeah, and whether that reputation has stuck with Puff the same way that it's clearly stuck with Bert and Slim.[00:49:21] Zack Greenburg: I think they both have, you know, or rather the three of them, I think it does follow them around, but in different ways. I mean, I think, I think with cash money, there's some element of it that's like, well, you know, I think their response to a lot of it is this stuff began when, you know, the things weren't properly papered up and, you know, nobody really knew how these things worked and blah, blah, blah.And you know, you can sort of agree with that or not, right? Or maybe you could say it is to some extent your responsibility to make sure things are paid up, you know, once you become that successful. but, you know, I think that Puff was sort of like, you know, Bad Boy was, done through Clive through real estate.It was done through a major label, sort of from the beginning. And, you know, I think you could argue actually that that's why Cash Money was ultimately worth more, like, was like a bigger source of the Williams Brothers wealth than Bad Boy ever was, for Diddy. And he had to go, you know, do these other things. But you know, like it wasn't as though there were no lawyers involved. It wasn't as though there wasn't some big record label apparatus. There absolutely was. And you know, so I, think that excuse sort of like, doesn't fly quite as much. it's probably not leveled quite as much with him either, but, you know, but it's definitely there and, it's sort of like, it's hard to look past it in some regards.[00:50:41] Dan Runcie: Yeah. I think that one of the reasons why I think the public image of it is different is because of the businesses that the two are involved in. Bird man's a music man almost in the same way that Clive Davis is a music man. That's what we know him as even in the conversation you had shared last time where you were doing this extensive feature profile with them on Forbes and you were gonna have another follow-up conversation with him that night, and he's like, no, no.Bird Man's still in the studio. He's doing his thing like that's what he wants to do versus Puff has his interest in all these other areas, beverages, spirits, sports, entertainment, now with Revolt or Sean John, or whatever it is. So there's so many more things we know him as, or he's running the New York City marathon, he's trying to launch this thing, and all of those things can broaden your image of him.So if you hear a complaint about the one particular aspect of this business, that's one area of what he's doing, as opposed to us knowing Bird and Slim as. The owners of this record label, and now there's a dispute with the one thing that we know them for.[00:51:49] Zack Greenburg: Yeah. Okay. I see what you mean. So it's sort of like, in a way it's less central like the music is less central to his identity, therefore we hear less about the disputes because we just hear less about the music side overall.[00:52:01] Dan Runcie: Right.[00:52:02] Zack Greenburg: Yeah, that makes a lot of sense. I mean, and then, when you look at what happened to Bad Boy, you know, even just from a corporate perspective, it was a 2005, he sold 50% of it to Warner for 30 million bucks, something like that.So, obviously that, means, you know, by those numbers it was worth 60 million. At the time there was probably just the recorded music side and there was publishing as well, which is separate. I think you did some other publishing deals too, but you know, that number in 2005, I mean, I'm sure that's lower than.Cash money was valued at in 2005. But, you know, he just kind of made the decision to pull some money off the table, right? And I think that says some, something about his priorities too, that he wasn't that focused on the music side of things. So, you know, like, let's make this deal and then move on, to the next thing.And I think a couple years after that was when he launched Ciroc or, you know, came on with Ciroc and launched his Ciroc campaign presence, whatever you wanna call it. you know, partnership thing. So, I think ultimately for Bad Boy, you know, I think it had a peak that was as high as really, you know, any label, in hip hop did.But its fortunes became so wrapped up with Puffy that once, once he moved away from music, it's like, how are you ever really gonna come back from that?[00:53:15] Dan Runcie: Right. It really wasn't a business it was a business, but almost in the same way that a lot of people that are creators now and trying to do things, there's this ongoing discussion or debate they have about whether are you trying to build a business with a roster around you, or is this more so a soul entity?And I think Bad Boy definitely saw both of those things, but you normally seen in the flip side where you start with the lead person being known as the thing, and then they add the roster around them. But Bad Boy was kind of the opposite, where you had this roster and then it becomes the lead person becoming more known for the thing.[00:53:48] Zack Greenburg: And I think it moved away from that assembly line idea, you know, the Motown thing, the Coachella thing, whatever, you know, you're gonna, buy the tickets for, you know, who's there. It just became all about Puff and, you know, I think in a way he realized it was more lucrative that way, right? N o matter how involved he was in however many different pro projects as sort of the, the Berry Gordy, he could make more, you know, for himself being Puff. And in a way, when you look at Ciroc, it's like, you know, it's the same thing, right? Like he's selling the Art of celebration. He's selling his brand of success. He just doesn't have to sign other artists to it, you know? So I see has Ciroc Boys, you know, that's, I mean, it is almost like a record label to some extent, you know, if you like an extension of, Bad Boy. If you think about, you know, the different artists who are kind of like involved on some level, you know, over the years with that brand, it just, you don't have to get involved in like publishing and, you know, licensing and mechanical royalties and all of that fun stuff.[00:54:50] Dan Runcie: Right. And I think with that it's a good chance to talk about some of these categories we have here. So what do you think is the best signing that Bad Boy did?[00:54:59] Zack Greenburg: I think a hundred percent, you gotta go with Biggie, no doubt. I mean, you know, if you're calling the signing $500,000 to get him over from uptown, you know, plus whatever they ended up paying him. I mean, you think about the success of Life after Death and all the other albums and, you know, the albums that, were sort of in the hopper after he died.I mean, I think hard to top that.[00:55:19] Dan Runcie: Agreed. Yeah, No debates there. That was the same one. What do you think is the best business move to come from Bad Boy?[00:55:26] Zack Greenburg: I would, I would argue that, I would argue Sean John because, you know, in creating the Bad Boy image, that was, you know, really bankrolled like all those videos, obviously Bankrolled by Arista, bankrolled by, you know, the, parent company, you know, Puffy created this aura around himself, which was very fashion oriented.And then he was able to parlay that into creating, you know, an actual fashion brand that he owned, or at least, you know, partially owned and himself, which then generated hundreds of billions of dollars. And then he sold and got, you know, whatever it was, a hundred million dollars and he bought it back.but anyway, he did really well for himself. I think with the help of this shine that was kind of like given or enabled at least, by a Bad Boy.[00:56:13] Dan Runcie: Yeah, I think that's a good one. The other thing that I wanna give some love to, that we haven't talked about much yet, but was the Bad Boy Street team and how they went about promoting and pushing their records all over the major cities. A lot of people may think that Bad Boy invented to the street team.I think I still do give loud of records credit for that, but Bad Boy did take things to another level, and this goes back to Puff and his strength as a promoter. This is what Club promoters do. This is how you push and get the word out there. So he's able to replicate himself. He's able to empower the people to feel like they're part of Bad Boy himself and making sure that they're styled in the same way, to be able to help sell that same image that Puff wants to sell himself.And you saw him replicate this as well with Ciroc Boys and things like that. And shout out to Sean Perez, who worked with Puff at Bad Boy and on Ciroc on this same strategy.[00:57:07] Zack Greenburg: Yeah. Although, you know, it was a great one, and a great strategy, but it didn't always work. What's the line? I felt like Bad Boys Street team, I couldn't work. the locks.True.[00:57:19] Dan Runcie: Yeah. Usually worked. But yeah, they just needed to see the vision as they said. what's the best dark horse move? You have a good one for this.[00:57:27] Zack Greenburg: Yeah. Yeah, yeah. Okay. maybe a little controversial. I don't know. I'm gonna go shine. Because if Paul hadn't signed Shine, I mean, I don't know, you know, I'm not a lawyer or anything, but, all I know is that something went down in that

Suicides. Murders. Freak Accidents. Overdoses and so much more. The membership for this club requires you die at the age of 27. Hear about several individuals like Louis Chauvin, Pigpen, Janice Joplin, Jim Morrison and so many others.

Natasha Yvette Williams is currently originating the role of Sweet Sue in the brand new production of “Some Like It Hot” on Broadway. She gets real as she opens up about why she doesn't consider herself a singer, admitting that she's still a little insecure about her singing, but despite dealing with imposter syndrome, Natasha remains positive by constantly reminding herself that everything is a challenge, a lesson, and a blessing. She also shares where she used to get validation and why all the validation she needs now comes from her. Being a part of “Some Like It Hot”, she continues her goal to develop a great relationship with each and every other cast member and see how it unfolds on stage. Natasha recalls watching Lily Tomlin in “The Search for Signs of Intelligent Life in the Universe,” which sparked something in her to join the musical theatre, and why she wants to have the same impact on other people whenever she performs. Natasha Yvette Williams is an actress who has starred in Broadway shows, including “The Color Purple”, “A Night with Janice Joplin”, “Waitress”, “Chicago”, “Chicken and Biscuits”, and “Porgy and Bess”. Her national credits include “Waitress”, “Xanadu”, “The Drowsy Chaperone”, and “All Shook Up”. Natasha has also starred in several tv shows and movies such as “Harlem”, “I Take Thee Zoe”, and “Better Late Than Never” among others. You can also catch her in “Alice”, the Disney Plus' “Better Late Than Never”, and the Netflix series “Partner Track”. She's currently on stage originating the role of Sweet Sue in the latest production of “Some Like It Hot”. Connect with Natasha: Instagram: @natashayvettewilliams Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast TikTok: @thetheatrepodcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

Studying the lyrics to Bette Davis Eyes by Kim Carnes and Piece Of My Heart by Janice Joplin as we look at the energy of card numbered three in the Major Arcana

SUMMARY:Our guest on this episode is John Hall, founder of the band Orleans and co-writer of the group's enduring hits "Dance with Me" and "Still the One." He chats with us about how Janis Joplin launched his songwriting career, co-writing Steve Wariner's #1 country hit "You Can Dream of Me," and how he ended up serving two terms as a US Congressman before returning to music.PART ONE:Paul and Scott chat about Orleans' legendary "naked" album cover, and band/artist names you're afraid to say out loud. If you've ever stressed about how to say Husker Du, Bon Iver, Chvrches, or Bjork, we've got you!  PART TWO:Our in-depth interview with John HallABOUT JOHN HALL:John Hall is a musician, songwriter, community activist, founder of the band Orleans, and former US Congressman. After forming the group Kangaroo, which shared house band duties with Bruce Springsteen's group The Castilles at Greenwich Village's legendary Café Wha, Hall worked extensively as a sideman. He toured and/or recorded as a guitarist with Seals & Crofts, Taj Mahal, Bonnie Raitt, Little Feat, Carly Simon, Jackson Brown, and others, but established himself as a songwriter when he and then-wife Johanna penned “Half Moon” on Janis Joplin's Pearl album. After John formed the group Orleans, he and Johanna continued to find success as songwriters with the band's hit singles “Dance with Me” and “Still the One.” The following decade, John became a chart-topping country writer when he co-wrote Steve Wariner's #1 single “You Can Dream of Me.” He's known for co-founding the organization Musicians United for Safe Energy with Jackson Brown, Bonnie Raitt, and Graham Nash. John helped organize the legendary 1979 No Nukes concerts at Madison Square Garden, and his song “Power” became the anthem for the event. In 2006, John was elected to the US House of Representatives, representing New York's 19th District. After serving two terms, he returned to making music. John's songs have been covered by Millie Jackson, Chaka Kahn, Ricky Skaggs, Taj Mahal, Jackson Browne, Linda Ronstadt, James Taylor, Levon Helm, Bobby McFerrin, Bonnie Raitt, Chet Atkins, New Grass Revival, Jose Feliciano, Bill Anderson, The Oak Ridge Boys, Patty Loveless, and more. His most recent solo album is called Reclaiming My Time. We spoke with him in June of 2021 when the album was brand new and when he was working on some Orleans projects that have since become available and can be found at johnhallmusic.com.        

Today on The Neil Haley Show, Neil will interview the legendary Ben Gay III. In addition, Elliot Lundy stops by to discuss his book with photographs of Janice Joplin. Lastly, Rob Roselli talks Climate Change and Evolution.

Today on The Neil Haley Show, Neil will interview the legendary Ben Gay III. In addition, Elliot Lundy stops by to discuss his book with photographs of Janice Joplin. Lastly, Rob Roselli talks Climate Change and Evolution.

Warning: This episode dives into heavy real-life trauma and may be disturbing to some listeners. This episode of the Bodies by Brent Podcast will have you questioning how to heal your unconscious traumas of the past. Olivia is a culinary trained, wellness entrepreneur, trauma-informed coach, healer, speaker, and boxing coach. She never realized that as a boxing coach at her ‘Box and Flow' studio in NY she was sharing the exact advice she needed to hear. Liv shares her story of “answering the call” of plant medicine in her life, how that led to her uncovering hidden traumas from her past, and how it all started in Janice Joplin's old apartment at the Chelsea Hotel. She shares what she has done to integrate these harsh realities and what she's been able to do to reclaim what was once taken from her. Want to stay connected? Send me a text @ 1(512) 488-4223 - And if you haven't already, you can subscribe to the podcast to never miss a show! This episode is sponsored by Athletic GreensLiv explains how even though she is in her 30's she feels as though she's about to celebrate her second birthday. She explains how her yoga practice and boxing training combine to bring the duality that is needed in her everyday life to achieve the balance we all deserve. What we learn from Liv in this episode: The forgotten secret habit that can help heal trauma How to “flow through the fight” The need for duality in life to establish balanceThat everything we need is inside us How becoming an entrepreneur can empower other aspects of your life That we can see beauty even in the ugly of life Why inner child work is so important How to reclaim what was once taken from youLiv's IG Box and Flow: IGLiv's BlogBodies by BrentBodies by Brent: My Community Bodies by Brent: TiktokBodies by Brent: Instagram Bodies by Brent: YoutubeThis episode's sponsor: Athletic Greens See acast.com/privacy for privacy and opt-out information.

 Lisa continues her conversation today with Rock and Roll Hall of Famer and iconic drummer of The Doors, John Densmore. John reads poetry and explains about the thread which runs throughout each of our lives, if we just tune into it.  This is a way of never being lost. He talks about Ram Dass and how, in the silence, people can really contemplate his deeper words. He further discusses the importance of poetry, and specifically Jim Morrison's poetry, and then reads a special poem that he read to Ram Dass, written in the 1960s by renowned poet Etheridge Knight. He further describes the essence of creativity and the gifts that musicians and artists bring to us. In this uplifting interview, he talks about his latest book, “The Seekers – Meetings with Remarkable Musicians (and Other Artists).” Inspired by mystic G.I. Gurdjieff's classic work, “Meetings with Remarkable Men,” Densmore's latest book is a collection of short vignettes of his encounters with musicians such as Patti Smith, Lou Reed, and Janice Joplin, as well as spiritual teachers like Ram Dass, the Dalai Lama, and Joseph Campbell. Info: JohnDensmore.com

How is it that some people can perform moving pieces of music, or write a thrilling manuscript, or create a deeply emotional piece of art? What is the secret to artistic genius? Today's guest is Rock and Roll Hall of Famer and iconic drummer of The Doors, John Densmore. In this uplifting interview, he talks about his latest book, “The Seekers – Meetings with Remarkable Musicians (and Other Artists).” Inspired by mystic G.I. Gurdjieff's classic work, “Meetings with Remarkable Men,” Densmore's latest book is a collection of short vignettes of his encounters with musicians such as Patti Smith, Lou Reed, and Janice Joplin, as well as spiritual teachers like Ram Dass, the Dalai Lama, and Joseph Campbell. Each a luminary in their own right, Densmore shares stories of the creative thread that runs through each mystic, musician, and teacher as he searched for the origin of creativity and artistry. He shares several experiences he's had with LA Philharmonic conductor Gustavo Dudamel and how so much can be learned in the moments of silence between notes. The universal language of music is always a direct connection to one another's heart. This is Part 1 of the interview. Info: JohnDensmore.com

In today's episode of Catholic Family Matters: Paul realizes he's old Betsy's vision turns into calypso and Janice Joplin somethin' somethin' somethin' Paul and Betsy discuss how their respective Lent's are going, in all humility A lesson on sheep and goats from Jesus himself Betsy picks "Love Moved First" by Casting Crowns Links: If Lent Doesn't Make you Feel Good by Fr. Mike Schmitz Love Moved First by Casting Crowns Exodus 90   Click below to follow us at: Facebook Twitter On the Web Email

In this special Channeling History, we interview the spirits of three famoun entertainment personalities that had their lives shortened because of drugs.  We interview Janice Joplin, Gerry Garcia and Whitney Houston.  Join us for this memorable show.  

Welcome back, hello again. We have a few more friends on the show this time. Upside Downwards Side to Side Beat and Janice Joplin swing by the show to talk aliens, cheese, and fire. Make sure to follow along with the show on Twitter @babblestoner, or shoot on over to Stoner-babble with links to our merch. Peace out and see you some other time.

Join along as we discuss one of our all time favorite people, Janice Joplin. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/makeyourowndamnsandwiches/support

By Nathan Swets, of Mav Radio. In this segment, Farner shares a crazy story about Janis Joplin at a pop festival in West Palm Beach. This clip comes from the full conversation between Mark Farner and Nathan Swets. Mark Farner is releasing a new DVD titled, “From Chile With Love,” on April 6th. It includes 16 live performances, two bonus videos, five bonus songs, and $3 of every sale goes towards a Veteran Support Foundation.

This episode we talk with Jeff Jampol of J.A.M. - Jampol Aritst Management. Part of what Jeff does is manages bands or artists that are no longer producing music. Some of his clients are: The Doors, Jim Morrison, Janice Joplin, John Lee Hooker, Jefferson Airplane, Jefferson Starship, Grace Slick, The Mamas & The Papas, Charlie Parker, Henry Mancini and more. Jeff talks about how is company represents these legacies, plus he gives us the lowdown on the new Jim Morrison book (The Collected Works of Jim Morrison; Poetry, Journals, Transcripts, and  Lyrics) coming out on June 8th and a taste of the new Janice Joplin scrapbook coming out (hopefully) later this year. Plus details of what he does representing all of his clients. 

Hi friends, it’s been a while. First, we want to thank our faithful listeners for all your love and support - means the world to your Hollyweird girls. We have a special treat because you waited so patiently: not one, not two, but THREE episodes covering our most requested topic - The 27 Club. In case you don’t live your life steeped in true crime and pop culture, the 27 Club refers to the phenomenon of many celebrities dying at the age of 27. The circumstances around each member’s death are different, but some still believe there may be a 27 Club curse *cue spooky music sting*. There are many members of the 27 Club that all deserve their own story, but we couldn’t cover them all, so we chose 5 that we believe represented the most interesting and diverse stories: Jimi Hendrix, Janice Joplin, Jim Morrison, Kristen Pfaff, and Anton Yelchin. Episode one features two of the most legendary musicians of all time: Janice and Jimi. Join Meg & Liz as we examine the lives of two incredibly talented musicians: one who is commonly thought of as one of the best guitar players to ever grace a stage, and one whose signature voice and wild fashion sense influenced countless artists. Both of their lives were cut tragically short by addiction, but their paths to get there are two different stories. . . . If you or someone you know is struggling with addiction, please call the SAMHSA National Helpline: 1-800-662-4357 . . . Follow us on Instagram and Facebook at @hollyweirdpodcast and Twitter and Snapchat at @hollyweirdpod. #gethollyweird #27Club #JaniceJoplin #JimiHendrix . . . Hollyweird Theme Song by Daryl Hatfield

Janice Joplin - crowning vaginas - pain

Welcome to the fourth installment of a 4-part series called “The gift of being fully present.”  During these episodes, we've been getting you powerful and practical strategies to help you to BE IN THE MOMENT and be FULLY PRESENT more often.  With this episode, we're going to get you a strategy that might seem counterintuitive to living more in the present… BUT… trust me… it's going to help to infuse the here and now… with some joy, some hope and even some fun.  And it's something that's going to be soooooooo important as we all march into 2021.  It's called “Intentional Anticipation” and I can't wait to get it to you!  #letsdothis RESOURCES: PART 1 of the Give the Gift of Being Fully Present: The First Question www.mitchmatthews.com/302  PART 2 of the Give the Gift of Being Fully Present: The Experiment www.mitchmatthews.com/303  PART 3 of the Give the Gift of Being Fully Present: The Christmas Carol Method  www.mitchmatthews.com/304  The Study on Travel and Anticipation: US National Library of Medicine - National Institutes of Health  The Happiness Advantage by Shawn Achor:  www.shawnachor.com/books The Undefeated Mind by Dr. Alex Lickerman: Click here. The best 100 Movies Ranked by the American Film Institute: Click here Episode Minute By Minute: 0:02 Welcome to part four! 1:33 What to expect today 2:42 Episode begins 4:20 What is coming up in January 5:07 The concept of novelty 7:30 The gift of anticipation 16:00 Giving yourself permission 19:15 Set a date 21:09 How Mitch is implementing this in his family 23:02 Grow your hope muscle 24:11 Mitch's wish for you this season 25:40 Share this episode with a friend THE EPISODE - TRANSCRIPTION:  Okay… in episode 304… you may remember that we talked about something I call the “The Christmas Carol Method” of being in the moment. We talked about questions about your past and questions about your present... to help you feel more gratitude and to help you to live more in the here and now. Well… today we're going to be talking about the future and something I call, “Intentional Anticipation.” It's a strategy that can build a sense of hope and excitement… and even joy… right here.   Right now.   Now… you might be saying… “Woah amigo, hold up!!!  I thought we were talking about living more in the NOW… and being more present.  Doesn't thinking about the future move us out of that?” And… if you're asking that… you're flippin' brilliant.   Because yes… sometimes… thinking about the future… and all the things that are outside of our control… can… let's be honest… start to freak us out. In fact, I love a quote I recently heard from the late great Janice Joplin, she said,  “You can destroy your NOW,  by worrying about your tomorrow.”   Amen to THAT. BUT… I want to be clear… that's not what we're doing. What we're talking about today is “Intentional Anticipation.” And since this is DREAM THINK DO… we're going to introduce you to the concept… get you some science to back it up… AND most importantly… show you how to use it in 15 minutes or less.   How does that sound?   Okay… cool… let's do this! Now… in January… we're going to be getting you a few episodes that focus on the subject of happiness.   Not in some airy-fairy kind of way… but we're going to be digging into the science and application of feeling happy… more often.  And… I can't wait to get those episodes to you. But… as we start to head that direction… I want to share a few things I've been learning there… and add them to our subject of being more present and living in the moment more. So… one of the things I've been learning about as a key to having more happiness is the concept of “novelty.”   The idea… that although we like it when certain things stay the same… one of the things that brings a sense of happiness is a sense of novelty. That sense that every so often… we get to experience something NEW. Something out of the norm.   Something unusual.   It can be little things like…  Buying and wearing some new clothes.  Or reading a new book.  Or… trying a food we haven't tasted before or driving down a road we've never explored. Or… things like... Visiting a city we've never gone to before. Meeting a new person and getting to know them. Buying a new piece of technology… or a new toy. Novelty. Just think about it… and I'm betting you know exactly what I'm talking about.   That sense of NEWNESS can spark a sensation of joy and excitement. And… just as importantly… ANTICIPATING something new can spark that feeling almost as much… if not more… joy and excitement… as the experience itself.   Heck, there's a LOT of research to back this up.   In fact, it's called the Science of Anticipation. Let me give you some examples: There was one study published in the National Institutes of Health that looked at people who were getting ready to go on vacation.   It tracked them and their sense of self-perceived happiness before, during and after the trip… compared to a control group who didn't take a trip at all.   One of the things that surprised researchers was that the highest levels of happiness seemed to occur leading up to the vacation… as opposed to during the trip… or post trip. Maybe you can identify with that.   Seriously… think about vacations you've taken in the past.   Can you remember the excitement you felt leading up to the trip?  The planning?  The fun you had imagining visiting that one particular restaurant… or riding that one ride you'd heard so much about… or dipping your toes in that sand of that one beach a friend had told you about.   Ohhhhhhh yeah.   The anticipation. I came across another example of this in the book, The Happiness Advantage.  The author cites a study in which people who just thought about watching their favorite movies actually raised their endorphin levels by 27%.  He said researchers concluded that,  “Anticipating future rewards can actually light up  the pleasure centers in your brain  as much as the actual reward itself will.” I bet you've experienced this too… right?   Just looking forward to something made you feel better. It's like how Dr. Alex Lickerman put it in his book The Undefeated Mind,  “Anticipating something pleasant seems to  have almost unequaled power to make our present glow.” I bet you know exactly what these researchers are talking about. I bet you've felt that anticipation of something new… and got some good mental juice out of it.   Right?   It feels good.   And… the research suggests… we can do some things to intentionally harness that joy… and experience the joy… the fun… even the hope that comes from that anticipation… more often.   Especially IF we're intentional about it. Hence… our term: “Intentional Anticipation. And I'm going to get you those strategies in just a second. BUT before we go there… I HAVE to speak to a couple of things. Let's call them a couple of big ol' elephants… or maybe… in 2020… better said, a couple of potential grizzly bears in the room. Here's the deal… I bet you're tracking with me… BUT we have to deal with that big ol' BUT that might be brewing deep down on the inside for you. We have to admit that our ability to enjoy anticipation has truly taken a beating this year.   Can I get an amen? There's a good chance that if you're listening to this… heck… if you're breathing… you've had something BIG get postponed or canceled this year. A trip.  A big event.  Something important. A graduation. A dance. A wedding. A business event. A vacation. A conference. Heck… we've got a lot of college students that listen to DREAM THINK DO… so there is a VERY good chance it's impacted the way you're doing college or even made it so you're delaying college for the year.   Or… maybe you have young kiddos… and it's a day by day thing on whether you're going to be teaching MATH… SCIENCE… and SOCIAL STUDIES… WHILE also navigating your life and your career. Or… maybe it's the 17th hundredth zoom meeting… as opposed to being in the same room with people. And… heck… even the holidays.  Everything feels like it's up in the air… and that it constantly has the potential of shifting on us. So yeah… we've got to talk about THAT… right?  Because if we don't… this all can seem pretty empty… and all rainbows and unicorns… as opposed to something you can REALLY use. So… IF YOU ONLY HEAR THIS ONE THING… I would love for it to be this: INTENTIONAL ANTICIPATION in THIS season means giving yourself permission to cherish and look forward to the small stuff.   Or… more accurately said… this might mean looking forward to things that we might have considered the “small stuff” in the past… but we're realizing it's the wildly BIG stuff. I'll give you an example.   Admittedly… this might be a bit dorky… but I think it will help. If you've been listening to DREAM THINK DO for a while… you know my family is into movies.   It's our jam.   And I don't know how many opening night movies we've been to… but… seriously… if the Matthews clan was looking forward to a movie… there was a VERY good chance… we were there on opening night. We did it for the excitement of it… the fun of it.  Heck… I didn't realize it at the time… it was for the anticipation and the novelty of it. AND to be COMPLETELY honest… we wanted to make sure some major part of the movie or the big twist wasn't ruined by some jackhole who put a spoiler out on social media. It was always fun… BUT if I'm honest… it had started to become a bit of a “given” that's what we'd do.   Heck, I'll be the first to say we'd probably even started to take it for granted… and could almost be passe about it. Well… as you can imagine… we haven't been to an opening night movie premiere since March.   So when I heard Wonder Woman 1984 was going to open on Christmas night… I bought tickets that same day I heard about it.   And we've been looking forward to it ever since. BUT… if I'm being fully honest… I have to admit that part of me that didn't want to look forward to it… because so many different things have been canceled… or changed… or postponed this year. So… I had to give myself PERMISSION to look forward to it. And… as the research would suggest… I've been enjoying that sense of anticipation.  Yes… part of it feels like a risk… BUT… I'm allowing myself to enjoy it. Now… in full disclosure… I have a backup plan… because in this scenario… if something happens and the movie theater gets shut down for COVID reasons… I'll grab a subscription to HBO Max… because they're premiering it on the same day! By the way… although I really enjoyed the first one… I'm not a HUGE WonderWoman fan.  BUT my wife is a HUGE Wonder Woman fan… and I'm a HUGE fan of my wife… so we're doing it.   AND… we're both allowing ourselves the chance to look forward to it. Oh… and as a side note... I want to also say… that neither Wonder Woman 1984 or HBO Max are currently sponsors of the DREAM THINK DO podcast…  but we ARE willing to discuss that with you… if you or someone you know… are connected to either.  HA!!! But seriously… deep down… I realized I had to give myself permission to LOOK FORWARD to something like this again. I know it might be kind of a weird example… but can you relate? Here's another quick example.   Obviously… many of our family gatherings are looking WAY different.   Yours probably are too! I have to admit… around Thanksgiving time… I was pretty GRUMPY about that. But… as I started to understand this concept of INTENTIONAL ANTICIPATION… especially after THIS year… I started to realize the importance of permission. That we have to give ourselves permission to… first... feel all the feels. With this year… we need to give ourselves permission to feel the frustration… the weariness… the crabbiness… all of it. But then… when we're ready… to start to also give ourselves permission to look forward to some NEW things. So… like I said… over Thanksgiving… I was still pretty grumpy about how different things needed to be. But now… I'm giving myself permission to get creative with some of these NEW… and very hopefully… temporary ways of doing the holidays. So… we're going to do a bunch of things with our extended families… virtually… and I'm going to give myself permission to look forward to them and be in the moment as we do them. And… I'm actually starting to feel the difference.   I'm starting to feel some hope… some joy… heck… even some fun… start to break through.   And hey… #realtalk… those feeling have been hard to come by this year.   And that's what I want for YOU too.   THE STEPS: So… if you're tracking with me...  let's start to talk about some SPECIFIC steps to help us to harness the POWER of INTENTIONAL ANTICIPATION.   STEP 1: PERMISSION So… INTENTIONAL ANTICIPATION starts with PERMISSION. We have to give ourselves the permission to look forward to something again.   It's so simple… and so important…  After that… the rest just flows.   STEP 2: Get SPECIFIC  Get specific with something you want to do or experience. Now… since it's 2020 and 2021… we need to keep things simple.   So, for this to work  RIGHT NOW… these things most likely can't be BIG things like… global travel… or big events involving thousands of people. BUT they can be fun… and they can be important things.   AND... they can pull in some of that NOVELTY we were talking about earlier. Some examples might be… What's a park (within a 2 hour radius) you've never been to?   Set a date and go check that out.  What's a favorite movie you haven't seen in a while? Or… what's a movie you've always wanted to watch… but haven't? Set a date and watch it together. I'll put a link to some of the top 100 movies of all time in the show notes to get you some more ideas here. What's a favorite food we haven't eaten in a while? Or… what's a food you've always wanted to try? Set a date and cook it together. The key is to get specific. STEP 3: PUT IT ON THE CALENDAR Seriously… write it down.   Or put it on your google calendar.   Invite someone to do it with you… either virtually or in person. And then…  STEP 4: ENJOY THE ANTICIPATION Seriously.  Simply enjoy the anticipation. That's right.   Give yourself permission to enjoy looking forward to it. And… give yourself permission to not have it have to be PERFECT to enjoy it when that THING comes.  Sound good?  I'll give you one last example as we're wrapping up.   As I said earlier… my family is kind of a “movie family.”   We enjoy watching them and our two sons write, direct and act in some.   AND… thanks to COVID… both sons are currently home and living with us. Well... a while back… we were looking for some fun ways to mix things up… find some novelty… and… let's be real… we were looking for something that couldn't get canceled or postponed.   SO… we decided to challenge ourselves to EACH come up with a list of our 10 favorite movies.   Super simple.   By the way... this list… was not about how successful they were or their critical acclaim.   This list was all about the movie's impact on US… and how much we enjoyed them. Then… we set up a date to reveal the lists. And… on that day… we all presented our lists to each other.  As we did… we each talked through our lists and why each movie was in our top ten.   It was a lot of fun. But the best part… is that since then… we've been systematically… going through our lists to enjoy the movies together.   Each month we've been setting some time aside to watch a movie and then talk through it.   It's been fun and although… I'll be the first to say… that each movie we've watched hasn't always been my favorite… we've had fun and we've learned a lot about each other!   So, I offer that… not as prescriptive but as descriptive of something you could do. Maybe… for you… it's not movies... maybe it's board games. Or… maybe it's favorite sports ball memories… (Yeah… sorry… I'm just not much of a sports guy… but you get what I mean!) Maybe it's watching favorite youtube videos together. Decide on something. Put a date on the calendar… even if it's tomorrow. Enjoy the anticipation. And then… BE in the moment… whether it goes EXACTLY as you planned… or not… enjoy it. What do you think?   Are you in? I hope so. And one last thing.   I wanted to share why I think THIS episode might be the most important of our 4 part series. I'll TOTALLY admit that I didn't realize this when we started… but it dawned on me as I was thinking through all of this. It's that… I really do think we're going to need to heal up our ability and our willingness to look forward to stuff. To anticipate GOOD stuff… and not just dread bad news… postponements and changed plans. You know what I mean? I think we're going to have to work that “hope” muscle and the “anticipation” muscle a bit… because they've taken a bit of a beating this year.   Right? That's why I think THIS subject is so important. But hey… if there ever was a time of year to talk about giving yourself permission to feel hope again… and to anticipate some good things...  it seems like Christmas time is the PERFECT time to do that.    And hey… I know our DREAM THINK DO family is very diverse… and I know that not everyone who's listening right now celebrates Christmas… but whether you do… or whether you don't… I hope you know that I love you… and I'm so grateful we're on this journey together! And for those who do celebrate CHRISTMAS… I hope you have a wonderful… wonder-filled time! And to everyone… I hope over this Holiday season…  even though it may look very different than other years… I hope you can find specific things to look forward to… and then get to fully enjoy them… as you're more fully present and more fully in the moment… as they come! Cool?   Cool. Okay… just a few last logistics… as we're wrapping up.    I WANT TO HEAR FROM YOU! Hit me up with your thoughts and comments below!    PLUS… please please please… share this episode.   If it resonated with you… please share it with others… because I really do think we're going to need to be intentional about working our “hope” and our “anticipation” muscles… and it's a whole lot more fun to get to do that together! And lastly… know I'm going to be taking next few weeks off to be with my family. So… we'll skip a week or two and then we'll be bringing you our next episode… episode 306… which is going to be awesome… and so much fun… in early January.  And I can't wait to get it to you! But until then… until we connect again… keep bringing your awesome.  Because the world… needs more of it!

In his more than 50 years in music, drummer John Densmore has played with and gotten to know some of the greatest musicians of our time, from Janice Joplin and Paul Simon to Ravi Shankar and Willie Nelson, as well as some inspiring non-musicians from the Dalai Lama to screenwriter Joseph Campbell.  He has managed to learn something from many of those interactions - lessons he writes about in his new book THE SEEKERS: MEETINGS WITH REMARKABLE MUSICIANS (AND OTHER ARTISTS).  John Densmore discusses the many musical influences on The Doors, what he thought the first time he met Jim Morrison, and how Morrison’s tragic self-destruction served as a cautionary tale that kept John Densmore straight the rest of his life.  We talk about Oliver Stone's movie about The Doors, the tense legal battle between John and his bandmates over the commercial use of The Doors songs, and how he made peace with Doors’ Ray Manzarek just before his death in 2013.  John goes into the importance of space and silence in music, the power of improvisation to take him to a higher place, and the person whose drumming style he most emulates to this day.  Plus we talk about his friendship with classical conductor Gustavo Dudamel, jamming with Rock n' Roll wild man Jerry Lee Lewis, and smoking weed with Willie! Order John Densmore's book THE SEEKERS: MEETINGS WITH REMARKABLE MUSICIANS AND OTHER ARTISTS on Amazon, Audible, or wherever books are sold.  Follow John on Twitter at @JohnDensmore or at www.johndensmore.com.   See omnystudio.com/listener for privacy information.

En este cuarto episodio hablamos brevemente sobre los recientes Premios Nobel otorgados en Física/Astronomía (1:20; https://www.nobelprize.org/). El invitado de este episodio es el Dr. Carlos Román Zúñiga, investigador titular del Instituto de Astronomía de la UNAM (15:46). Tras los fotones es un proyecto de comunicación de la ciencia del Instituto de Astronomía de la UNAM. Con Gloria Delgado Inglada (@glodeling) y Diego López-Cámara Ramírez (@drpiki1), ambos investigadores del Instituto de Astronomía de la UNAM. Gloria y Diego son además los productores y editores de Tras los Fotones. Nos pueden seguir en Twitter, Facebook e Instagram. Cortinilla: música de Claudio Martínez (@claudifonos) y voz de Mila Molints (@milamolints). Música del episodio: Cambo Coffee (Free Music Archive), Piece of my hurt de Janice Joplin.

My guest today is the drummer for one of the most recognized psychedelic rock bands in our countries history. The band was already intact when a young woman named Janice Joplin came aboard from Texas with an unpretentious style in the same mold as Ron McKernan, Jorma Kaukonen and David Bromberg. Her style was unique and she gravitated to the Bay Area where the folk rock scene was burgeoning with open minded musicians who were drinking bathtubs full of LSD. The whole vibe was less uptight than the New York Folk scene that reeked of uniformity and hierarchy starting with Van Ronk, Von Schmidt and a certain way to play the music. My guest came from the east coast and was already expressing himself through painting. He was steeped in spiritual Native American drumming that focused on rhythm patterns of transcendence as the peyote soaked their veins while Jim Pepper played Whitchy-Tai-Toe. My guest was also a first rate jazz drummer idolizing the work of Larry Bunker, Hal Blaine, Emil Richards and Milt Holland. He brought these chops into the Holding Company who's instrumental sound became a progressive mix of folk, psych, Rock and soul. His painting remained as he used his brushes the way Elvin Jones or Philly Joe might use them. Swing the band like David Garibaldi or Greg Errico, Billy Kreutzmann, Michael Shrieve, Lenny White, George Marsh, Mike Clark, Jerry Granelli and Gaylord Birch. Just another whistle stop Dave Getz welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

The evolution of the blues written and performed by Jon Hendricks was a direct critique of where the blues emanated from. It was a reminder of the gospel tinged spirituals of the church and the preachers who slung a guitar over themselves to sing and pick and lament those lost days in the fields picking cotton in slavery. Cats like the Reverend Gary Davis, John Lee Hooker,Indianola's own BB King, Muddy Waters, Blind Willie Johnson, Mississippi Fred McDowell epitomized this pan African struggle for basic human rights. They did this through the medium of records which gave these performers identities for younger white cats in Chicago and New York and Marin County who heard these sounds and then plugged in. My guest today is part of this generation who not only got to hear their heroes on the radio, but saw them up close with no teeth and in some cases had to sight guide them to their various gigs. In some cases they got to perform with them because of the regionalized economic wizardry of Bill Graham and Chet Helms who catered to music events which spoke to music. Not stratified in some genre necessitated label making funny farm but rather saw to it that young white bands shared the stage with soul acts and gospel and blues heck even the preservation hall jazz band. Bob Weir told me you can listen to these players but you really learn by playing with them. Relishing in their stage presence and eccentricities and calmness. Less is more, look beyond the surface and tell a story. My guest has been weaving musical stories for the last 5 decades. He was one of the Sons of Bill Champlin who enjoyed going to the original Fillmore and catching Sam and Dave along with James Browm at the Cow Palace, tripping with Phil Lesh and playing hootenannies with Janice Joplin and Jorma Kaukonen. He grew up with the sounds of Barney Kessel, Tal Farlow and his pops. He is an original seeker of sound who was an inspiration to both Carlos Santana and Jerry Garcia. The Sons were a sophisticated Mix of Blue Eyed Soul. They came out if the same school as Canned Heat, Boz Scaggs and Michael Bloomfield. The music has an Oakland funk flavor because of KSAN, Voco and the general creativity of a group of cats who expanded consciousness through legal LSD to see and feel how life really could be. Odd meters, hyperactive vocal harmonies and a bouncing melodic structure helped them stand out gain an identity and provide that essential link in the chain for modern day and future sound seekers.... Loosen Up Naturally. Terry Haggerty welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

The bravest man in the universe used to wake the morning and get his breakfast in bed but then realized its a lot more fun to cross 110th street with JJ Johnson and Stu Gardner. My guest is one of the most prolific musicians in our countries history. He came of age with his brothers who were raised to take care of themselves. Go down to the lake and sleep out at night. Croon some lyrics that a woman's got to have and play hot rhythms with country and western tunes with his pops singing vocals. The bravest man in the world has had to show this over and over again because bravery exists in the what have you done for me lately world that we dwell. Breezin' on blue tooths and cocaine addictions. The pacing that it takes for my guest to create. It's not a chop shop. How bout 9 years how bout 5 let it marinate like the hot licks of Gabor Szabo or the hippie laced Pearls of Janice Joplin. My guest learned under Wilson Pickett and carried the torch with Sly Stone. His gospel tinged inflections blended with his RnB sensibilities and choppy blues riffs. My guest learned on the bandstand be it the church circuits of the American Breadbasket or the Chitlin Circuit that produced the likes of Cannonball Adderley. That's the way I feel about cha, Bobby Womack welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

I recorded this interview with Jazz in August 2019 just before starting maternity leave. At the time we discussed how a lot could happen in 7 months, but we couldn’t have imagined the state the world would be in. Life as we know it has been turned on its head as we try to navigate the COVID-19 global pandemic.In this episode Jazz and I discuss the 26th VNCA conference to be held in Melbourne this month. Like veterinary conferences the world over, it’s now been postponed. Follow the VNCA FB page for news of alternative plans and future dates.I talk a lot on the show about my previous life as a lawyer, but my first degree was in International Studies at RMIT’s school of globalization. The whole premise of our degree, and my subsequent career in corporate social responsibility, was that we live in an age of globalization. So watching COVID-19 close national borders and halt global flows of trade and people has blown my mind. It leaves me with little doubt that it is now crucial to maintain the global flow of ideas, knowledge, and our support for one another. Stay connected during this time of isolation as we face unprecedented challenges in an industry that was already tackling challenges of its own. Take comfort in knowing that this experience will make us more resilient, flexible, and grateful. Carry on – we got this.In this episode I caught up with VNCA President, Jazz. A quick caveat for this one – like all episodes over the past 6 months it was recorded in advance for my maternity leave. We recorded in August 2019, and I’m sorry I wasn’t able to get her reflections for the full year. We did however cover the first 6 months, including the hugely successful launch and roll out of the AVNAT Scheme.Aside from being President of the VNCA Jazz was recommended to me by multiple people as a perfect Radio Vet Nurse guest. She got her start in the industry at the ripe old age of 11 and her passion and enthusiasm will leave you straightening your stethoscope and fist punching the air.Another caveat for this episode, Jazz was unwell when we recorded and a bit concerned that she (a) might have a coughing fit and (b) sounded like a pack a day smoker. I quite liked the Janice Joplin voice but definitely edited out a few coughing fits, including one caused by our ongoing laughter at my favourite unexpected Radio Vet Nurse tangent ever – the subtle art of fainting. Jazz listens to these podcasts:· Dr Carl· Cosmic Vertigo· Stuff You Should Know

Shep Gordon's life is unbelievable. It really is-if you don't believe me, just check out his book and documentary, "They call me Supermensch." Gordon's story starts off like most rags to riches stories. Busted and a loser, Gordon takes off to the west coast with a suitcase full of drugs in hopes that something...anything will be different than his life thus far. After checking into a sleazebag motel, Shep wakes up to a woman screaming and when he goes to save her, he finds it's the legendary Janice Joplin getting it on! Shortly thereafter Joplin introduces Shep to her friends...Jimi Hendrix and Jim Morrison of "The Doors," and just like that, Gordon transitioned from their drug dealer to their music manager. Gordon's gone on to represent a buffet of talent over his long career. Today, you'll find Shep hosting dinner parties at his palatial mansion overlooking the Pacific Ocean. The parties aren't for networking, they're just a collection of great (famous) friends all brought together to celebrate life. Gordon has even cooked for the Dalai Lama! (I told you it's a crazy story!) He said when His Holiness walks into a room, he looks for the miracle first and the emotion second. ~~Just think how your life would be different if you put the miracle before your emotion. To see how far you've come...to be grateful... to see the miracle first, THEN productively handle the emotion. All of the pissed off, jealous, blow ups, and angry outbursts could've been handled more productively. ~~I'm rolling with you on this week's edition of TSL! ^^^Don't forget to share the show ^^^& please thumb a quick rating and review so that others can join TSL Nation too! ^^^^I'm on IG, Facebook, Twitter, and LinkedIn @marshbuice and thesaleslife!@gmail.comSend in a voice message: https://anchor.fm/marshbuice/message

Jakim liderem trzeba być w dobie tak szybkich zmian technologicznych, żeby stwarzać ludziom możliwości rozwoju i pokazać kierunek, którego sami jeszcze nie znamy? Jaka jest rola Lidera 4.0 w dobie tych zmian? Odpowiedzi na te pytania szukałem w historii jednej z pierwszych programistek w NASA. Zapraszam Cię w podróż do czasów Woodstock, Janice Joplin i pierwszych komputerów. --- Send in a voice message: https://anchor.fm/lider40/message

**Pre-recorded 11/30/2019**The gals are live from the Ha Ha Harvest Comedy Festival. They’re joined by Rebecca Leib (Ghost Town Podcast) and Sarah Ranney (http://www.sarah-ranney.com/), in a discussion about ghosts, goblins, Janice Joplin and dicks.Stalk us here!Instagram - ghosts_n_heauxsFacebook - GhostsnHeauxsPodcastAnd don’t forget to send your stories to ghostsnheauxs@gmail.com

Born in Panama, raised in Brooklyn from age 13, a conscientious objector to the Vietnam War, a self taught photographer who's captured iconic images of music, art and fashion for over 5 decades, is this week's guest Roberto Rabanne. In part one of this 2 part interview Roberto recounts the experience of growing up in a racially charged 1960's Brooklyn, his self-directed education and passion for reading, the impact of his mother and aunt, and how his early exposure to Motown and the Beat culture led him to embrace photography as his preferred form of self expression.Roberto discusses the experience of being at the heart of documenting the 1960's counter-cultural movement and the writers, artists and musicians he worked with. We also explore the commonalities of the movement with what we are experiencing with the emerging environmental movement and youth leaders like Greta Thunberg.We also discuss how his curiosity for people lead him to photograph musicians from the Grateful Dead, Dylan, Janice Joplin, Jim Morrison, Hendrix, The Rolling Stones, The Beatles, Run DMC, The Beastie Boys, Amy Winehouse, Sade, and Gaga. In fact he's the only photographer to have shot all members of the 27 Club - those iconic and groundbreaking musicians who died at the age of 27.Finally in Part One Roberto explains how his career pivoted into fashion when a serendipitous encounter led him to working for the legendary Alex Liberman of Conde Nast. I hope you enjoy the humor, eloquence, generosity of spirit and expansive vision of Roberto Rabanne.Thanks to previous guest Alessandro Armillotta for the recommendation and connection.What we discuss Coming to New York as a 13 year migrant from Panama Growing up as an only child in Brooklyn in a balkanised community How reading and a love of Russian literature saved him Becoming involved in the counter cultural movement His early exposure to music and MotownMeeting members of the beat generation How seeing a Bresson print made him realize his photography future How he worked in a store to save for his first camera How he gravitated toward music photography Moving to Sf and his experience of psychedelics Living in the same house as Neil Cassidy Seeing the Grateful Dead and becoming friends with Gerry Garcia His willingness to sit in the background and observe Being acceptant of everyone Documenting culture How the counter cultural movement is still playing outThe impact of the movement and that moment in time His views on micro-dozing How he's using his back catalog to create new artistic expressions The people and bands he shot The 27 club Being curious about people kept him relevant His switch fashion Pivoting in 1979Working with Conde NastSocial Links Instagram Links in the Show West Side Story MotownAllen Ginsberg Dostoyevsky

Glenn, Tommy och Ludde snackar Orup, är han verkligen Sveriges svar på Janice Joplin? Vidare blir det lite utav ett uppsamlingsheat, det snackas Red Dead Redemption på PC, Call of Duty och The Outer Worlds. Avslutningsvis dyker vi ner i avgrunden som är Tommy Twitterfeed. Bli mä'!

Two-time Grammy nominee and the award-winning author — Holly George-Warren has written 16 books including the New York Times bestseller The Road to Woodstock and the new biography Janis: Her Life and Music about rock icon Janis Joplin. Holly is also working with Petrine Day Mitchum on a new documentary called Rhinestone Cowboy about the story of Nudie, the Rodeo Tailor. Find out more about Holly George-Warren. Read more about The Passionistas Project. FULL TRANSCRIPT: Passionistas: Hi and welcome to the Passionistas Project Podcast. We're Amy and Nancy Harrington and today we're talking with two-time Grammy nominee and the award winning author Holly George-Warren. To date, Holly has written 16 books, including the New York times bestseller, “The Road to Woodstock” and the forthcoming biography, “Janice: Her Life and Music” about rock icon Janice Joplin. Holly is also working with Patrine Day Mitchell on a new documentary called “Rhinestone Cowboy” about the story of Nudie, the rodeo tailor. So please welcome to the show Holly George-Warren. Holly: Great to be here. Thanks so much for having me. Passionistas: What's the one thing you're most passionate about? Holly: Wow, gosh, what time is it? Every time it changes on the hour it seems like, but of course right now I'm most passionate about, I guess both Janis Joplin and Nudie. As far as my work life goes, my head is wrapped around both of those people. And interestingly enough, Nudie actually did make some outfits for Janice in 1970 so there's a connection with everything. And of course my other passion in my personal life is my family, my husband Robert Brook Warren and my son Jack Warren, who fill my life with joy and excitement and share, uh, my love for the arts, film, music, the outdoors, etc. So I'm very blessed. Passionistas: So tell us a little bit about what first inspired you to become a writer. Holly: I think music really did first inspire me beginning at a very, very young age. I grew up in a small town in North Carolina and literally I'm old enough to have discovered music back in the days of am radio. And in my town it was so tiny. We had very, you know, little radio, just some gospel, I think country and Western. This was in the ‘60s. But I discovered at night after like say nine o'clock on my little clock radio that I could tune into w ABC in New York and WCFL in Chicago. And that just blew my mind. It opened up this whole world for me of all these different sounds and styles of music. Cause that was in the day of very eclectic radio. Playing a DJs, they, they didn't go by strict playlists or anything like that. And I literally started just kind of writing, I think inspired by the music I was hearing. I started writing a little bit about music and I of course started reading biographies also at the same time. So that was the other major I would say inspiration for me. I started reading in elementary school these biographies of all kinds, everyone, you know, from like George Washington Carver to Florence Nightingale to Abraham Lincoln biographies and became kind of obsessed with reading those books. And you know, I just love to read from a young age. So I think those interests kind of combined that. Um, by the time I got to college I was writing quite a bit and uh, always did quite well with my writing assignments in school and then found myself writing more and more about music, going out and seeing bands performing live. And then that's what I did when I moved to New York city in 1979 I started writing for all kinds of fanzines and underground magazines that existed at that time in the East village. About then, it was kind of the post punk scene I guess, but I had been inspired by the original punk rockers, you know. I got to see the Ramones and bands like that in North Carolina before I moved to New York. So I've just started writing about the scene, which was not that well covered at the time. Talk a little bit more about the scene at that point. Back in those days, in the late seventies in New York city, there were only a couple of clubs where you could go out and see bands that had, were kind of either following in the footsteps of the original punk scene in New York and London. And a few of those people were still around New York and playing. So there was this great resurgence of kind of DIY homemade magazines, sort of called fanzines that all kinds of people that were into the scene started writing articles for. And it didn't have as many gatekeepers as say the big glossy magazines of the day, you know, even Cream magazine, which was kind of an upstart as compared to say Rolling Stone was pretty restrictive as far as who could write for those magazines. And I would send out queries and tried to get assignments and never hear back anything. But in the meantime, just people out on the scene who were playing in bands, booking bands, going out to see shows every night we're putting out these music magazines that pretty much anyone through, you know, string a sentence together and had a little bit of knowledge about writing. But a lot of passion basically. Again, passion was very much the key word of I would say the music scene, the people on stage and then also people writing about the music. So that's really what got me started and I started getting published in some, again very small run underground, a little music magazines. Passionistas: Then you did eventually start to write for Rolling Stone and you became an editor of the Rolling Stone press in '93. So tell us about the road to that and your experience working there. Holly: It was quite the fun road. It was circuitous because I did get swept up in the whole band scene and actually started playing in bands very early. I played, I used to call it lead rhythm guitar. So again, playing in different bands over pretty much throughout the 1980s and while I was doing that, I didn't write quite as much, but I felt like it was a huge tool for being able to write about music to actually be in a band. You know, we went on the road, we toured around some of my different bands, I did several recordings. So I learned what it was like to work in a recording studio. And just the whole life of being a musician became a real thing for me. So I felt like I could write about musicians with much more authority. I never considered myself a real musician. I still was a fan, but I, I could play a mean bar chord. And I started out with a fender Mustang and then I moved up to a fender Jazzmaster of the vintage one from the late fifties so I was pretty hip. Let me tell you. In the meantime, I did start getting some real jobs to pay the bills, including, believe it or not, I became an editor at American Baby magazine, which funnily enough, almost everyone that worked there was childless. And that was really my first nationally published articles was for this magazine. Um, how to know when your child is old enough for a pet or, you know, I did a research article where I went out and interviewed parents of quintuplets and quadruplets and triplets, you know, um, but I, you know, really kinda cut my teeth writing for that magazine. I learned how to be a journalist, you know, a real journalist. And then gradually through meeting people and also being a total rock and roll geeky nerd who was constantly reading every rock biography that would come out. And also I was really into, it was weirdly enough through punk rock, I got totally into old timey country music, like the Carter family. And honkytonk music like Hank Williams and I loved, uh, Patsy Cline, Wanda Jackson, the queen of rockabilly. So I got into that kind of music pretty much while I was a full-fledged punk rocker. And again, I think passion is the line between those two, the thread that connects them that, you know, both of those kinds of music, that earlier country that were raw primitive kind of country music as well as punk rock had that passion was very obvious in the music and that I loved it. I was totally into all that kind of music. And in fact, I saw George Jones at the Bottom Line in 1980 which blew my mind. So anyway, so I started learning more about that kind of music by just reading books all the time and eventually heard about a job as a fact checker at Rolling Stone press in the 1980s they were doing this big rock and roll encyclopedia and needed someone to double check everything. You know, these established writers who I'd been reading for years, Rolling Stone, like people like Dave Marsh had written. And so that was my first, you know, I was getting to call up Question Mark of Question Mark and the Mysterians and asking him, you know, was it true that he came from another planet and called up, you know, all these people. In fact, funnily enough, I handsome Dick Manitoba, the singer, the Dictators, I called him up to check some facts about this notorious horrible fight on stage, basically abroad between him and Jayne County at CBGBs. And then literally when I was playing in my band, we were rehearsing and this music building famously where Madonna once lived before she got an apartment near times square I was in, had gotten a taxi to get home with my equipment and there was, who was driving me, but you know, Richard, Manitoba, handsome Dick himself, who I had just caught up and asked him about his career as a fact checker. So anyway, that kind of got my foot in the door at Rolling Stone, which led to me over the years doing freelance projects for them. And till finally in 1993, well actually ‘91, they hired me as the editor to do a couple of their Landmark books, had deals with Random House to do new additions, “The Rolling Stone Album Guide” and “The Rolling Stone Illustrated History of Rock and Roll.” And so they hired me to kind of be the editor to work with uh, Anthony DeCurtis and Jim Hinky at the magazine to guide these books, which are these massive, massive researched, you know, a lot of people involved, you know, a lot of moving parts to do these new, uh, additions. So that went really well. So in 1993 they decided to start up a new book division, which had kind of fallen by the wayside and they hired me to come on board and run that book division. And that was a great experience and that's what led me to start writing for the magazine. I started doing assignments for the magazine, record reviews and things like that while running the book division. I learned so much from working on those kinds of big reference books. You know, and again, we had amazing writers that I got to interface with and on “The Illustrated History of Rock and Roll,” too, I got to work with everyone from Peter [inaudible] to Mark Marcus to the late great Robert Palmer. Again, Dave Marsh, you know, many, many writers. And then I got to assign a lot of new chapters and in fact I wrote a chapter, Anthony DeCurtis became a real mentor to me. He was an editor at Rolling Stone that was in the trenches with me on these book projects and he assigned me as the writer to do a big piece on the changing role of women and rock, you know, beginning with Patty Smith, et cetera. Up to that current time. I think, you know, I covered, I think Sinead O'Connor at that point was maybe one of the newer artists that was, uh, the focus of my chapter. But that was a real huge, exciting thing to get to be part of. And then I got to do another very cool book with a wonderful writer editor named Barbara Odair, who came to my office. She was working at Rolling Stone and then at US magazine back in the day when it was owned by Winter media and said, “Let's do a whole book on women in music with every chapter written by women and every, as much as possible, all the photography done by women.” So we did this really cool book called “Trouble Girls: The Rolling Stone Book of Women in Rock.” And funnily enough, one of the chapters I did for that one was this big piece on Nico, who was my first ever famous person I ever interviewed when I was, you know, living in New York city. I was still waitressing at the time. And Nico, of course from the velvet underground fame was kind of down at the heels. Editorials at the time, but having to go to a methadone clinic across from where I was working and would come in every day afterwards and have an amaretto on the rocks and cheesecake. So I got up my courage and asked her if I could interview her and I didn't even have a platform for my interview, but she said yes and got to spend some time with her and interview her and use part of the interview and a little fanzine back in the day. But then I got to really expand and write this whole chapter on Nico and use this interview I'd done 10 years earlier or even earlier than me, I guess 12 years earlier for this book “Trouble Girl.” So that was really exciting. Yeah. Passionistas: So you were writing about women, you're interviewing women, but what was it like for you as a woman starting in those early days in the punk rock scene through this time where you've becoming a more established rock journalist? What were your experiences like both as a musician and a journalist, as a woman in the music industry? Holly: Well, when I met people face to face and worked with them, say for example, Anthony DeCurtis and Jim Hinky, who sadly just passed away just a few weeks ago or a month, a month or so ago. They were very, very encouraging and very supportive. They really encouraged me to write and gave me assignments, et cetera. But before that I really found, and maybe it's true whether you're male or female or whatever gender, you know, but if I just blindly sent out queries or blindly tried to get gigs writing, when I first moved to New York City, it was a disaster. I mean, people either ignored me or just blew me off or said no or you know, it was really hard to get the foot in the door without actually working with people and for them to see what my work was like. Now, I did have the good fortune early on to meet some people that had worked with punk magazine and part of, there was this whole cool kind of resurgence of comics. This really great artists. Peter Bag had joined forces with John Holmstrom who had done punk magazine. And Peter and I, a Peter's wife and I work together, you know, at this restaurant. So Peter knew that I, you know, at this time I was just going out and writing about stuff on my own and pitching it to a few people I knew actually from North Carolina had moved to New York, but then they started giving me assignments for this. These magazines they started, one was called Stop and when it was called comical funny. So they, you know, they really encouraged me. So, you know, I can't say that I experienced gender bias or anything like that. Once I knew the people, I think maybe I was just, it's hard to know. I mean I did definitely get a lot of rejection. A lot of people that I pitched didn't really take me seriously and whether it's they didn't really know my work or because I was a woman, I don't know. I mean I, I did frequently find myself being the only music geek, you know, blabbing away on all this arcane kind of Trainspotting rock and roll history trivia with, you know, I'd be the only gal in the room blabbing away about that, you know, with some guys and stuff like that. There weren't a lot of women doing it and there weren't that many women around Lee for me that I crossed paths with to kind of support my endeavors at that part of my career. However, I very fortunately met a couple of women when I was a fact checker at Rolling Stone Press who were very, very encouraging and really I would not be talking to you right now if not for them. And one was Patti Romanowski who was the editor of Rolling Stone Press at the time, who hired me as a fact checker back in the ‘80s. She went on to write many as told two books with everyone from Mary Wilson to Otis Williams at the temptations. And that book has recently been the basis for this very successful Broadway show right now. So Patty was fantastic. And then her boss, the woman who ran rolling stone press with Sarah Layson who became, you know, really made my career because after she left Rolling Stone Press, she started a book packaging company and became a literary agent and hired me continuously for her book company. And then she became my literary agent when I left Rolling Stone. No, actually before I even started at Rolling Stone, my first ever book, which I uh, got my first book deal around 1990. So it was even before I went to Rolling Stone actually, she became my literary agent and my first ever book, she connected me with my coauthor Jenny Boyd, who had been married to make Fleetwood and her sister Patty Boyd, you might know the name was married to George Harrison, Eric Clapton. And Patty was a really interesting person who had kind of dug out a new life for herself. After her marriage with Mick Fleetwood ended, went back to school, became a psychologist, got a PhD and wanted to do a book on creativity and in musicians. So she hired me to be her co-author and we did this book called, well, it's available now. It got repackaged again and republished in England called, “It's Not Only Rock and Roll,” but it was basically about the creative process of musicians based on interviews with 75 musicians. So that really started me on my path as an author. That was my first book and that came out and a ‘91 Simon Schuster, a Fireside Division. So Sarah did that and then she became my, you know, agent. I wrote a few other books, a couple while I was at Rolling Stone and then when I left there in 2001 I've been writing books ever since. And Sarah has been my agent for all of them up to this my Janice Joplin book. And she definitely is one of my, you know, if not for her, I would, you know, like I said, I would not be talking to you right now. Passionistas: You're listening to the Passionistas Project Podcast and our interview with award winning author Holly George-Warren. To find out more about her latest book, “Janice: Her Life and Music” visit HollyGeorgeWarren.com. Now here's more of our interview with Holly. So clearly you have an extreme in depth knowledge of the history of women in the music industry. So how do you think the music industry has evolved over the years in terms of opportunities for women? Holly: When I first moved to New York as far as women performing in bands, that was just starting to really happen thanks to the whole, you know, punk explosion with bands from England, like the Slits and the Raincoats, the Modettes, you know, I saw all those bands, that little tiny clubs and it just was a much more welcoming atmosphere for women to pick up instruments and play in pants. And like I said, I started playing guitar in bands. Then of course, you know people like Tina Weymouth and Chrissy Hynde, I mean Patty Smith of course. So as far as getting the courage to get up on stage and play and then just, um, to have other like-minded souls out there that wanted to be in bands with you was very, uh, it was a great time to be in New York and gradually there became more and more venues, places to play. I got to play at all of them from, you know, CBS to Max's Kansas city, peppermint lounge, Danceteria, you know, all these great classic clubs in New York, you know, late seventies, early eighties. And as far as the music business, I mean, you know, at that time we were like screw the music, but you know, we were punk rockers, man. We were underground. We didn't want anything to do with that. In fact, when I started even working for Rolling Stone in ‘93, I would tell people like, yeah, I'm working for Rolling Stone so I can afford now to write about the bands I really love. For it cause I was still writing for this really cool magazine called Option, which, and I'll if you remember that magazine, but very cool magazine based on the West Coast. And so I'd still write about people that would never ever get covered in Rolling Stone, but all different types of music. And again started writing about some of the early country music pioneers and rockabilly people like Wanda and people like that. So I didn't really interface that much with the mainstream music business at that time. You know, I basically had good experiences on that very low level. Again, this was the time of the Go-Go's had come around and the Bangles, my band Dos Furlines, went on a tour of Canada with a couple of other all women bands and it was, you know, it was a male promoter and everything went really great. Once I started moving up the food chain, once I was at Rolling Stone, I started working on producing some CD packages with labels. And again, everybody I worked with were male, but they were very supportive. They were really into what, you know, my ideas were. So I didn't really have any problem with that. And you know, gradually I started meeting some very cool women that a lot of women I discovered had been really behind the scenes. So I started meeting some of those women who had been working at labels for years. Some of them had left, it started their own publicity companies, some of them were in management, et cetera. So, and then I, you know, finally got to meet a few of the women who had been pioneering women, female journalists. But again, there weren't that many. It was very cool to see. And then, you know, like I said, Barbeau Dara and I did a whole book with lots of great, great women writers. The scene I think helped, um, a lot of women find their, you know, their niche a lot. You know, a lot of women were total big into music just the way I was. But you know, finally, all these channels that opened up for them to pursue it as either a writer or you know, an A& R person manager, publicist, a photographer, lots of great women photographers. And again, I was, I loved meeting women who started in the business in the ‘60s into the ‘70s. So I loved getting to meet them in the ‘90s and just, I wish I would've known them or could've somehow met them when I first started out in the ‘70s, late seventies, even early eighties to get encouragement from them. But you know, they, they were really kind of behind the scenes. They weren't that obvious. And some of them became very good friends like Jan new house ski, uh, fabulous, wonderful. A writer who was one of the early women writers for Cream magazine. And, uh, I got to know her and work with her and you know, Daisy McLean, who had written for Rolling Stone, um, back in the glory days of rock journalism where they were all these junkets and you were flown all over and wined and dined by the labels and all that kind of stuff. And she had some amazing stories to tell about being in the trenches. And Ellen sand or another wonderful writer who her great book called, I think it's called trips, was just reissued last year. And she was a very early writer. And when out on the road with, you know like LEDs up one and covered a Woodstock and a lot of Janis Joplin gigs, Forest Hills tennis stadium wrote about that. And so again, just these great writers who were hard to find when I started out. Passionistas: You have an interest in all these genres. And you've written about such a wide range of music from country to punk. What makes a topic or an artist compelling enough for you to dedicate a book to the subject? Holly: I guess if there's a complexity to the person and arguably perhaps all artists are a complex people, who knows cause I don't know about all of them, but I've been really attracted to writing about people that have had to really struggle, who've had to break down barriers to be heard, who have, you know, a lot of facets to their personality. And Janice is my third biography. My first one was Gene Autry, the singing cowboy who was a very complex man and very much a groundbreaking artist going way back to the beginning in the late 1920s broke through in the early thirties. And then Alex Chilton, who of course a lot of people know from big star, but it started out as this pop star at age 16 and the Box Tops and just had this incredible career in life. I become passionate about them, their music, their lives. I never lose that passion. I mean I still get excited if some crazy, you know, online radio station plays, you know, a Gene Autry song. Same thing without, I was so thrilled. I went to see once upon a time at time in Hollywood and to hear a very deep cut box top song on the soundtrack of a, of the new Quintin Tarantino films. So two to train. By the way, I never lose the passion for the people that I like. Literally moving in with one of my biography subjects, you know, for several years. And you never forget your roommates, right? Most of them. Passionistas: Tell us about why you chose to write a book about Janis Joplin and what you learned about her that you found most fascinating from writing the book. Holly: I have to say part of it, I mean, I really believe that my subjects also choose me somehow. Again, following my passion, I ended up in a place where it just kind of comes together and with Janice for years, of course I had loved her music. She was definitely an inspiration for me growing up again in this tiny town in North Carolina, that didn't have a lot going on for me as far as the kind of things I was interested in. And now again, I might be like one of my biography subjects, but I think I saw her on the Dick Cavett show and just her whole look and attitude and sensibility and not to mention her incredible voice. I'm like, what's that? I want to be that. She was probably actually a little did I know at the time wearing this outfit that Nudie made for her. Of course. I was one of those people that was devastated when she died in 1970 and in 1971 I had joined the Columbia Record Blub and got Pearl. I still have my original copy. So just a fan and then once I was working at Rolling Stone and started doing projects with the Rock and Roll Hall of Fame, the Hall of Fame did a really cool symposium on Janis back in the nineties, I think it was ‘97. And Bob Santoli, the head of education, VP of education and programming at the time invited me to be part of it and I'm, I got to go to Cleveland and give a talk about Janice's influence on contemporary women musicians, but the best part was I got to meet Janice's brother and sister Michael and Laura. I got to meet Sam Andrew, her a guitar player, Chet Holmes, who was the manager for Big brother and the Holding Company and started the Avalon Ballroom dances there back in the ‘60s some other people to her, John Cook, her road manager. So I got to meet all these people. Then lo and behold, they did an American masters, American Music masters panel on Janice or weekend symposium on Janice again in 2009 I believe it was. And once again this time, um, and powers and I were asked to give talks about, Janis kind of a keynote thing with Lucy O'Brien, a grade a woman, rock journalists who's based in London. So the three of us kind of gave a joint keynote and again got to meet all these amazing people. So I just kind of got to learn more and more and more about Janice and about her music. The thing that really got me was I was asked to write liner notes for this two CD set called the Pearl sessions that Sony was doing in the early teens. And for the first time they had gone into the vaults and pulled out all this talk back between Janice and Paul Rothchild, her producer, who was known for being a very authoritarian producer. Like he worked with Joni Mitchell and one of her first or I think or second album. And she's like, no, I can't work with him. He's too bossy. He tells me what to, you know, so she wouldn't work with him. He famously produced most of the Door's albums and he would make Jim Morrison like redo his vocal like 10 times or whatever. But he listening to them in the studio together, I'm like, Oh my gosh, this woman is calling the shots. Janis Joplin is telling Paul Rothchild like, Oh wait, let's slow it down here. Wait, let's try a different arrangement on this. Let's have this guitar part here. I mean, she was basically producing the record with him. She's never gotten credit really for being this very thoughtful orchestrator of music and hardworking musician. She created a very different image of herself in order to sell herself as a persona, this rock persona. And she was very successful at that and I think I, and almost everybody else bought it, but I realized from listening to these recordings that there was a whole other side to her, this musician side, that she wasn't just blessed born with this incredible voice that she just came out of the box singing. She worked, she really worked. And that very much intrigued me and that made me more interested in wanting to spend four and a half, five years working on Janice's life story and trying to make a write a book about her that shows her trajectory as a musician because you know, there had been some other books, some very well researched. I'm Alice Echols wrote a great book about Janis with a lot of research, but I felt still that somehow or musicianship and had not ever been acknowledged the extent that it should have been. So that was kind of my goal for this book to really find out who her musical influences were. What did she do to improve her craft, or how did she discover her voice? What were the obstacles she had to overcome, all those kinds of things. So that really fired me up. And again, my wonderful agent, Sara Liaison, who had actually been the agent for Laura Joplin's book that she wrote called “Love Janice,” which told her story of growing up with Janice as her sister and used a lot of letters that Janice had written home. She reproduced a lot of the letters in the book and my agent told Laura about me and I had met her back in the nineties and so I was able to come to an agreement that, again, similar to the Autry book, they would allow me to go into Janice's personal files or scrapbooks or letters, and I could use all that in my book, but without any controls over what I wrote, they would not have any editorial approvals or anything like that. So again, that's, that's how that came about. Passionistas: And your other current passion, you've touched on it a couple times, but tell us a little bit more about “Rhinestone Cowboy,” the story of Nudie. Holly: I think there's kind of a pattern here. You can see that none of these, I'm no one overnights and station or whatever. All of my projects really, they come from years of passionately pursuing something just really for the love of it, more than with any sort of goal in mind. And that's kind of the same story with Nudie. As I mentioned, I was a collector of Western where I worked on the, “How the West Was Worn” book and that's when I really learned about Nudie, who was this very showman, like couturier the Dior of the sagebrush or whatever they used to call him, who catered to early on cellular Lloyd Cowboys, people like gene Autry. And Roy Rogers was a huge client and then all the stars like Hank Williams making their incredible embroidered outfits. Then he started putting rhinestones on the outfits. I'm for a country in Western singers. And then in the late sixties people like Graham Parsons, The Flying Burrito Brothers, Janice, the Grateful Dead, the Rolling Stones, Elton John all started going there, getting these really outrageous over the top and bordered and rhinestone suits. So I learned about him gradually and then it turns out through doing “How the West Was Worn,” I met Patrine Day Mitchum, who herself had actually hung out at Nudie's back in the ‘70s, knew him and he had tapped her to write his memoir with him. So she has hours and hours and hours of taped, uh, recordings with him telling his fascinating story about being an immigrant as a young boy from the Ukraine to New York, all these ups and downs. He went through very colorful stories that finally landed him in Los Angeles in the late forties and started his shop and started making outfits for all these Western swing performers. Tex Williams was his first. So we teamed up and started talking literally back in 2002 about, Oh, we should do a project together about Nudie. Should we do a book, because should we do a film? And so literally, all these years later now, we've actually started working on our documentary. In the meantime, I had worked on several documentaries over the years as a consulting producer and producer on lots of music documentaries that have been on PBS, etc. So I had that experience. And then Trina has worked in the film industry over the years as well. So we were able to kind of combine our passion for Nudie and his incredible clothing and some of the other outfits were made by some other great, also immigrants from Eastern Europe. This guy named Turk who was out on the end. VanNess was the first one. His shop opened in 1923 and then back in Philadelphia on the East coast rodeo. Ben had a shop beginning in 1930 all three of them in Nudie where they came from. Eastern Europe was young boys, young men, and then also the whole story of the immigrants from Mexico. Manuel who still at age 86 is designing these incredible outfits in Nashville. He worked with Nudie and Heimaey Castenada who is still right there in North Hollywood, making incredible outfits for Chris Isaac and Billy Gibbons and Dwight Yoakam. So it's a bigger story. Even then I realized as far as it's a story of immigrants coming to this country and creating the iconic American look, the rhinestone cowboy outfit. Right. So go figure. Passionistas: Looking back on your journey so far, is there one decision you've made that you consider the most courageous? That sort of changed your trajectory? Holly: Oh, I guess it was just picking up and moving to New York city with, I had a little audio cassette player. You remember those? It was even pre Walkman. I had that. If you could set mix tapes or suitcase and that was it. 500 bucks, maybe 700 I don't know. Just kind of moved to New York and I mean, I think, I guess that was the smartest thing I ever did because basically in New York I made lifelong friends. I met my husband, he was playing in a band, the flesh tones. Um, we were on a double bill. My band does for line. So that's how we met in the 80s all these passions, some of which I had as a young girl growing up in North Carolina, I was literally able to materialize into projects, into a lifestyle and into a livelihood. I mean, gosh, I mean, how lucky am I that that happened? Things that could have just been a hobby actually became a way of life and an occasional paycheck here and there. So I feel very, very lucky. And I think moving to New York city, almost at a whim, I went to school at the University of North Carolina, Chapel Hill. So I had two sides of my personality, the former hippie Janice wannabe, and the punk rocker. So when I was going to leave Chapel Hill, I'm like, well, I'm either gonna move to New York City or Key West. So I think it's a good thing. I moved to New York city. Passionistas: What's your secret to a rewarding life? Holly: Again, and I teach, I tell my students this, whatever you do, if you can pursue it with passion. You guys nailed it with the name of your podcast. Because if you can approach even, you know, path things with passion, you know, with anger or … of one with passion, I think, you know, whatever it is, if you can just engage and be passionate about things that's going to enrich your life. I mean it can maybe take its toll on you too. But I think how that kind of feeling and motivation that you're driven by the passion of whatever it is that you're thinking about or wanting to learn about or whatever, you're going to do a much better job with whatever it is you're pursuing. Passionistas: What's your definition of success? Holly: I guess success is not only attaining a goal that you had for yourself, but within that goal also having happiness and a good state of mind about it. Because I think horribly, you know, in our culture, a lot of people that find certain success, you know, material success or even career success, there's other aspects of their life that is not working out too well. So that's not really success is that I think you have to put all the parts of the puzzle together so that they're all kind of working out together to really be successful. It's tricky. It's difficult because life has a way of throwing lots of curve balls at ya. Passionistas: So what advice would you give to a young woman who wants to be a journalist or an author? Holly: First off, subscribe to your podcast. And seriously, I think surrounding yourself or finding out about or listening to other people who are passionate about things that you're interested in doing or even if it's something different, but people that their passion is driven them to be successful or to work towards attaining success, that that can be very inspirational and motivational for them. And then also not just do things through rote or whatever. You have to really find something that energizes you and does and passion you to want to pursue it, and I think that's really important and not do something just because you're supposed to or someone tells you you should do this, but you have to really find things that are going to bring you fulfillment. Passionistas: Thanks for listening to the Passionistas Project Podcast and our interview with Holly George-Warren to find out more about her latest book, “Janice: Her Life and Music,” visit HollyGeorgeWarren.com. And don't forget, our quarterly subscription box The Passionistas Project Pack goes on sale October 30th. Each box is filled with products made by women owned businesses and female artisans to inspire you to follow your passions. Sign up for our mailing list@thepassionistasproject.com to get 10% off your first purchase. And be sure to subscribe to the Passionistas Project Podcast so you don't miss any of our upcoming inspiring guests.

Leave Us A Review We had the honor of sitting down with 50-year surfing veteran & close friend Vince Troniec a couple of weeks ago...on his 69th birthday no less! We talked about surfing in the early days of Asbury Park, mindsets of surfing and what it was like being friends with Bruce Springsteen and the E Street Band. This interview is special to us, as Vince is one of our closest family friends and a total local legend on the Jersey Shore.  We have found every late night or oceanside chat with Vince to be one of the best talks we have ever had and felt it was about time we share him.  Vince started competing in surf competitions at an early age, and by age 17, he was invited to participate in the World Trials in Puerto Rico. In 1968 the Vietnam war was being fought, and Vince had just lost his father. Going out on a limb, he relocated his mother and sister to Newport Beach, California, hoping that it would improve his mother's health issues. Thus ensued a wildly fun time spent in pre-Woodstock and hippy centric, 1960's California.  Vince paints a vivid picture for us of a time when surfing culture was in its infancy, and the likes of Janice Joplin, Jimmy Hendrix, and Led Zeppelin were making musical history — and he even has the concert ticket stubs to prove it.  From watching Asbury park grow into the hipster enclave it is today, to being one of the first people to stock Quiksilver in his surf store, Vince has a colorful and storied past, but is also an extraordinarily down-to-earth and impressively humble human.  He shared with us his early venture of owning a lucrative surf shop and how he has been fortunate enough to make a career out of his favorite thing to do — ride the waves.  So sit back, get comfortable, and prepare to visualize the history of surfing in all of its glory, told through the eyes of the incredibly passionate and insanely talented surf legend, Vince Troniec. Links & Resources Bruce Springsteen Right Past The Light Surf Poster By Jay Alders  Pot Of Gold Surf Poster By Jay Alders Solitube 3 T-Shirt Sea Quell - Original Painting By Jay Alders Connect with The Shifting Perceptions Podcast: Shifting Perceptions Website Join Our Mailing List Facebook Instagram Twitter Connect with Jay Alders Jay Alders Website Facebook Instagram Twitter YouTube Pinterest Connect with Chelsea Alders & Companies Om Mamas Doulas Website Sun Dreams Productions Website Instagram Chelsea Om Mamas Doulas Sun Dreams Productions  

Hér er fjallað um tónlistarkonuna Janice Joplin og hvernig tónlist hennar hefur veitt öðru tónlistarfólki innblástur í tónlistinni. Umsjón hefur Tómas Ingi Doddason Þátturinn var á dagskrá rásar 2 árið 2019

Hér er fjallað um tónlistarkonuna Janice Joplin og hvernig tónlist hennar hefur veitt öðru tónlistarfólki innblástur í tónlistinni. Umsjón hefur Tómas Ingi Doddason Þátturinn var á dagskrá rásar 2 árið 2019

Pittsburgh Perry and Brashear students, Machali and Nyssa talk about teen violence, Avonworth High School's Maya with an open letter to Janice Joplin, and Shadyside Academy's Sloane Simon with an original song called, Until You Go.   Background Music:"Maccary Bay" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License

One half of the music powerhouse Aly and AJ, AJ Michalka stopped by to discuss her hit show Schooled, and wowed us with her amazing take on Janice Joplin. Learn all about what it's like to grow up on screen, how she found out she was the star of her new show, and what's new with her music career. Stay tuned for THE NIGHT TIME SHOW!

Author Beverly Cleary turns 103. Bette Midler gets a flower named after her. Will there ever be a Janice Joplin biopic? How much the Kardashians make from those Instagram posts. The Mn. Zoo concert lineup announced. The N'SYNC documentary.

Jordanna's vocals leap from your speakers with a bluesy soul that would surely make her influences - Etta James, Amy Winehouse, SZA, and Janice Joplin - proud. Her debut EP, "Sweet Tooth," has made her a favorite of Chicago's critics, her latest single, "Eu Quero Voce" got even more notice, and the festival she co-produces, "Candyland Chicago," is a positivity-filled celebration of women and non-binary artists and will be returning to Chicago on Feb. 23rd. Jill Hopkins spoke with Jordanna about her journey from dance to riot grrrl punk to embracing sexual empowerment in her Feminism and sound. For more info on Jordanna, visit: https://www.jordannamusic.com For info about Candyland Chicago fest, visit: https://www.candylandchicago.com

Show 16 – Recorded 9-23-18 This podcast provides 13 performances of blues songs performed by 13 musical artists who’s tremendous talent is highlighted here. Performances range from the 1940’s up to 2005.  These artists are: Ike Turner, Professor Longhair, Guy Davis, Johnny Winter, Little Walter, Sonny Boy Williamson II, Tom Waits, Janice Joplin, Mississippi John Hurt, Cedrick Burnside & Lightnin Malcomb, Taj Mahal, Muddy Waters, Lucinda Williams  

She was a legend that burned bright, but was gone too soon. Curator and rock historian David Beiber tells about how you can relive the brilliance of Janice Joplin here in Boston's Shubert Theater.

In this episode we discuss the infamous 27 Club.  Jim Morrison, Kurt Cobain, Janice Joplin, Buddy Holly, Jimi Hendrix and more!  Did you notice that one of those in incorrrect?   Good for you!  You win a free podcast!  Thanks!Like us on Facebook at www.facebook.com/okfairenoughFollow us on twitter @okfairenoughpod. Contact us by email at okfairenoughpodcast@gmail.com Please subscribe to Ok Fair Enough with Shawn and Charlie on iTunes and rate and review us there. You can also stream and download every episode ever made of the show at  www.okfairenoughpodcast.podbean.com. We are also available on the Stitcher and Podbean apps. Enhanced episodes that include pictures are available on youtube, just search ok fair enough. 

Strong female artists have been a part of pop and rock since the beginning: incredible singers from Etta James and Janice Joplin to Adele and Paramore’s Hayley Williams have wowed the world with their talent. But for many it’s been an uphill battle, fighting exploitation and ingrained attitudes. Joining Garry tonight to discuss this fraught subject are three very different performers – Dominique Olliver, Danie Cox and Kristina Oberzan. Download the show as mp3 file Subscribe in iTunes The Garry Bushell Hour: A Talk Show The Way It Should Be Done: Raw, Honest And Very, Very Funny!

Strong female artists have been a part of pop and rock since the beginning: incredible singers from Etta James and Janice Joplin to Adele and Paramore’s Hayley Williams have wowed the world with their talent. But for many it’s been an uphill battle, fighting exploitation and ingrained attitudes. Joining Garry tonight to discuss this fraught subject are three very different performers – Dominique Olliver, Danie Cox and Kristina Oberzan. Download the show as mp3 file Subscribe in iTunes The Garry Bushell Hour: A Talk Show The Way It Should Be Done: Raw, Honest And Very, Very Funny!

JANICE JOPLIN'S FAMOUS LINE PERFECTLY DESCRIBES THE PRESENT-DAY GOP - "TOMORROW NEVER HAPPENS.  IT'S ALL THE SAME _____ DAY, MAN."  FESTIVAL EXPRESS LIVE (1970)   The Republi“cons” are still stuck in the same damn day. . January 20, 1981 (Ronald Reagan's 1st day in the White House). . Hell, Eric Cantor, House Majority Leader, just had an internal poll commissioned to see if the issue that the GOPERS have been banging on now for 4+-years (budget deficits, fiscal deficits, etc.) has any real resonance with the average, everyday voter. . GUESS WHAT?  The poll results came back only to indicate that it is, in fact, a losing issue with voters in general. . “Take Another Piece of My Heart”.   The Republicans have been snorting so much “dirty” political cant for so long, they're too strung out at this point in time to ever find their way back home again. The three-legged stool underpinning the entire GOP apparatus (strong defense, fiscal conservatism, social traditionalism) has all rotted within. . Yes, Janice, I think even Eric Cantor is humming to himself these days, very quietly, “it's all the same _______ day”.  (I think John Boehner reached this conclusion some time ago in his insulated Merlot World.)    

The murder of Kurt Cobain. 2nd Hour: The strange death of Janice Joplin.

FeedBack w. Wes Nyle. EP28. Sinkane / On-Line Meia. 10.06.12Originally this podcast was supposed to highlight the work of Sinkane but somewhere along the line my Attention Deficit Disorder got the best of me and I began to think and write about all the amazing music I have downloaded in the past few years. I started this podcast to highlight bands that my listeners haven’t heard of yet and hopefully expose them to genres that they may not have known they could like, while at the same time keeping my production chops fresh. Along the way I have discovered some amazing talent that I wouldn’t have even known about without this online underground music society and to me that is awesome.I would like to start interviewing underground bands that have at least one album out, and are willing to sit on the phone with me and discuss their craft, and what it feels like to do what they do. If that sounds like fun to you then hit me up on FaceBook/WesleyNyle or find me on Twitter/WesleyNyle. I would love to listen to your work, do some research and call you up or meet you some place in the Dallas area and talk shop.So with that said here’s the podcast:Without the internet, many bands that are currently the focus of the independent music scene would otherwise be lost in obscurity.The rabbit hole of current indie rock trends continues to go deeper with bands like Yeasayer as a prime example: a group originating in Brooklyn nearly six years ago, and in some aspects sharing the traditional tale of touring and peddling vinyl singles, to rise form the primordial ooze that is indie rock obscurity. But also gaining traction from online publications and being boasted as the “Most Blogged About Band” in 2010. Let’s hear the Doors, Janice Joplin, or Queen brag about that.It’s true that the majority of entertainers are jumping on the online band wagon. And why not? Aside from the monetary aspect of it, producing and publishing your own music or media, is less mess altogether, no agents, no labels, no censorship, no contracts, and with home studios becoming more and more reasonable to build and operate. Bands essentially have all the time you need without paying a studio to play. Radiohead’s last two self-releases, In Rainbows, and The King Of Limbs are shining examples. Doing extremely well as digital downloads that were presented initially as a “Pay What You Think It’s Worth” experiment. Even comedian and writer Louis C.K. made an impact, with his self-releases that he made available only on his website for the ridiculously low price of five dollars, knowing that the media could easily be pirated, but trusting his fans to pay for the easier experience of simply downloading the content directly from his website.Ahmed Gallab, a relatively obscure, yet insanely talented multi-instrumentalist, who has toured with Caribou, Of Montreal, and now has landed a solid role as Yeasayer’s multi-instrumentalist. Is following in the footsteps of many other successful, and established musicians; like Albert Hammond Jr. of The Strokes, and Omar Rodriguez-Lopez of The Marz Volta, in the vein of branching out into his own solo project, under the name Sinkane.Really, Gallab has been creating music on his own for several years. It’s only now through the miracle of sites like SoundCould, ReverbNation, and BandCamp that artists are able to take risks, and show off their work with less capital, green lighting new music attics like myself to discover and share what would normally only be a local treat. This is helping smaller artists make a living with their music, and for artist like Flea of the Red Hot Chili Peppers, generate revenue for causes in a more creative way than selling an autographed bass. Example being Flea’s solo album Helen Burns: a solo, self-released, pay what you think it’s worth album, that’s funds benefit the Silver Lake Conservatory of Music. The online liner notes warn, or boast that this is not a Red Hot Chili Peppers album, and stands on its own merits with spaced out experimental jazz, giving this newish idea of posting your own self-produced media some serious street cred.Even though some of Sinkane’s work is out on the internet for our enjoyment his entire body of work can’t be found entirely in digital format. A shrewd business decision, and yet still an artsy move. His entire discography consists of 2 EP and 3 LP’s that majoritively can only be purchased on vinyl through his site. Since early this year this native Sudanian has been teasing Bloggers with talk of a new LP titled Mars, but right now it looks like the single “Jeeper Creeper” on his SoundCloud is the only proof of new material.This is Sinkane, an artist that you wouldn’t have heard of without the online music community.Tracks Herd On This Podcast: (intro background) Sinkane – Color Voice Yeasayer – Blue Paper Yeasayer - Longevity Radiohead – Morning Mr. Magpie Sinkane – Apache Beat Fela – 333 Sinkane – Jeeper Creeper

In this episode, we discuss which dead and supposedly dead performers we'd like to see in hologram form.  We also talk about: why neither one of us went to C2E2, Matt gives out trivia facts about the history of zines and fan fiction, Phil nearly accuses Janice Joplin of being a Klansman, and then Matt goes over the comics and Zines he bought at Chicago Zine Fest: Invincible Summer/Clutch, Paper Cutter, Rum Lad, Eat or Be Meatball, Toasty Cats, Beards, Simple Routines, Press Start and Fight, and Pigeon Life.  We move on to discuss when you need to blow on a comic, hitch-hiking, and hoboing, before discussing Donald Duck.  With Donald, we tackle the hard questions.  Why does he never wear pants?  What's up with the way he talks?  And what's up with this WWII anti-nazi propaganda cartoon: The Fuerher's Face?