Podcast appearances and mentions of jay records

GRAMMY® Balloted Club Nouveau, Timex Social ClubGrammy Award Balloted singer and music label executive, Jay King, was elected CEO/President of the California Black Chamber of Commerce (CBCC) in June of 2019.GRAMMY® Award Balloted Jay King/Club Nouveau's music & samples have been featured in many TV & Film Soundtracks including the #1 Hit Movie "US" by Director Jordan Peele!This week, I look at how a brand can stay relevant decade after decade.As a veteran mogul Jay King brings as much humility to the field as he does what has been called his genius. With three decades of continuous achievements in music, management, film/TV/radio, consulting and publishing; King has made an indelible impression. He claims Northern California in general as his hometown due to a nomadic youth spent between many of the Bay Area's cities; as well as Alaska for birthing his career. There was a deep musical undercurrent added to his early years by a clan which boasted a number of ministers, extending from his great-grandfather through a number of cousins, who all played instruments as well. His great uncle, Saunders King, a respected jazz/blues guitarist, offered the West Coast the first family hit in the 1940's—‘The S.K. Blues'—adding to the musical backdrop of King's childhood. In 1986, King starting the independent record label JAY Records to release the Timex Social Club hit ‘Rumors' and ushered in the biggest selling single of 1986 (3.5 million copies) and becoming the #1 R&B single on the Billboard Charts. With a Top 10 single on the Billboard Pop charts for over 56 weeks, King watched his life change as his music became an unprecedented hit. What he'd produced was history-making, as nobody had before taken an R&B song from an indie label to such heights. Although having independently produced, pressed and marketed his own music King was without the money to compete at radio plays and had to be creative with promoting. “There were challenges. You couldn't reach out to stores, and social media didn't exist then so you couldn't let people know with a click of a button that you had something out. You had to get out and hustle. People were making fun of me and laughing because I was out hustling records.” Bypassing traditional methods, King utilized Macola Records because of its position as an indie manufacturer with no association to a major label.Such moves from a 24 year old entrepreneur made the year 1986 even more memorable, as he quickly followed up with a label/production deal with Warner Brother Records and his King Jay Records label, subsequently releasing the first Club Nouveau single ‘Jealousy' and the album, ‘Life, Love & Pain'. After ‘Jealousy' went to #8 on the Billboard R&B charts in September of 1986, followed by ‘Situation #9' (#4 Billboard R&B charts), 1987 came in with an even bigger bang when ‘Lean On Me' was released in February and became #1 Billboard Pop/#2 Billboard R&B platinum single, winning a Grammy for R&B Song of The Year.Club Nouveau's music is in heavy demand commercially in movies and is sampled in many of today's artists hit makers like Ashanti, Chris Brown and many more.The group is STILL on the scene, performing hundreds of LIVE concert a year & recording NEW music!© 2025 All Rights Reserved© 2025  Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Neil Berg's latest musical The Sabbath Girl: The Musical, written with book writer/co-lyricist Cary Gitter, just finished an incredible, sold-out run at The Penguin Repertory Theatre (directed by Joe Brancato), before transferring to NYC for a six-week summer run Off-Broadway at 59 East 59th Theaters to rave reviews. The Original Off-Broadway Cast Recording of The Sabbath Girl: The Musical is available on Centerstage Records. Producers are now in the process of moving the show for an open-ended commercial run. Neil is the composer/co-lyricist, along with Pulitzer Prize/TONY-winning playwright Robert Schenkkan, of the award-winning new musical The 12, which just finished a very successful pre-Broadway tryout to critical and audience acclaim at the Goodspeed Opera House, directed by TONY award-winning director John Doyle, produced for Broadway by Cody Lassen & Joe Grano. The 12 previously ran at The Denver Center to unanimous rave reviews and won the 2015 HENRY Award for best new play or musical. Original Cast recording will be available in the winter of '24. Broadway opening anticipated in 2025/2026 season. Neil is currently in development as the composer of the new Broadway-bound musical version of My Cousin Vinny, based on the iconic movie, with book/lyrics by original screenwriter, Dale Launer. Neil has a new commissioned musical, How My Grandparents Fell in Love, opening in July of '25 at The NJ Rep Theater, collaborating again with book writer/co-lyricist Cary Gitter, directed by Artistic Director SuzAnne Baribas. Neil's other new musical, Charlie Hustle, with book/lyrics by Ryan Noggle, is about controversial baseball icon Pete Rose and the story of his gambling addiction that led to his downfall. Charlie Hustle will have its first developmental production in Detroit, Michigan in the fall of '24. Neil is the composer for the popular musical version of Grumpy Old Men: The Musical, based on the Warner Brothers movie classic starring Jack Lemmon and Walter Matthau, which had its official U.S. Premiere at The Ogunquit Playhouse in Maine to rave reviews, and La Mirada Theater in LA, starring Cathy Rigby. Other actors include F. Murray Abraham, TONY Award winner George Hearn, Marilu Henner, and Carole Kane. It is currently produced/licensed at many regional & community theaters across the United States. Licensing rights are with TRW (Theatrical Rights Worldwide). The Original Cast Recording of Grumpy Old Men: The Musical is available on Centerstage Records. Neil Berg is also the composer/lyricist of the hit Off-Broadway musical The Prince and the Pauper, which ran for two years at the Lambs Theater in New York City. The New York Times raved that The Prince and the Pauper "[soars] on wings of theatrical fun." The original cast CD is released internationally on Jay Records, sheet music published by Hal Leonard, and licensing by Samuel French Inc. Songs from this show are also featured with many other classic songs in the official Off-Broadway Songbook, published by Hal Leonard. CARY GITTER is the playwright-in-residence at Penguin Rep Theatre in Stony Point, New York. His plays include THE STEEL MAN (Penguin Rep); GENE & GILDA (George Street Playhouse, Penguin Rep); THE VIRTUOUS LIFE OF JOSEPH ANDREWS (Penguin Rep), adapted from the Henry Fielding novel; and THE SABBATH GIRL (off-Broadway, 59E59 Theaters; Penguin Rep; Invisible Theatre; Theatre Ariel; published by Stage Rights). His musicals include THE SABBATH GIRL (59E59, Penguin Rep) and HOW MY GRANDPARENTS FELL IN LOVE (New Jersey Repertory Company), both written with composer/co-lyricist Neil Berg. His play HOW MY GRANDPARENTS FELL IN LOVE was a New York Times Critic's Pick as part of the Ensemble Studio Theatre's (EST's) 36th Marathon of One-Act Plays. It was later recorded for the acclaimed podcast Playing on Air, as was his one-act THE ARMY DANCE. He has received commissions from the EST/Alfred P. Sloan Foundation Science & Technology Project, Penguin Rep, and West of 10th. He is an alumnus of EST's Obie Award-winning Youngblood playwrights' group. His full-length plays have been developed by the Berkshire Playwrights Lab, the Chameleon Theatre Circle, the Cincinnati Playhouse in the Park, EST, the Jewish Ensemble Theatre, the Jewish Plays Project, the Levine Jewish Community Center, NJ Rep, NYU, Seven Angels Theatre, West of 10th, and Wordsmyth Theater Company. He is a three-time O'Neill semifinalist and a two-time Jewish Playwriting Contest finalist, and he has received NYU's John Golden Playwriting Prize and honorable mentions for the New England Theatre Conference's Aurand Harris Memorial Playwriting Award and the Kennedy Center's Rosa Parks Playwriting Award.

For this Musicals Magazine Podcast, Edward Seckerson talks to Jordan Luke Gage, currently starring in Titanique in the West End. In a pretty meteoric rise since leaving drama school, Gage has been raising a little hell with characters as diverse as Clyde Barrow in Bonnie and Clyde, JD in Heathers and Marilyn in Taboo. He's currently aboard HMS Titanic in a show whose French title quickly establishes that this is not the Maury Yeston version. During technical week he talks to Edward Seckerson about all this and more – not least how he and his Titanique co-star Rob Houchen have both now honed their Italian as Fabrizio in Adam Guettel's The Light in the Piazza. Titanique is currently docked at the Criterion Theatre, London – for information and tickets, visit https://london.titaniquemusical.com/ The musical excerpts featuring Jordan Luke Gage are taken from the Original London Cast Recording of & Juliet (2019) on MTM Musical LLC under exclusive license to Atlantic Recording Corporation for the United States and WEA International for the world outside the United States; the opening and closing musical excerpts featured in this podcast are from the Overture to Gypsy (film version), taken from Jule Styne's ‘Overtures Vol 2', courtesy of JAY Records

For this Musicals Magazine Podcast, Edward Seckerson meets Julian Ovenden, universally acknowledged as possessing one of the most beautiful voices in Musical Theatre. Gearing up a rare solo concert with Broadway composer Scott Frankel (Grey Gardens, War Paint), Ovenden reflects on a career that has taken him from the Donmar's Merrily We Roll Along to TV's Bridgerton. His appearances with the John Wilson Orchestra highlighted his way with Golden Age Broadway scores, and Daniel Evans's recent Chichester/Sadler's Wells revival of Rodgers and Hammerstein's South Pacific afforded him his shining moment with arguably the two greatest ballads in the repertoire. The musical excerpts are taken from Carousel: World Premiere Complete Recording, by John Wilson and his Sinfonia of London, released on Chandos Records on 13 September 2024; and My Favorite Things: The Rodgers & Hammerstein 80th Anniversary Concert by The Rodgers & Hammerstein Concert Orchestra, conducted by Simon Lee, released on Concord Theatricals on 31 May 2024. The opening and closing musical excerpts featured in this podcast are from the Overture to Gypsy (film version), taken from Jule Styne's ‘Overtures Vol 2', courtesy of JAY Records.

GRAMMY® winner Club Nouveau, Timex Social ClubGrammy Award winning singer and music label executive, Jay King, was elected CEO/President of the California Black Chamber of Commerce (CBCC) in June of 2019.GRAMMY® Award winning Jay King/Club Nouveau's music & samples have been featured in many Soundtracks including the #1 Hit Movie "US" by Director Jordan Peele!This week, I look at how a brand can stay relevant decade after decade.As a veteran mogul Jay King brings as much humility to the field as he does what has been called his genius. With three decades of continuous achievements in music, management, film/TV/radio, consulting and publishing; King has made an indelible impression. He claims Northern California in general as his hometown due to a nomadic youth spent between many of the Bay Area's cities; as well as Alaska for birthing his career. There was a deep musical undercurrent added to his early years by a clan which boasted a number of ministers, extending from his great-grandfather through a number of cousins, who all played instruments as well. His great uncle, Saunders King, a respected jazz/blues guitarist, offered the West Coast the first family hit in the 1940's—‘The S.K. Blues'—adding to the musical backdrop of King's childhood. In 1986, King starting the independent record label JAY Records to release the Timex Social Club hit ‘Rumors' and ushered in the biggest selling single of 1986 (3.5 million copies) and becoming the #1 R&B single on the Billboard Charts. With a Top 10 single on the Billboard Pop charts for over 56 weeks, King watched his life change as his music became an unprecedented hit. What he'd produced was history-making, as nobody had before taken an R&B song from an indie label to such heights. Although having independently produced, pressed and marketed his own music King was without the money to compete at radio plays and had to be creative with promoting. “There were challenges. You couldn't reach out to stores, and social media didn't exist then so you couldn't let people know with a click of a button that you had something out. You had to get out and hustle. People were making fun of me and laughing because I was out hustling records.” Bypassing traditional methods, King utilized Macola Records because of its position as an indie manufacturer with no association to a major label.Such moves from a 24 year old entrepreneur made the year 1986 even more memorable, as he quickly followed up with a label/production deal with Warner Brother Records and his King Jay Records label, subsequently releasing the first Club Nouveau single ‘Jealousy' and the album, ‘Life, Love & Pain'. After ‘Jealousy' went to #8 on the Billboard R&B charts in September of 1986, followed by ‘Situation #9' (#4 Billboard R&B charts), 1987 came in with an even bigger bang when ‘Lean On Me' was released in February and became #1 Billboard Pop/#2 Billboard R&B platinum single, winning a Grammy for R&B Song of The Year.Club Nouveau's music is in heavy demand commercially in movies and is sampled in many of today's artists hit makers like Ashanti, Chris Brown and many more.The group is STILL on the scene, performing hundreds of LIVE concert a year & recording NEW music!© 2024 All Rights Reserved© 2024  Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

In this episode of Welcome to Cloudlandia, we have a thought-provoking discussion around AI and its future implications. We introduce Juniper, an advanced voice-based AI capable of tasks from writing to coding, giving insight into emerging technologies. We explore impacts like the attention economy, where value emerges without physical costs. Success stories like Mr. Beast showcase uniqueness and AI's potential to tackle real issues. The episode delivers a well-rounded look at AI capacities and societal changes. References to early smartphone adoption phases parallel today's AI capabilities. SHOW HIGHLIGHTS We discuss the potential of voice-based GPT-4.0 AI, specifically highlighting "Juniper" with a Scarlett Johansson-like voice, and its various applications from writing to coding. We compare the current adoption of AI to the early days of smartphones, emphasizing that we are only beginning to understand AI's full capabilities. We explore historical productivity trends, noting a decline since 1975, and question whether modern technology truly enhances productivity or just alters our perception of it. We debate the role of technology giants like Mark Zuckerberg and Tesla in shaping productivity and economic measurement. We reflect on the mid-20th century advancements such as electrification and infrastructure, and compare them to today's computing power and its economic impact. We discuss the concept of the attention economy and the creation of value from digital products without physical production costs, using digital creators like Mr. Beast as examples. We consider the potential of AI in solving real-world problems such as city traffic congestion and climate understanding, rather than just creating new opportunities. We emphasize the importance of practical solutions and specific use cases to fully leverage the capabilities of advanced AI technologies. We touch on the economic shifts in the digital era, including the rise of digital transactions and the non-tangible realm of digital innovation. We highlight the unique nature of success in the digital world, using examples like Mr. Beast and Taylor Swift, and discuss the challenges and opportunities presented by new technologies. Links: WelcomeToCloudlandia.com StrategicCoach.com DeanJackson.com ListingAgentLifestyle.com TRANSCRIPT (AI transcript provided as supporting material and may contain errors) Dean: Mr Sullivan, who is that person that gives the directions when we start the podcast? Dan: Well, I'm not sure the one that says this podcast this call may be. Dean: You are the first one on this conference phone call, oh my goodness, who is she? Dan: Who is she? She's a bot. She's not real. She's a bot. She's not real. She's not real. She's not real, she doesn't sound. Dean: I've heard worse sounding bots. Dan: Dan, I have been experimenting, playing around with chat GPT-4.0. And I use it primarily in voice mode, meaning, you know, I just say things to it and it has an amazing Scarlett Johansson-like voice that has zero, not at all like Siri or Alexa. You know where those voices definitely sound like. They are bots. This, my GPT-4O I think her name's Juniper is the voice that I chose. She sounds like a real person, I mean, and has like real tone, real inflection, real like conversational feeling to it and I realized that I don't think we really understand what we have here. I mean, I look at it and I think, imagine if that was a real person. Dean: Now, when you say we, who are you talking about? Dan: I mean the collective royal we I I'm sorry I've never been around yeah, I just think we as a when I say we, we as a society or we as the people collectively using this, it reminds me of this Seinfeld episode where Kramer got this or Jerry got his dad, this wizard organizer, and they always use it as a tip calculator, like the least of all the functions that it has. They're just excited that it's a tip calculator, and I feel like that's the current level of my adoption of Juniper. Dean: Yeah, I think the big thing is what you let's say, a year from now, level of my adoption of Juniper, you know, yeah, I think the big thing is what you let's say a year from now. You're using Juniper for a year. What do you think will be different as a result of having this capability, new capability? Dan: Well, I think it's operator, you know, I think it's operator dependent, you know, I think it's up to me what I think if you said to me. You know, I think it's up to me what I think if you said to me listen, I'd like to introduce you to Juniper. She's going to come here and she'll be within. She's going to follow you around. She's going to be here within three feet of you or discreetly out of sight, whatever you, but whenever you call she'll be right there. She is a graduate level. She is a graduate level student. She could pass the bar. She knows everything that's ever been recorded, she speaks every language. She never sleeps, she can write, she can draw, she can do graphics, she can do coding Whatever you like, and she's yours 20 to a month. Have fun, yeah, do you think you'd use it Well? that's my question is that it feels like I'm not using it and I have it. That's essentially what I have. I've got it in my pocket. You know how they said. You know the iPod was launched with the promise of a thousand songs in your pocket. Well, I think this is really like. You know, an MBA or a PhD or whatever you want in your pocket is essentially what we have, and I find it very interesting. Dean: No, I think it's unique, you know, and it's brand new. But what problem did you have that this solves? Dan: Well, I think that it's not per se a problem, but I think that we're I really have been observing and thinking, and I've said it you know in lots of our conversations, that I think that 2020, you know, if we take the 50-year period from 1975 to 2025, that we've pretty much set the stage now for a new plateau launch pad kind of at the same time. I don't. I think that once we understand and people you know, I think it's almost like the iPhone had the app store, that became what Peter Diamandis called the interface moment. Right, that was the you know, that allowed, once people realized that the capabilities of the iPhone to both measure geographically where you are at any precisely at any moment, the gyro thing that can detect movement, the sound, the camera capabilities, the touch screen, all of those things, Well, people realized what the baseline capabilities of the phone were. They were able to architect very specific, you know, starting with games very specific ways to use the capabilities that are very specific ways to use the capabilities that are built into the phone and I think that right now it's almost like it can do anything, and I think that we need to figure out the very specific use cases and I think we'll see people. Dean: You keep saying we, but I don't think we is going to do it. I think you know, who we are. Do we have a cell phone number? Do we have a street address? You know, I think you're having a very interesting personal experience with the new technology. Yeah, I don't know, I don't know if anybody else is going to be in on this, but the big thing is, how are you going to set it up so that you can prove that this is valuable? I mean, let's say, three months from now the time you come back to. Toronto for your next strategic coach pre-zone workshop things you're going to test out and see if the inclusion of this spot with a very sexy Scarlett Johansson voice. This isn't the issue that she sued somebody for. Dan: I think it's, I don't know actually this voice is. It's not exactly her, but it's, you know, it's that tone and things. Dean: So yeah, so. Dan: I don't know that. It's a pleasing voice, much more pleasing and personal than Siri or Alexa, for instance. Yeah, but yeah, I think you're absolutely right it does come down to and I think that's where the paralysis of you know the it can do anything, but you know what would be you know where my mind goes. Dean: It's which, how that I already have, but am I going to assign this capability to so that I don't have to spend any time whatsoever interacting with this bot? But my who's a you know who's a live human being working for a strategic coach would that person actually work? Do this, you know, and actually and I tested out for three months what are you getting done faster? So, for example, we have an AI newsletter that rewrites itself every two weeks and chooses new content, designs it and goes out and it uses up one hour of my Linda Spencer, who's one of my team members on the marketing team, and it's very interesting, I mean we have about 2000 people who read it and they grade it and everything like that. But the only thing I have to do every two weeks she said here's the news, here's the results from the last newsletter, here's the design and contents of the next newsletter, yes or no? And I'll go through. I say, yeah, looks good, send it out, right. Yeah, now, that's not freeing me up, because we never had this capability before. It's a new capability, right, and it's been going for about nine months now and people will talk to me about it and you know everything like that and everything like that. But I haven't seen that it's made a huge difference in the crucial numbers of strategic coach, which are marketing calls. Are we generating great leads that people are talking to us about? Are they signing up for the program? Are they whatever? So the normal measurements. So I think, with any technology, the first thing I would establish before I got interested in the technology is what are the crucial numbers that we have that tell me that our business and myself are moving forward? And then, whatever I'm going to use the new technology for, it has to have an impact on those numbers. Yeah, I think that's yeah, because you know the amount of productivity. I'll use the United States as an example. You mentioned 1975 to 2025, 50 years of individual productivity in the United States was much higher in the 50 years before 1975, since it has been for the last 50 years since 1975. Even though there are these amazing books and that about how productivity is going through the world with the microchip. But the actual numbers which are gathered by the US government, the US Treasury Department, us Department of Labor, indicates that the level of individual productivity has actually gone down in the last 50 years even though the excitement level of productivity has gone through the roof. Dean: By what measurement? What are they deciding? Is product? Dan: Dollars of economic activity per hour per worker. Okay, that's how productivity is measured. Dean: The number of workers. Dan: You have the number of hours they work and the amount of economic dollars that their hour of activity produces. The productivity was much higher total for the entire all workers. Dean: But is it all productivity or personal productivity? Like are you saying no all? Dan: productivity? No, the entire GDP of the economy, measured by the number of workers. Yeah, okay by the number of workers it's going down, it's down. No, yeah, since 1975, it's not as great as it was from 1925 to 1975. So that 50-year period the productivity levels in the United States were bigger than the last 50 years. Dean: Wow, that seems. That's surprising. What do you think that means? Dan: Well, a lot of people are really excited and involving themselves in technological activity that produces absolutely no productivity. Yeah, they're very excited, they're very excited and they're getting very emotionally connected to this activity. But you know, I'm not saying that's not a great thing, I'm not. Maybe they're having more fun, Maybe they're you know, maybe they have. Dean: What actually counts as GDP. Dan: Well, GDP is amount of sales amount of sales. Dean: Okay, so would the advertising sales that Mark Zuckerberg makes for Facebook count as GDP, or is it only in physical, like you know, shippable goods, or whatever? Dan: Well, whatever, uh, you have a dollar spent on something that constitutes a sale to sale. Dean: Okay, so advertising, so Google and Facebook and Netflix and all of those things count as GDP? Sure, okay, all right, then that seems impossible. Dan: It seems impossible, but it's true. Dean: That's pretty wild. Dan: Yeah yeah. I'm not saying that Mark Zuckerberg isn't making a lot of money. I'm not saying Mark. Zuckerberg isn't productive. My feeling is that the technology is created, makes a lot of other people non-productive. Dean: Yeah, and I wonder I mean that's a do you think you know if you measured that in terms of the total population versus the workforce? Is that what? In terms of the total population versus the workforce, is that what you know? I'm just looking for some explanation of this right. Dan: Somewhere along the line, there has to be an economic transaction for it to constitute and everything else. See, this is the difference. Yeah and everything else See this is the difference? China talks about its GDP, but they don't use the same term that everybody else in the world uses. They use the economic value of what they've produced. So they can produce a million machines and they're sitting in a warehouse and they count that as GDP gross domestic product. But there was no sale, it's, you know, they spend it, it was an economic activity. There was a transaction there, but there was no sale. So I think that's the big thing. It doesn't count unless there's a sale. Dean: GDP, doesn't it? Dan: doesn't count as GDP unless there's a sale. Somebody makes money, yeah. Dean: Okay, money Okay, yeah, yeah, I mean, it's pretty. Dan: No, I'm not saying it's not exciting. And here's the. Dean: Thing. Dan: Maybe it's an A&I, it's what I would R&D stage. The last 50 years have been R&D stage. For the next 50 years, which are going to be 100 times bigger of GDP. Okay, that may happen, but it's not happening yet. Dean: Yeah, yeah, I mean it's pretty, yeah, it's pretty wild. I mean you can definitely see, like the capabilities of you know, you can definitely see this replacing many customer service interactions, for sure. For instance, it's like a you can definitely see that going away, that there's not going to be a need for humans manning a customer service telephone center, for instance you know, yeah, I mean if it's good, I mean if it's good you know, and it depends upon the service that's being talked about, but if it's good, you know, maybe it does See, efficiency is not effectiveness. Dan: You know, and effectiveness is that you made a sale. Efficiency is we took all the activities leading up to a sale and we made them more, faster and easier. Yeah, the question is did you get a sale out of it? Dean: Mm-hmm. Dan: Mm-hmm, yeah, so. I don't know, but I think there's a bit of a magician show going with a lot of different kinds of technology, you know. I mean, it was like somebody was saying, you know, they were talking about EVs and specifically they were talking about a Tesla, and specifically they were talking about a Tesla. And he says do you know how much faster zero to 60 is in a Tesla than any gas-powered? Or you know, and I said, to tell you the truth, I don't know. Dean: To tell you the truth. You know. Dan: Geez, you know All the things I've been thinking about since last Monday. I'm sorry, I just didn't get to that one Anyway. And he says well, it's easily a second faster. I said good. I said now, where do you do this? There isn't any way. We're in greater Toronto, the area of greater. Toronto 6 million people, where you can go from 0 to 60 on a city street in two seconds. You know and everything like that. He said, yeah, but boy, you know, I mean, just think of that, how much faster you can go. And I said, yeah, but Teslas don't go any faster in Toronto than any other car, that's true, and usually they're stopped. Dean: Yeah, that's exactly right yeah. Dan: So I think the Tech Magic Show, I think it multiplies people's imagination, but it doesn't multiply their results. You know, I think there's something about it. And I think this is great. I mean what you're telling me. I've had some really boring people on the other end of a phone call and Scarlett Johansson would really liven it up a little bit. Dean: Absolutely yeah, yeah, exactly. Dan: Yeah, I was noticing that Cleveland hired Jack Nicholson and they still use it. It must have been 20 years ago. All the announcements, the regular announcements like don't leave your bags unattended, and things like that, oh right. There's a whole bunch of just what I would call airport announcements, and they have Jack Nicholson doing it and you stop and listen every time it starts. You know it's very effective and I'm sure and I'm sure Scarlett, I'm sure Scarlett Johansson would do a good job too. Dean: Absolutely. Yeah, yeah, it's so, it's so funny. I mean, that seems. I'm just dumbfounded by the fact that productivity has decreased in the 50 years that we're talking about here. Dan: Yeah Well, think of the 50 years, though, and you gave me that great book. Dean: Yeah, you gave me the book that was 1900 to 1950, 1925. Dan: But 1925 to 1975, the entire country was being electrified. They're laying in lines and everybody was the farm that I was on. I was born in 1944. That farm was electrified in 1928. So it was only 16 years that they had electricity. Right, and you know they were putting in the entire water systems. The Tennessee Valley Authority was putting in all these dams and the electric plants. You know Lake Mead as a result of the Hoover Dam. They were putting in all those dams and that just produced enormous jumps and the cars were going in, the gas systems, all the infrastructure for gasoline was going in. It was just a monstrously productive period of time. And then all the production that went into the second world war, which they then had as productive capability after the war stopped and so they had all the manufacturing capabilities you know and you know and so. But there's to see the thing is, the real jump that's happened is the jump in computing. There's no question. Dean: There's been a monstrous jump. Dan: It's a billion times since 1970. It's a billion times. That doesn't translate into money, and money is what productivity is based on. How much more money are you making per hour of human labor? How much more money are you making for our human labor? Now maybe somebody will say well, we got to start counting the robots in our GDP. Something is doing work. Yeah, Just I mean wow, wow, wow, the only problem with you know the only thing about robots, though they're shitty consumers. Dean: Yes, exactly that's so funny. Yeah, they don't buy anything you know. Dan: Yeah, A computer is a good worker, you know. It doesn't take breaks, doesn't get sick you know doesn't form unions anything. You know it doesn't go home, it doesn't have a house, doesn't have furnishings doesn't need furniture doesn't go out to eat. Dean: Right, right. We're definitely in a stage right now where there's opportunities more than ever for economic alchemy, creating money out of nothing, seemingly compared to 1975. I'm not sure how that happened, I think, since in the digital world we're essentially creating money out of ether, you know, out of attention, even in a way that if we just take the attention economy or the portion of the money that is derived from the advertising world in, where it was print ads, television ads, radio ads those were things that were kind of happening in 19, right and, but they were selling sort of physical goods, whereas now I remember having a conversation with Eben Pagan about this, when I did a book Stop your Divorce in 1998, when it was when PDFs were just coming to be a thing where you could create a digital document that didn't require printing a physical book and you could email that or somebody could download it. And I just realized that you know, in that we've literally sold $5 million of a picture of a book not physically printing. These thousands and thousands of books, it's literally no zero physical good. That's why I wondered about whether the GDP is only measuring you, because we're definitely in a time where you can create money from nothing and the way that was driven was from Google AdWords. Dan: You can't create anything from nothing. No, I mean nothing physical, any. You can't create any. I don't think you can create anything from nothing there. No, I mean okay, nothing physical. Okay, that's what I mean. Dean: Yeah, like you look at it, that the book, you know we created the book and turned it into a pdf that was put on a website that there's no physical manifestation of it's, only digital. You can only see it online. People would search on Google for save my marriage or how to stop a divorce, or any of the keywords we could magically get in front of those people on their screen. They could click oh, stop your divorce, how do I do that? They click on that. They read this digital. It didn't cost anything other than what was paid for was that we paid google for the, you know, for sending that, you know the ability to display that person, that opportunity to somebody. We paid google every time somebody clicked on that ad and then they would buy the book and it would automatically take them to a page to download the book. There was no inter, no human interaction and no physical exchange. It was all 100 digital and that was where, you know, I started referring to that as alchemy, really like creating money out of of bits. You know, yeah, yeah, that's so that. Dan: Yeah, I think there's no I think there's uh no question that we've moved into a what I call a non-tangible realm of creating value, creating property and everything else, but at the end of the day it all adds up somewhere where this constitutes an economic transaction and as far as the accountants care, they don't care whether it was something physical or sold or everything. There's taxes that are taken out of that. I don't see the remarkable difference. You're using a different medium, but there is work that goes into that. And you had a big payoff with one, but there were another thousand people right at the same time you were doing that and their results? They put in a lot of work, they put in a lot of effort and it didn't produce any money whatsoever. Efforts go into GDP, your efforts go into GDP and there's way more of them than there is of you. So it brings you the overall results down and you know so and we kind of know. We kind of know that. You know productivity numbers. You know, like, on a year I know people talk about well, that productivity is going to go up by 20% as a result of that. Well, that may be true for a single company, but that's not true for the industry they're in, because their new thing going up by 20% may actually make obsolete 5 or 6 or 20 other companies who have had productivity that a year before, but now they have no productivity at all. So their loss of productivity is balanced against the gain of productivity. Dean: Yeah, that's interesting. I guess you think about that. That could be true in all the casualties of the digital transition here, right Like, what do you look at? Dan: Well, certainly the advertising world, certainly the advertising world, I mean before Mark Zuckerberg and before Google, newspapers like the New York Times. Dean: Daily. Dan: Edition was very thick. Dean: Yeah. Dan: And half of it was advertising. Now it's very thin okay because, they don't have the same. Yeah, but there's winners and losers, you know, in this, and you have a technological breakthrough, you have far more losers than you do winners. Dean: Yeah, I'm looking at like I was just listening to an interview with that Tucker Carlson did with someone I forget who, some former CBS correspondent you know, and they were talking about the new. You know what's really changed now is the reach capabilities you know, like Tucker really primarily being on his own platform but using the reach of x has, you know it's the audience is accessible to everybody, as opposed to him in the beginning of their careers, the only way to get reach was to be signed to a, a digital, or assigned to a traditional network where the eyeballs were. But, now the eyeballs are accessible to everybody and it really becomes these are my words, but it's more of a meritocracy in a way that you're you know that it's available for everybody. The cream definitely can rise to the top if you've got a voice that people resonate with. Dean: Yeah, I mean, and Tucker's a star, tucker's a star. He's got his following, he's got probably a couple million followers. Whatever he was big when he was on Fox and he had the top numbers on Fox and everything like that, but there aren't two of them. Dean: Right, and you can't replace him with an AI either. Dean: No, but what I mean is we pick out the winners. It takes a lot of losers to get to a winner, you know and I think this is more extreme in the Cloudlandia world than it is in the physical world- you know. I mean, I think there's a thing called network effect and the network effect is you can only have one Amazon. Basically, you can only have one Amazon. Because, the nature of Amazon is to suck everybody's customers up into one destination. There aren't five Amazons competing with each other, and that's what digital does. A person like Taylor Swift couldn't have existed 20 years ago. They wouldn't have had the reach. Yeah, that's true, and she's got the reach today. I mean she's coming along and she's got a lot of things going for her. She's very attractive, she's very productive, she pumps out songs all the time and the songs seem to resonate with a mood in the public right now. And everybody's got their cell phones and everybody's got that. And what I'm saying is, if you have one Taylor Swift, you can't have two. Well, yeah, that's. Dean: I mean it's, I wonder you start to see that she's just a, she's one voice, right Like I look at, I've been following rabbit holes like up the chain. You know and I start so Taylor Swift is a good example that many of her biggest hits and biggest success have been in collaboration with Max Martin, who is a producer who I often talk about and refer. Second, he's got the second biggest number of number one songs to his credit, right behind. He just passed Paul McCartney or John Lennon, and only Paul McCartney is ahead of him. Now he's about five songs behind Paul McCartney. What I realized is, you know, there's a way that it's kind of like you get max martin's voice is really what is, you know, behind most of the the most popular music, or much of the most popular music, and yet not many people could pick him out of a lineup. And then then I went another layer up. It just dawned on me, like in the last couple of weeks here, that the real catalyst to Max Martin's success was Clive Davis. Who is? Do you know who? Clive Davis is the former, or still, record executive. Dean: He was the head of so far, your records so far. So far, you're introducing me to a lot of new people. Dan: Okay, great well, I, I just love this that. You know, max martin, I've been saying, as that's the thing, like you think about one thing Max Martin's one thing has been making hit records. Right, that's all he's done. Making pop songs since 1996, or what is first number one. But if you trace it all the way back, the catalyst to it because he was in Sweden, there was a group years ago called Ace of Bass and they had a number one song. But when you go all the way back to how that happened, it was because Clive Davis, who was the head of Columbia Records and all its subsidiaries, arista and Jay Records, and all its subsidiaries, arista and J Records and all of these things, he found that song. He's like a guesser and better. He was guessing that song is going to be a hit and he signed Ace of Base to bring them to America. So he plucked this obscure Swedish band out of and brought them to America and on the wave of that, created the opportunity for Max Martin to work with all these great artists that happened to be under the direction of Clive Davis. And if you go even one layer beyond that, the guy that owns Bertelsmann, you know G Music Group in Germany. They own almost all the record labels, kind of thing. It's him seeing Clive Davis and putting up a million dollars for Clive Davis to start this record label. It's amazing that it all, kind of you know, goes back to capital allocation. Dean: But the big thing is none of that has to do with any productivity. Dan: Yeah, that's the thing I wonder, you know, I mean that really. Dean: No, well, what you're talking about is. You mentioned a name. Yes, and he does this and he's very successful and he's famous for being successful. But at the same time that he was doing what he was doing, there were 9,999 who were waiting on tables and doing this on weekends and nights, yeah, okay, and they weren't making any money at all. So what. I'm saying is when you pick a winner out and you see, see how productive they are using new technology you also have to account for the people who are using the new technology and not making any money at all, and therefore it's not more productive. Yeah. Dan: Yeah. Dean: And I mean, you know we haven't talked about him for a while, Mr Beast. Yeah, and people say, see what you can do when you're 18? You won't see anything because he's so unique. And he has such a set of circumstances that there's nothing that he does that is repeatable by another person. Dan: I mean, yeah, he just became just in the last, I haven't heard anything about him. Dean: Is he still doing stuff? I don't know. Is he still doing stuff? I don't know. Is he still doing stuff? Yeah, yeah, he just became. Or is he retired at 28? Dan: No full steam ahead. Dean: He's got a 300-foot. Dan: He just became the number one subscribed channel in the world. He was the number one individual but there was this T-Series channel in India, which wasn't a person a different thing. Now he's the number one thing. He's now working on an Amazon show. He's taking his stuff to to amazon still full steam ahead with his, with his videos, but he's doing a big game show series in uh with under the amazon banner yeah, yeah, yeah. Dean: it's really interesting because you know again I go back that it seems to me that a lot you know and I've made this statement before is that a new technology comes out, or a new form of a new technology comes out. A whole series of people say I'm going to create a new company based on this technology and I want you know, I need some early investors. I need investors to get there, and so there's a whole industry for doing that in Silicon Valley and other places, and so billions are raised, not just for the one you know, not one investment, but for let's say 50 investments. And none of them go anywhere, none of them go anywhere. Dan: You know, nothing happens, okay, but people did make money because it's based on a Ponzi scheme kind of thing that the early investors get paid out by the late investors who end up pulling nothing and everything else. Dean: None of that represents productivity. Right A lot of action, a lot of excitement, a lot of money, but no productivity. And we're seeing that with AI. Goldman Sachs, the big investment bank, came out that, going on two years since open AI, we just don't see that there's any money to be made with this, except if you're like the chip maker, NVIDIA. They make a lot of money and they're very productive, and I think the reason is that I think that AI, if I look at the next 10 years, I think it's going to be very effective, it's going to be very useful and it's going to be very important for solving complexity problems that we already have on the planet. Okay, and you know, a great example is just large city congestion complexity, like Toronto, I think, may have the worst traffic congestion in North America. Dan: I did notice a big difference in that, even in the five years since I was there. Dean: Yeah. And the main reason is that they're making new cars, but they're not making new roads. Dan: Yeah, and I noticed that they've actually added a lot of bike lanes too, which have taken out some of the actual lanes. Dean: Yeah, Actual lanes, yeah, yeah, so without some new kind of solution to congestion and I think AI is the perfect tool for this and that all the traffic lights, all the traffic lights in the city are a single system and you're just changing the frequency of the lights changing and everything around the car changing the frequency of the lights changing and everything around the country, and there's a sort of a master view, how you know you can reduce the amount of people just stuck in the city by 40% if we just get all the lights. That's a complexity problem. Dan: You know and for example. Dean: The other thing is they haven't. You know, for all. The study of weather is probably the most complex system that we have on the planet and to this day they have no notion what effect clouds have on climate. You know they don't. They really. Clouds are just very complex. So if you had the ability to, I mean, they know different types of clouds and different things that happen when you have different types of clouds. They know that, but there's no unification of their understanding of the cloud system. And so you'd have to apply it to that. Now, you're not creating anything new with this. You're solving an existing problem. With this, you're solving an existing problem. My sense is that the best use of technology is always to solve some problem that you already have not create a new opportunity that's interesting. Dan: So maybe that's how I mean yeah, go ahead. I was just saying maybe that's how I should be thinking about my relationship with juniper yeah, what? Dean:what complexity problems do you have? Dan: Exactly what complexity problems do I already have that Juniper could solve for me? Dean: Yeah, like getting out of bed in the morning. That's a complexity problem. When does my first coffee arrive? Exactly yeah, why am I still thinking about this? Why at this late date. Dan: Oh man, that is so funny. Dean: It is funny. Dan: The funny thing is I posted up on Facebook right before we got on our podcast today. I took a picture of my. I have these. I have these Four Seasons Valhalla coffee cups and I took a. I made a coffee before our here and I posted up a picture of it right Pre-podcast caffeination, prior to the prior to our podcast here. So I'm fully caffeinated. I'm on the, I'm on the juice. Dean: Yeah, I will tell you this. Chris Johnson, great thinker in the FreeZone program he's got it's not his system, he's licensed his system from someone else but he had 32 callers to set up meetings with their primary salespeople for his company and he's in the placement business. He finds really good high-level people to go into construction companies and engineering companies. And he was telling us that his 32 human callers could make 5,500 phone calls and produce a certain result in a day of phoning. And since he's brought in his AI system, they can do 5,500 in an hour and produce a better result of people agreeing to phone calls. Well, that's productivity. Dan: Yeah, I guess. So yeah, pretty amazing huh. Dean: And he let go his 32 humans. Oh, my goodness. Wow, so this is AI making outbound phone calls? These are all AI and they've got complete voice capability of responding to responses and everything else. And then they get better every day. They have sort of upgrades every day for it. And that's productivity, that's productivity. Dan: Yeah, there's, yeah, that's a. That's an amazing story. An amazing story, I mean, you start to see, I just look at the things, even when we had the AI panel at FreeZone in Palm Beach. You're just seeing the things, even what Mike Kamix is able to create and the things that Lior is doing. You just think, man. Dean: I think we're early. Dan: Yeah, absolutely, we're early. Dean: Yeah, I mean I think we're in the first or second year of the internet with us, right? Dan: Exactly, I agree. That's why I say, that's why, in my summation here, I'm kind of thinking you know 2025, give it another 18 months. It's only 18 months old now when you really think about it. Right, this is it's 18 months, and give it another 18 months and we'll see that people you're already starting to see that people are taking the AI capabilities and they're honing it into an interface. That is, a logo maker, for instance, or AI. You know that it's already honed into the ability to specialize in making logos based on your prompts, or and I think that's where that's what I meant by the interface moment is people are going to start carving out, packaging very specific outcomes from the capabilities. Like, if we have these capabilities, what can we do and just deliver that specific outcome, rather than the capability to create that outcome that's why it's funny that that's kind of parallel to what I've been saying. I've seen people that are taking and training large language models based on your you know, all of the you know let's call it all the Dan Sullivan content that's been out there and then touting it as you know, having Dan Sullivan in your pocket, that you can ask Dan anything of it in your pocket, that you can ask Dan anything. But I think the ability to ask you anything isn't as useful as the ability to have Dan ask you things. Yes, I think that's the question. Dean: So in the last quarterly book, and the one we're finishing right now. So it was everything is created backward, where the tool we featured was the triple play, and then the next one is called casting, not hiring, where the tool is the four by four casting tool. We call it the four by four casting tool, and this is where I'm asking them questions. Dan: Right, okay. Dean: I don't see any value whatsoever of them asking me questions. Dan: Right. Dean: Because I'm not getting the benefit of the question. Some software program is handling it, so I'm not learning anything and I've got a rule that I don't involve myself in any activity where I don't learn something new. Dan: Okay. Dean: So there's getting the benefits, but plus we'd be competing with ourselves. Dan: I love it All, right Well off, we go. Dean: I will phone you next week I'll be at the cottage. I'll be looking out at a mystic blue lake while I'm talking. Dan: Oh, wow. Dean: It's really good yeah. Dan: Awesome. Well, have a great week, okay, and I'll talk to you next week. Thanks, thanks, dan. Bye.

The Celeste Stein Show with Celeste Stein Guest, Jay King, songwriter, composer, singer, producer, entrepreneur Who Is Jay King? As a veteran mogul Jay King brings as much humility to the field as he does what has been called his genius. With three decades of continuous achievements in music, management, film/TV/radio, consulting and publishing; King has made an indelible impression. He claims Northern California in general as his hometown due to a nomadic youth spent between many of the Bay Area's cities; as well as Alaska for birthing his career. There was a deep musical undercurrent added to his early years by a clan which boasted a number of ministers, extending from his great-grandfather through a number of cousins, who all played instruments as well. His great uncle, Saunders King, a respected jazz/blues guitarist, offered the West Coast the first family hit in the 1940's—‘The S.K. Blues'—adding to the musical backdrop of King's childhood. Jay King broadened his own talent when he took up the trumpet in his freshman year of high school and when Popping and Breaking became popular; dance soon opened doors to his subsequent career in music. Joining the Air Force at age 18 landed him in Anchorage, Alaska and despite getting kicked out a year later he remained there and called it home. “Something like that can be a detriment or awe-inspiring. I didn't let it become a detriment. I thank my mom for this. My mom was a fighter. She had her first baby, my sister, at 15 and me at 17, and was a brilliant woman who graduated Magna Cum Laude. I never met anybody with more heart, gumption and strength, or who had a more profound effect on my life than Helen Bridges, my mom.” Not wanting to return home a failure at 19, King stayed and started a dance group that became successful around the city, opening for every act that came through Anchorage at the time. Having made a name for himself, he returned to Northern California to try his hand as a rapper. Borrowing a reference to the Alaskan ice, he named a group Frost and put out a record entitled ‘The Battle Beat'. Although unsuccessful, it did lead him deeper into music, eventually meeting the members of Timex Social Club. As his music and connections continued to develop, he found himself writing songs for Con Funk Shun whose members, Michael Cooper and Felton Pilate, encouraged King against the detractors who at the time didn't like his sound. In 1986, King starting the independent record label JAY Records to release the Timex Social Club hit ‘Rumors' and ushered in the biggest selling single of 1986 (3.5 million copies) and becoming the #1 R&B single on the Billboard Charts. With a Top 10 single on the Billboard Pop charts for over 56 weeks, King watched his life change as his music became an unprecedented hit. What he'd produced was history-making, as nobody had before taken an R&B song from an indie label to such heights. Although having independently produced, pressed and marketed his own music King was without the money to compete at radio plays and had to be creative with promoting. “There were challenges. You couldn't reach out to stores, and social media didn't exist then so you couldn't let people know with a click of a button that you had something out. You had to get out and hustle. People were making fun of me and laughing because I was out hustling records.” Bypassing traditional methods, King utilized Macola Records because of its position as an indie manufacturer with no association to a major label. Such moves from a 24-year-old entrepreneur made the year 1986 even more memorable, as he quickly followed up with a label/production deal with Warner Brother Records and his King Jay Records label, subsequently releasing the first Club Nouveau single ‘Jealousy' and the album, ‘Life, Love & Pain'. After ‘Jealousy' went to #8 on the Billboard R&B charts in September of 1986, followed by ‘Situation #9' (#4 Billboard R&B charts), 1987 came in with an even bigger bang when ‘Lean On Me' was released in February and became #1 Billboard Pop/#2 Billboard R&B platinum single, winning a Grammy for R&B Song of The Year. READ MORE: https://www.theofficialjayking.com/

For this Musicals Magazine Podcast, Sarah Kirkup meets Timmika Ramsay, who's currently starring as Miss Adelaide in Nicholas Hytner's immersive production of Guys & Dolls at the Bridge Theatre. Ramsay, who previously starred as La Chocolat in Moulin Rouge in the West End, talks about the challenges of following in the footsteps of Marisha Wallace, how she juggles eight shows a week with a small baby, and her determination to make the role her own.   The musical excerpts of Guys and Dolls are taken from the 2023 London Cast Recording on Broadway Records, starring Marisha Wallace, Daniel Mays, Andrew Richardson, Celinde Schoenmaker and Cedric Neal; the opening and closing musical excerpts featured in this podcast are from the Overture to Gypsy (film version), taken from Jule Styne's ‘Overtures Vol 2', courtesy of JAY Records.  

For this Musicals Magazine Podcast, Edward Seckerson meets Zachary James, who's currently hotting up the Underworld on the other side of that wall in Hadestown. James, who originated the role of Lurch in the Andrew Lippa musicalisation of The Addams Family, is perhaps best known to date – indeed immortalised – as The Scribe/Amenhotep III in Philip Glass's Akhnaten in the jaw-dropping Phelim McDermott, Olivier Award-winning staging at English National Opera in 2016. His work has straddled the opera and Musical Theatre worlds in intriguing ways and as an actor-singer his work is nothing if not diverse. Plus his 6'6” frame makes him hard to miss.   Never miss an issue of Musicals magazine – subscribe today The opening and closing musical excerpts featured in this podcast are from the Overture to Gypsy (film version), taken from Jule Styne's ‘Overtures Vol 2', courtesy of JAY Records.

For this Musicals Meets Podcast, Editor Sarah Kirkup meets Marlow and Moss, the talented writing duo behind global sensation SIX. Following in that musical's footsteps was always going to be a challenge, but last summer they workshopped Why Am I So Single? at the Lilian Bayliss Theatre. Following two friends, who just happen to be writing a musical, as they enjoy a prosecco-fuelled evening, the two-act show was positively received by audiences. It was subsequently finessed and sculpted into the final version premiering in the West End this summer.   At the press launch at Soho's Boulevard Theatre on Valentine's Day, Marlow and Moss – along with some special guests – performed a selection of songs from the show. They speak to Musicals magazine's Editor about the writing process, the musical styles they have drawn upon, and how their friendship has remained very much intact.  Why Am I So Single? opens at the Garrick Theatre 27 August and the run is currently scheduled to continue through to 13 February, 2025  The musical excerpts from Why Am I So Single? – ‘8 Dates' and ‘Just In Case' – were recorded at the launch event on 14 February at the Boulevard Theatre in Soho. The opening and closing musical excerpts featured in this podcast are from the Overture to Gypsy (film version), taken from Jule Styne's ‘Overtures Vol 2', courtesy of JAY Records 

For our first Musicals Meets Podcast, Editor Sarah Kirkup meets the actor and performer Joel Harper-Jackson. Starring as Harry in the revival of Standing at the Sky's Edge at the Gillian Lynne Theatre from 9 February, Harper-Jackson – previously known for Musical Theatre roles such as Charlie Price in Kinky Boots on tour and Simon in Jesus Christ Superstar at Regent's Park Open Air Theatre – hit the headlines in 2022 in Mike Bartlett's play Cock at the Ambassadors Theatre. Having covered both lead roles, he took over from Taron Egerton as M opposite Jonathan Bailey after Egerton left the production for personal reasons. He talks to Musicals about striving for a varied career, why understudies are underrated, and how the role of Harry is a dream come true.  The musical excerpts from Standing at the Sky's Edge featured in this podcast are taken from the Original Live Cast Recording of Standing at the Sky's Edge with songs by Richard Hawley, arranged and orchestrated by Tom Deering, with musicians including Tom Deering and Ehsaan Shivarani, published by BMG and Universal. It was recorded live at the Crucible Theatre, Sheffield, over three nights in December 2022, and released on 13 February 2023 on Pink Moon Records. Tracks are as follows:  ‘Standing At The Sky's Edge' – performed by Maimuna Memon, Bobbie Little and Samuel Jordan  ‘For Your Lover Give Some Time' – performed by Robert Lonsdale   ‘Tonight The Streets Are Ours' – performed by Baker Mukasa, Deborah Tracey and Faith Omole     The opening and closing musical excerpts featured in this podcast are from the Overture to Gypsy (film version), taken from Jule Styne's ‘Overtures Vol 2', courtesy of JAY Records. 

My guest today is the prolific and award-winning book writer and lyricist Stephen Cole who joins me today to talk about his new novel: Mary & Ethel…and Mikey Who? I found it to be a terrific book, both wildly funny and very moving. And as you will hear, at times it feels like Stephen wrote this novel especially for me, and for the fans of this podcast. Stephen Cole is an award-winning musical theatre writer whose shows have been produced from New York City to London to the Middle East and Australia. His off-Broadway musical with Matthew Ward, AFTER THE FAIR, was nominated for the Outer Critic's Circle Award for Best Musical and was subsequently produced in London to great acclaim.THE NIGHT OF THE HUNTER won the prestigious Edward Kleban Award and was produced in New York City, Dallas, and San Francisco, where it was nominated for several Bay Area Theatre Awards. The award-winning 1998 concept CD features Ron Raines, Sally Mayes, and Dorothy Loudon. SATURDAY NIGHT AT GROSSINGER'S has had successful runs in Texas (starring Gavin MacLeod), Los Angeles, and Florida. Broadway legend Chita Rivera toured in CASPER, and Hal Linden and Dee Hoty starred in the world premiere of his musical adaptation of DODSWORTH.In 2005, Stephen was commissioned to write ASPIRE, the first American musical to premiere in the Middle East. This experience resulted in another musical about the creation of that show entitled THE ROAD TO QATAR!, produced to rave reviews and awards Off-Broadway, in London, and at the Edinburgh Festival, garnering a Best Musical nomination. Among his other produced shows are ROCK ODYSSEY, which played to hundreds of thousands of kids for ten seasons of productions at the Adrienne Arscht Center in Miami, and MERMAN'S APPRENTICE, presented in concert at Birdland in New York City, followed by an all-star cast album on Jay Records, and an acclaimed premiere production in Sonoma, CA in 2019. Stephen's latest critically acclaimed musical is GOIN' HOLLYWOOD.Stephen's published books include That Book About That Girl and I Could Have Sung All Night, the Marni Nixon story, currently in development as a feature film from Amazon. Stephen has also written several published stories and his real-life friendships with Ethel Merman and Mary Martin resulted in this, his first novel. Visit www.stephencolewriter.org. Become a PATRON of Broadway Nation! I want to thank our Broadway Nation Patron Club members, such as Geoffrey Block and Larry Spinelli, whose generous support helps to make it possible for me to bring this podcast to you each week. If you would like to support the creation of Broadway Nation, here is the information about how you too can become a patron. For just $7.00 a month, you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast.  All patrons receive special “on-air” shout-outs and acknowledgment of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

GRAMMY® winner Club Nouveau, Timex Social ClubGrammy Award winning singer and music label executive, Jay King, was elected CEO/President of the California Black Chamber of Commerce (CBCC) in June of 2019.GRAMMY® Award winning Jay King/Club Nouveau's music & samples have been featured in many Soundtracks including the #1 Hit Movie "US" by Director Jordan Peele!This week, I look at how a brand can stay relevant decade after decade.As a veteran mogul Jay King brings as much humility to the field as he does what has been called his genius. With three decades of continuous achievements in music, management, film/TV/radio, consulting and publishing; King has made an indelible impression. He claims Northern California in general as his hometown due to a nomadic youth spent between many of the Bay Area's cities; as well as Alaska for birthing his career. There was a deep musical undercurrent added to his early years by a clan which boasted a number of ministers, extending from his great-grandfather through a number of cousins, who all played instruments as well. His great uncle, Saunders King, a respected jazz/blues guitarist, offered the West Coast the first family hit in the 1940's—‘The S.K. Blues'—adding to the musical backdrop of King's childhood. In 1986, King starting the independent record label JAY Records to release the Timex Social Club hit ‘Rumors' and ushered in the biggest selling single of 1986 (3.5 million copies) and becoming the #1 R&B single on the Billboard Charts. With a Top 10 single on the Billboard Pop charts for over 56 weeks, King watched his life change as his music became an unprecedented hit. What he'd produced was history-making, as nobody had before taken an R&B song from an indie label to such heights. Although having independently produced, pressed and marketed his own music King was without the money to compete at radio plays and had to be creative with promoting. “There were challenges. You couldn't reach out to stores, and social media didn't exist then so you couldn't let people know with a click of a button that you had something out. You had to get out and hustle. People were making fun of me and laughing because I was out hustling records.” Bypassing traditional methods, King utilized Macola Records because of its position as an indie manufacturer with no association to a major label.Such moves from a 24 year old entrepreneur made the year 1986 even more memorable, as he quickly followed up with a label/production deal with Warner Brother Records and his King Jay Records label, subsequently releasing the first Club Nouveau single ‘Jealousy' and the album, ‘Life, Love & Pain'. After ‘Jealousy' went to #8 on the Billboard R&B charts in September of 1986, followed by ‘Situation #9' (#4 Billboard R&B charts), 1987 came in with an even bigger bang when ‘Lean On Me' was released in February and became #1 Billboard Pop/#2 Billboard R&B platinum single, winning a Grammy for R&B Song of The Year.Club Nouveau's music is in heavy demand commercially in movies and is sampled in many of today's artists hit makers like Ashanti, Chris Brown and many more.The group is STILL on the scene, performing hundreds of LIVE concert a year & recording NEW music!© 2024 All Rights Reserved© 2024  Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Edward Seckerson drops in on Jenna Russell during the run of Richard Taylor/Rachel Wagstaff's Flowers for Mrs Harris at London's Riverside Studios. They compare notes on the show and on other movers and shakers who've been instrumental in pushing the envelope on musical theatre including Sondheim (with whom Olivier Award-winning Jenna enjoyed several career-defining encounters), Jeanine Tesori (Fun Home), and Jason Robert Brown (Bridges of Madison County). Recorded backstage at London's Riverside Studios in October 2023. The opening and closing musical excerpts featured in this podcast are from the Overture to Gypsy (film version), taken from Jule Styne's ‘Overtures Vol 2', courtesy of JAY Records. For more details on Musicals magazine, please visit MusicalsMagazine.com

Jamie Muscato - the original Jason "J.D." Dean in the now cult hit Heathers and currently the lovelorn Christian in Moulin Rouge - sits down with Edward Seckerson to talk Once, Bend It Like Beckham, and being Kelsey Grammer's younger self in Big Fish. Recorded backstage at London's Piccadilly Theatre in August 2023. The opening and closing musical excerpts featured in this podcast are from the Overture to Gypsy (film version), taken from Jule Styne's ‘Overtures Vol 2', courtesy of JAY Records. For more details on Musicals magazine, please visit MusicalsMagazine.com

In this episode of the Musicals Podcast Edward Seckerson drops in on the two leading ladies of the current revival of Andrew Lloyd Webber's Aspects of Love - Laura Pitt-Pulford and Danielle de Niese - to compare notes on two fascinating women and re-evaluate the show itself 34 years on from its premiere. It's two hours before curtain up and Michael Ball's ears must have been burning… Recorded backstage at London's Lyric Theatre in June 2023. The opening and closing musical excerpts featured in this podcast are from the Overture to Gypsy (film version), taken from Jule Styne's ‘Overtures Vol 2', courtesy of JAY Records. For more details on Musicals magazine, please visit MusicalsMagazine.com

In this episode of the Musicals Podcast Edward Seckerson talks to the multi-award-winning Jamie Parker (The History Boys, Harry Potter - The Cursed Child) about his current project The Curious Case of Benjamin Button, a new musical by Jethro Compton and Darren Clark, and swinging like Sinatra with conductor John Wilson. Recorded backstage at the Southwark Playhouse Elephant in May 2023. The opening and closing musical excerpts featured in this podcast are from the Overture to Gypsy (film version), taken from Jule Styne's ‘Overtures Vol 2', courtesy of JAY Records. For more details on Musicals magazine, please visit MusicalsMagazine.com

In this episode of the Musicals Podcast, Edward Seckerson talks to Jon Robyns about his journey from singing in the National Youth Choir to playing Jean Valjean in Les Misérables and now the new Phantom in Phantom of the Opera.   The episode was recorded in May 2023 in Robyns's dressing room at His Majesty's Theatre.   The opening and closing musical excerpts featured in this podcast are from the Overture to Gypsy (film version), taken from Jule Styne's ‘Overtures Vol 2', courtesy of JAY Records. For more details on Musicals magazine, visit www.MusicalsMagazine.com

In this episode of the Musicals Magazine Podcast, Edward Seckerson talked to the Olivier-nominated Broadway and West End star Sierra Boggess in February 2023, while the soprano was in London for a one-off concert at Cadogan Hall, and prior to the run of The Secret Garden in Los Angeles (19 February – 26 March). The podcast includes a world-exclusive preview of the track ‘Many a New Day' from Oklahoma! by Rodgers and Hammerstein, sung by Boggess and taken from the forthcoming world-premiere recording of the complete original score by John Wilson and the Sinfonia of London, to be released on 15 September 2023, on Chandos Records. Also included in the podcast is an excerpt of Boggess singing A Quiet Thing from the album ‘Awakening – Live at 54 Below', courtesy of Broadway Records. The opening and closing musical excerpts are from the Overture to Gypsy (film version), taken from Jule Styne's ‘Overtures Vol 2', courtesy of JAY Records. For more details on Musicals magazine, please visit MusicalsMagazine.com

Welcome to the first episode of our regular Musicals Magazine Podcast hosted by Edward Seckerson. In this episode, our guest is Celinde Schoenmaker, currently starring as Sarah Brown in Nicholas Hytner's immersive production of Guys & Dolls at London's Bridge Theatre. The musical excerpts featured in this podcast are from the Overture of Gypsy (film version), taken from Jule Styne's Overtures Vol 2 courtesy of JAY Records. For more details on Musicals magazine, please visit MusicalsMagazine.com

GRAMMY® winner Club Nouveau, Timex Social ClubGrammy Award winning singer and record label executive, Jay King, was elected CEO/President of the California Black Chamber of Commerce (CBCC) in June of 2019.GRAMMY® Award winning Jay King/Club Nouveau's music & samples have been featured in many Soundtracks including the #1 Hit Movie "US" by Director Jordan Peele!This week, I look at how a brand can stay relevant decade after decade.As a veteran mogul Jay King brings as much humility to the field as he does what has been called his genius. With three decades of continuous achievements in music, management, film/TV/radio, consulting and publishing; King has made an indelible impression. He claims Northern California in general as his hometown due to a nomadic youth spent between many of the Bay Area's cities; as well as Alaska for birthing his career. There was a deep musical undercurrent added to his early years by a clan which boasted a number of ministers, extending from his great-grandfather through a number of cousins, who all played instruments as well. His great uncle, Saunders King, a respected jazz/blues guitarist, offered the West Coast the first family hit in the 1940's—‘The S.K. Blues'—adding to the musical backdrop of King's childhood.Jay King broadened his own talent when he took up the trumpet in his freshman year of high school and when Popping and Breaking became popular; dance soon opened doors to his subsequent career in music. As his music and connections continued to develop, he found himself writing songs for Con Funk Shun whose members, Michael Cooper and Felton Pilate, encouraged King against the detractors who at the time didn't like his sound. In 1986, King starting the independent record label JAY Records to release the Timex Social Club hit ‘Rumors' and ushered in the biggest selling single of 1986 (3.5 million copies) and becoming the #1 R&B single on the Billboard Charts. With a Top 10 single on the Billboard Pop charts for over 56 weeks, King watched his life change as his music became an unprecedented hit. What he'd produced was history-making, as nobody had before taken an R&B song from an indie label to such heights. Although having independently produced, pressed and marketed his own music King was without the money to compete at radio plays and had to be creative with promoting. “There were challenges. You couldn't reach out to stores, and social media didn't exist then so you couldn't let people know with a click of a button that you had something out. You had to get out and hustle. People were making fun of me and laughing because I was out hustling records.” Bypassing traditional methods, King utilized Macola Records because of its position as an indie manufacturer with no association to a major label.Such moves from a 24 year old entrepreneur made the year 1986 even more memorable, as he quickly followed up with a label/production deal with Warner Brother Records and his King Jay Records label, subsequently releasing the first Club Nouveau single ‘Jealousy' and the album, ‘Life, Love & Pain'. After ‘Jealousy' went to #8 on the Billboard R&B charts in September of 1986, followed by ‘Situation #9' (#4 Billboard R&B charts), 1987 came in with an even bigger bang when ‘Lean On Me' was released in February and became #1 Billboard Pop/#2 Billboard R&B platinum single, winning a Grammy for R&B Song of The Year.Club Nouveau's music is in heavy demand commercially in movies and is sampled in many of today's artists hit makers like Ashanti, Chris Brown and many more.The group is STILL on the scene, performing hundreds of LIVE concert a year & recording NEW music!© 2023 All Rights Reserved© 2023 Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

GRAMMY® winner Club Nouveau, Timex Social ClubGrammy Award winning singer and record label executive, Jay King, was elected CEO/President of the California Black Chamber of Commerce (CBCC) in June of 2019.GRAMMY® Award winning Jay King/Club Nouveau's music was featured in the #1 Hit Movie "US" by Director Jordan Peele!This week, I look at how a brand can stay relevant decade after decade.As a veteran mogul Jay King brings as much humility to the field as he does what has been called his genius. With three decades of continuous achievements in music, management, film/TV/radio, consulting and publishing; King has made an indelible impression. He claims Northern California in general as his hometown due to a nomadic youth spent between many of the Bay Area's cities; as well as Alaska for birthing his career. There was a deep musical undercurrent added to his early years by a clan which boasted a number of ministers, extending from his great-grandfather through a number of cousins, who all played instruments as well. His great uncle, Saunders King, a respected jazz/blues guitarist, offered the West Coast the first family hit in the 1940's—‘The S.K. Blues'—adding to the musical backdrop of King's childhood.Jay King broadened his own talent when he took up the trumpet in his freshman year of high school and when Popping and Breaking became popular; dance soon opened doors to his subsequent career in music. As his music and connections continued to develop, he found himself writing songs for Con Funk Shun whose members, Michael Cooper and Felton Pilate, encouraged King against the detractors who at the time didn't like his sound. In 1986, King starting the independent record label JAY Records to release the Timex Social Club hit ‘Rumors' and ushered in the biggest selling single of 1986 (3.5 million copies) and becoming the #1 R&B single on the Billboard Charts. With a Top 10 single on the Billboard Pop charts for over 56 weeks, King watched his life change as his music became an unprecedented hit. What he'd produced was history-making, as nobody had before taken an R&B song from an indie label to such heights. Although having independently produced, pressed and marketed his own music King was without the money to compete at radio plays and had to be creative with promoting. “There were challenges. You couldn't reach out to stores, and social media didn't exist then so you couldn't let people know with a click of a button that you had something out. You had to get out and hustle. People were making fun of me and laughing because I was out hustling records.” Bypassing traditional methods, King utilized Macola Records because of its position as an indie manufacturer with no association to a major label.Such moves from a 24 year old entrepreneur made the year 1986 even more memorable, as he quickly followed up with a label/production deal with Warner Brother Records and his King Jay Records label, subsequently releasing the first Club Nouveau single ‘Jealousy' and the album, ‘Life, Love & Pain'. After ‘Jealousy' went to #8 on the Billboard R&B charts in September of 1986, followed by ‘Situation #9' (#4 Billboard R&B charts), 1987 came in with an even bigger bang when ‘Lean On Me' was released in February and became #1 Billboard Pop/#2 Billboard R&B platinum single, winning a Grammy for R&B Song of The Year.Club Nouveau's music is in heavy demand commercially in movies and is sampled in many of today's artists hit makers like Ashanti, Chris Brown and many more.The group is STILL on the scene, performing hundreds of LIVE concert a year & recording NEW music!All Rights Reserved © 2022 Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon ~ https://tinyurl.com/AmzBAS

GRAMMY® winner Club Nouveau, Timex Social ClubGrammy Award winning singer and record label executive, Jay King, was elected CEO/President of the California Black Chamber of Commerce (CBCC) in June of 2019.GRAMMY® Award winning Jay King/Club Nouveau's music was featured in the #1 Hit Movie "US" by Director Jordan Peele!This week, I look at how a brand can stay relevant decade after decade.As a veteran mogul Jay King brings as much humility to the field as he does what has been called his genius. With three decades of continuous achievements in music, management, film/TV/radio, consulting and publishing; King has made an indelible impression. He claims Northern California in general as his hometown due to a nomadic youth spent between many of the Bay Area's cities; as well as Alaska for birthing his career. There was a deep musical undercurrent added to his early years by a clan which boasted a number of ministers, extending from his great-grandfather through a number of cousins, who all played instruments as well. His great uncle, Saunders King, a respected jazz/blues guitarist, offered the West Coast the first family hit in the 1940's—‘The S.K. Blues'—adding to the musical backdrop of King's childhood.Jay King broadened his own talent when he took up the trumpet in his freshman year of high school and when Popping and Breaking became popular; dance soon opened doors to his subsequent career in music. As his music and connections continued to develop, he found himself writing songs for Con Funk Shun whose members, Michael Cooper and Felton Pilate, encouraged King against the detractors who at the time didn't like his sound. In 1986, King starting the independent record label JAY Records to release the Timex Social Club hit ‘Rumors' and ushered in the biggest selling single of 1986 (3.5 million copies) and becoming the #1 R&B single on the Billboard Charts. With a Top 10 single on the Billboard Pop charts for over 56 weeks, King watched his life change as his music became an unprecedented hit. What he'd produced was history-making, as nobody had before taken an R&B song from an indie label to such heights. Although having independently produced, pressed and marketed his own music King was without the money to compete at radio plays and had to be creative with promoting. “There were challenges. You couldn't reach out to stores, and social media didn't exist then so you couldn't let people know with a click of a button that you had something out. You had to get out and hustle. People were making fun of me and laughing because I was out hustling records.” Bypassing traditional methods, King utilized Macola Records because of its position as an indie manufacturer with no association to a major label.Such moves from a 24 year old entrepreneur made the year 1986 even more memorable, as he quickly followed up with a label/production deal with Warner Brother Records and his King Jay Records label, subsequently releasing the first Club Nouveau single ‘Jealousy' and the album, ‘Life, Love & Pain'. After ‘Jealousy' went to #8 on the Billboard R&B charts in September of 1986, followed by ‘Situation #9' (#4 Billboard R&B charts), 1987 came in with an even bigger bang when ‘Lean On Me' was released in February and became #1 Billboard Pop/#2 Billboard R&B platinum single, winning a Grammy for R&B Song of The Year.Club Nouveau's music is in heavy demand commercially in movies and is sampled in many of today's artists hit makers like Ashanti, Chris Brown and many more.The group is STILL on the scene, performing hundreds of LIVE concert a year & recording NEW music!All Rights Reserved © 2022 BuildingAbundantSuccess!!Join Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon ~ https://tinyurl.com/AmzBAS

GRAMMY® winner Club Nouveau,Timex Social Club Grammy Award winning singer and record label executive, Jay King, was elected CEO/President of the California Black Chamber of Commerce (CBCC) in June of 2019.GRAMMY® Award winning Jay King/Club Nouveau's music was featured in the #1 Hit Movie "US" by Director Jordan Peele!This week, I look at how a brand can stay relevant decade after decade.As a veteran mogul Jay King brings as much humility to the field as he does what has been called his genius. With three decades of continuous achievements in music, management, film/TV/radio, consulting and publishing; King has made an indelible impression. He claims Northern California in general as his hometown due to a nomadic youth spent between many of the Bay Area's cities; as well as Alaska for birthing his career. There was a deep musical undercurrent added to his early years by a clan which boasted a number of ministers, extending from his great-grandfather through a number of cousins, who all played instruments as well. His great uncle, Saunders King, a respected jazz/blues guitarist, offered the West Coast the first family hit in the 1940's—‘The S.K. Blues'—adding to the musical backdrop of King's childhood. Jay King broadened his own talent when he took up the trumpet in his freshman year of high school and when Popping and Breaking became popular; dance soon opened doors to his subsequent career in music. As his music and connections continued to develop, he found himself writing songs for Con Funk Shun whose members, Michael Cooper and Felton Pilate, encouraged King against the detractors who at the time didn't like his sound. In 1986, King starting the independent record label JAY Records to release the Timex Social Club hit ‘Rumors' and ushered in the biggest selling single of 1986 (3.5 million copies) and becoming the #1 R&B single on the Billboard Charts. With a Top 10 single on the Billboard Pop charts for over 56 weeks, King watched his life change as his music became an unprecedented hit. What he'd produced was history-making, as nobody had before taken an R&B song from an indie label to such heights. Although having independently produced, pressed and marketed his own music King was without the money to compete at radio plays and had to be creative with promoting. “There were challenges. You couldn't reach out to stores, and social media didn't exist then so you couldn't let people know with a click of a button that you had something out.You had to get out and hustle. People were making fun of me and laughing because I was out hustling records.” Bypassing traditional methods, King utilized Macola Records because of its position as an indie manufacturer with no association to a major label. Such moves from a 24 year old entrepreneur made the year 1986 even more memorable, as he quickly followed up with a label/production deal with Warner Brother Records and his King Jay Records label, subsequently releasing the first Club Nouveau single ‘Jealousy' and the album, ‘Life, Love & Pain'. After ‘Jealousy' went to #8 on the Billboard R&B charts in September of 1986, followed by ‘Situation #9' (#4 Billboard R&B charts), 1987 came in with an even bigger bang when ‘Lean On Me' was released in February and became #1 Billboard Pop/#2 Billboard R&B platinum single, winning a Grammy for R&B Song of The Year. Club Nouveau's music is in heavy demand commercially in movies and is sampled in many of today's artists hit makers like Ashanti, Chris Brown and many more. The group is STILL on the scene, performing hundreds of LIVE concert a year & recording NEW music! All Rights Reserved © 2022 BuildingAbundantSuccess!! Join Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBAS Spot Me on Spotify: https://tinyurl.com/yxuy23baAmazon ~ https://tinyurl.com/AmzBAS

King starting the independent record label JAY Records to release the Timex Social Club hit ‘Rumors' and ushered in the biggest selling single of 1986 (3.5 million copies) and becoming the #1 R&B single on the Billboard Charts. With a Top 10 single on the Billboard Pop charts for over 56 weeks, King watched his life change as his music became an unprecedented hit. What he'd produced was history-making, as nobody had before taken an R&B song from an indie label to such heights.   Such moves from a 24 year old entrepreneur made the year 1986 even more memorable, as he quickly followed up with a label/production deal with Warner Brother Records and his King Jay Records label, subsequently releasing the first Club Nouveau single ‘Jealousy' and the album, ‘Life, Love & Pain'.    After ‘Jealousy' went to #8 on the Billboard R&B charts in September of 1986, followed by ‘Situation #9' (#4 Billboard R&B charts), 1987 came in with an even bigger bang when ‘Lean On Me' was released in February and became #1 Billboard Pop/#2 Billboard R&B platinum single, winning a Grammy for R&B Song of The Year  #TimexSocialClub #ClubNouveau #MusicIndustry #rnb #rnbpodcast #rnbmusic #newjackswing #hiphop #hiphopmusic  #DJCassidy #PassTheMic #HalftimeChat

Show # 993: Top 40 Recordings from Vee Jay Records From the 1950's and 1960's

The final episode in the 20-episode series! Join this fun Sondheim @ 90 Roundtable with host Michael Weber where the topic is "Sondheim Desert Island Playlist." This episode shares what songs are on the MUST HAVE "Desert Island Playlist" of former Sondheim @ 90 guests. Joining Michael with their personal choices are Roberta Duchak (award-winning music director; U.S. Music Supervisor for “Six: The Musical”), Peter Filichia (author & columnist; critic emeritus for Newark's “Star-Ledger” and News 12) and John Yap (founder of Jay Records which recently released the first complete recording of "Anyone Can Whistle"). Edited by Remington Cleve

To celebrate Karen Mason's upcoming 70th Birthday (March 30), this acclaimed Broadway actress & Cabaret Icon returns to bare it all about lessons learned. From vocal issues to Rebecca, one of Broadway's biggest musical theatre scandals to not having a Broadway contract renewed, Karen Mason is Baring It All with Call Me Adam. Missed Part 1 of our interview? Listen Here! Karen Mason is a 13-time Mac Award winning Cabaret Icon. She has been seen on Broadway in Mamma Mia!, Sunset Boulevard, Wonderland, and most recently, she performed around the country in the First National Tour of Andrew Lloyd Webber's Love Never Dies. Tune into Mason's Makin' Music every Thursday at 5pm on Karen's Facebook Page Connect with Karen: Website Facebook Twitter Instagram YouTube Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me on Facebook, Twitter, and Instagram Visit: https://callmeadam.com for more my print/video interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva and Alan, Marianne, Danielle, Tara, Alex, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Drew Kaufman (https://bit.ly/2OXqOnw) Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on Karen Mason: Karen Mason was recently seen as “Madame Giry” in the North American premier of Love Never Dies — Andrew Lloyd Webber’s epic sequel to the Phantom of the Opera. On Broadway, Karen garnered rave reviews starring as “The Queen of Hearts” in Wonderland. She originated the role of “Tanya” in Abba’s Mamma Mia!, receiving a 2002 Drama Desk nomination for Best Actress. Her other leading roles include "Norma Desmond" in Sunset Boulevard, which she performed to critical acclaim on Broadway & in Los Angeles for three years; "Velma von Tussel" in the final Broadway company of Hairspray; “monotony” singer, "Mazeppa" in Jerome Robbins’ Broadway; 'Rosalie" in Carnival (another Drama Desk nomination); plus featured roles in Broadway’s Torch Song Trilogy; & Play Me a Country Song. Karen won the Outer Critics Circle award for her performance in And the World Goes ‘Round, & starred Off-Broadway in her own show Karen Mason Sings Broadway, Beatles and Brian. Karen has headlined Carnegie Hall, The Kennedy Center, Lincoln Center, Feinstein’s at the Regency, Rainbow & Stars, the Algonquin; The Cinegrill & UCLA/ASCAP Concert Series in Los Angeles; The Plush Room in San Francisco; & Davenport’s in Chicago. She has shared concert stages with Michael Feinstein, Jerry Herman, Chita Rivera, Luciano Pavarotti, Rosemary Clooney, Liza Minnelli, and John Kander & Fred Ebb, among others. Her highly acclaimed recordings include her newest single, "It’s About Time," written by Paul Rolnick & Shelly Markham; her 2009 Mac award-winning Right Here/Right Now, 2005’s The Sweetest of Nights, the Mac award-winning When The Sun Comes Out, as well as three other CD’s: Christmas! Christmas! Christmas!, recorded live at the West Bank Café; Better Days, featuring songs by her longtime composer/arranger, Brian Lasser (including the 1998 Emmy award-winning song “Hold Me“); & Not So Simply Broadway. Karen has been featured on original cast recordings of Wonderland; Jeffrey (Varese Sarabande), And the World Roes 'Round (RCA Victor), The Child In Me, Vol. 1 (Harbinger Records), Lost In Boston ll (Varese Sarabande), & the studio cast recording of Wonderful Town (Jay Records), Her television appearances include the hit dramas ED and Law & Order: SVU. Film credits include Sleeping Dogs Lie & A Chorus Line. Learn more about your ad choices. Visit megaphone.fm/adchoices

For the video version, click here and subscribe: https://youtu.be/Ao0epMvyjYo George Dvorsky won the Berkshire Theatre Critics Award for Best Actor in a Musical for his portrayal of Daddy Warbucks in ANNIE at the Mac-Haydn Theatre in Chatham NY last summer. On Broadway, George appeared in the title role of The Scarlet Pimpernel and as Henry Spofford in the revival of Gentlemen Prefer Blondes. His other Broadway credits include the Tony Award–winning Passion, as well as Marilyn: An American Fable and The Best Little Whorehouse in Texas. He starred as Baron Bomburst/Lord Scrumptious in the national tour of Chitty Chitty Bang Bang and as Billy Crocker opposite Chita Rivera in Anything Goes at the Paper Mill Playhouse. He later played his favorite role, Georg Nowack in She Loves Me, also at the Paper Mill Playhouse. His numerous recordings include the cast albums of Closer Than Ever, Gentlemen Prefer Blondes, Brigadoon, Leading Men Don't Dance, and Pete 'n' Keely. His voice can also be heard on the EMI label's Broadway Showstoppers, Jerome Kern Treasury, and Kiss Me, Kate, where he sings the role of Bill Calhoun. George is also proud to have been a part of Disney's Beauty and the Beast, Pocahontas, and Mulan, for which he sang in the ensemble with some standout solo lines. His solo CDs, In the Still of the Night and All Through the Night, are available on the JAY Records label. http://www.georgedvorsky.net https://www.imdb.com/name/nm0245353 https://www.broadwayworld.com/people/George-Dvorsky https://english-voice-over.fandom.com/wiki/George_Dvorsky

Music producer, John Yap, is the founder of internationally renowned Jay Records. John has dedicated his life to preserving musicals for generations to come. Some of his masterworks include My Fair Lady, West Side Story, The King and I, South Pacific, Man of La Mancha, Annie Get Your Gun, Cabaret, and many others. John’s latest […] The post John Yap, Music Producer-Episode #151 appeared first on Storybeat with Steve Cuden.

En este episodio, hablamos sobre el sello Vee-Jay Records y su serie dedicada al jazz. Creado en la década de 1950, tuvo desde sus inicios una filial llamada Tollie Records, filial que distribuyó algunos sencillos de su artista más exitoso, The Beatles. Dale play! Más información: www.radioborder.com.ar

Broadway Actress & Cabaret Icon, Karen Mason is "Baring It All with Call Me Adam" about starring on Broadway as well as her legendary cabaret career (she's a 13-time MAC Award winner). Karen gives the inside scoop on: Cast Pranks Sunset Boulevard (starring the legendary Glenn Close) Cabaret legacy with long-time collaborator Brian Lasser Working with Award Winning composers Alan & Marilyn Bergman, Michele Brourman, Amanda McBroom, Scott Evan Davis, Billy Goldenberg, her husband Paul Rolnick Rapid Fire Questions Tune into Mason's Makin' Music every Thursday at 5pm on Karen's Facebook Page Karen is also teaching a MasterCourse called The Song Is YOU! at Singasium. Sign up here! This interview has been split into two episodes. The second part of this interview, focusing on Lessons Learned, will be released at a later date. Connect with Karen: Website Facebook Twitter Instagram YouTube Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me on Facebook, Twitter, and Instagram Visit: https://callmeadam.com for more my print/video interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva and Alan, Marianne, Danielle, Tara, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Drew Kaufman (https://bit.ly/2OXqOnw) Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on Karen Mason: Karen Mason was recently seen as “Madame Giry” in the North American premier of Love Never Dies — Andrew Lloyd Webber’s epic sequel to the Phantom of the Opera. On Broadway, Karen garnered rave reviews starring as “The Queen of Hearts” in Wonderland. She originated the role of “Tanya” in Abba’s Mamma Mia!, receiving a 2002 Drama Desk nomination for Best Actress. Her other leading roles include "Norma Desmond" in Sunset Boulevard, which she performed to critical acclaim on Broadway & in Los Angeles for three years; "Velma von Tussel" in the final Broadway company of Hairspray; “monotony” singer, "Mazeppa" in Jerome Robbins’ Broadway; 'Rosalie" in Carnival (another Drama Desk nomination); plus featured roles in Broadway’s Torch Song Trilogy; & Play Me a Country Song. Karen won the Outer Critics Circle award for her performance in And the World Goes ‘Round, & starred Off-Broadway in her own show Karen Mason Sings Broadway, Beatles and Brian. Karen has headlined Carnegie Hall, The Kennedy Center, Lincoln Center, Feinstein’s at the Regency, Rainbow & Stars, the Algonquin; The Cinegrill & UCLA/ASCAP Concert Series in Los Angeles; The Plush Room in San Francisco; & Davenport’s in Chicago. She has shared concert stages with Michael Feinstein, Jerry Herman, Chita Rivera, Luciano Pavarotti, Rosemary Clooney, Liza Minnelli, and John Kander & Fred Ebb, among others. Her highly acclaimed recordings include her newest single, "It’s About Time," written by Paul Rolnick & Shelly Markham; her 2009 Mac award-winning Right Here/Right Now, 2005’s The Sweetest of Nights, the Mac award-winning When The Sun Comes Out, as well as three other CD’s: Christmas! Christmas! Christmas!, recorded live at the West Bank Café; Better Days, featuring songs by her longtime composer/arranger, Brian Lasser (including the 1998 Emmy award-winning song “Hold Me“); & Not So Simply Broadway. Karen has been featured on original cast recordings of Wonderland; Jeffrey (Varese Sarabande), And the World Roes 'Round (RCA Victor), The Child In Me, Vol. 1 (Harbinger Records), Lost In Boston ll (Varese Sarabande), & the studio cast recording of Wonderful Town (Jay Records), Her television appearances include the hit dramas ED and Law & Order: SVU. Film credits include Sleeping Dogs Lie & A Chorus Line. Learn more about your ad choices. Visit megaphone.fm/adchoices

JAY Records has released a complete recording of Anyone Can Whistle after 25 years in production! Joel DeCandio returns to discuss why this is album is so good, the history of the show, and a bit about Bedknobs and Broomsticks.

John is the founder and owner of Jay Records. More information: www.jayrecords.com

GRAMMY® winner Club Nouveau,Timex Social Club GRAMMY® Award winning Jay King/Club Nouveau's music was featured in the 2019 #1 Hit Movie "US" by Director Jordan Peele! This week, I look at how a brand can stay relevant decade after decade. As a veteran mogul Jay King brings as much humility to the field as he does what has been called his genius. With three decades of continuous achievements in music, management, film/TV/radio, consulting and publishing; King has made an indelible impression. He claims Northern California in general as his hometown due to a nomadic youth spent between many of the Bay Area’s cities; as well as Alaska for birthing his career. There was a deep musical undercurrent added to his early years by a clan which boasted a number of ministers, extending from his great-grandfather through a number of cousins, who all played instruments as well. His great uncle, Saunders King, a respected jazz/blues guitarist, offered the West Coast the first family hit in the 1940’s—‘The S.K. Blues’—adding to the musical backdrop of King’s childhood. Jay King broadened his own talent when he took up the trumpet in his freshman year of high school and when Popping and Breaking became popular; dance soon opened doors to his subsequent career in music. As his music and connections continued to develop, he found himself writing songs for Con Funk Shun whose members, Michael Cooper and Felton Pilate, encouraged King against the detractors who at the time didn’t like his sound. In 1986, King starting the independent record label JAY Records to release the Timex Social Club hit ‘Rumors’ and ushered in the biggest selling single of 1986 (3.5 million copies) and becoming the #1 R&B single on the Billboard Charts. With a Top 10 single on the Billboard Pop charts for over 56 weeks, King watched his life change as his music became an unprecedented hit. What he’d produced was history-making, as nobody had before taken an R&B song from an indie label to such heights. Although having independently produced, pressed and marketed his own music King was without the money to compete at radio plays and had to be creative with promoting. “There were challenges. You couldn’t reach out to stores, and social media didn’t exist then so you couldn’t let people know with a click of a button that you had something out.You had to get out and hustle. People were making fun of me and laughing because I was out hustling records.” Bypassing traditional methods, King utilized Macola Records because of its position as an indie manufacturer with no association to a major label. Such moves from a 24 year old entrepreneur made the year 1986 even more memorable, as he quickly followed up with a label/production deal with Warner Brother Records and his King Jay Records label, subsequently releasing the first Club Nouveau single ‘Jealousy’ and the album, ‘Life, Love & Pain’. After ‘Jealousy’ went to #8 on the Billboard R&B charts in September of 1986, followed by ‘Situation #9’ (#4 Billboard R&B charts), 1987 came in with an even bigger bang when ‘Lean On Me’ was released in February and became #1 Billboard Pop/#2 Billboard R&B platinum single, winning a Grammy for R&B Song of The Year. Club Nouveau's music is in heavy demand commercially in movies and is sampled in many of today's artists hitmakers like Ashanti, Chris Brown and many more. The group is STILL on the scene, performing hundreds of LIVE concert a year & recording NEW music! All Rights Reserved © 2020 BuildingAbundantSuccess!! Join Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBAS Spot Me on Spotify: https://tinyurl.com/yxuy23ba

GRAMMY® winner Club Nouveau,Timex Social Club GRAMMY® Award winning Jay King/Club Nouveau's music was just featured in the 2019 #1 Hit Movie "US" by Director Jordan Peele As a veteran mogul Jay King brings as much humility to the field as he does what has been called his genius. With three decades of continuous achievements in music, management, film/TV/radio, consulting and publishing; King has made an indelible impression. He claims Northern California in general as his hometown due to a nomadic youth spent between many of the Bay Area’s cities; as well as Alaska for birthing his career. There was a deep musical undercurrent added to his early years by a clan which boasted a number of ministers, extending from his great-grandfather through a number of cousins, who all played instruments as well. His great uncle, Saunders King, a respected jazz/blues guitarist, offered the West Coast the first family hit in the 1940’s—‘The S.K. Blues’—adding to the musical backdrop of King’s childhood. Jay King broadened his own talent when he took up the trumpet in his freshman year of high school and when Popping and Breaking became popular; dance soon opened doors to his subsequent career in music. As his music and connections continued to develop, he found himself writing songs for Con Funk Shun whose members, Michael Cooper and Felton Pilate, encouraged King against the detractors who at the time didn’t like his sound. In 1986, King starting the independent record label JAY Records to release the Timex Social Club hit ‘Rumors’ and ushered in the biggest selling single of 1986 (3.5 million copies) and becoming the #1 R&B single on the Billboard Charts. With a Top 10 single on the Billboard Pop charts for over 56 weeks, King watched his life change as his music became an unprecedented hit. What he’d produced was history-making, as nobody had before taken an R&B song from an indie label to such heights. Although having independently produced, pressed and marketed his own music King was without the money to compete at radio plays and had to be creative with promoting. “There were challenges. You couldn’t reach out to stores, and social media didn’t exist then so you couldn’t let people know with a click of a button that you had something out.You had to get out and hustle. People were making fun of me and laughing because I was out hustling records.” Bypassing traditional methods, King utilized Macola Records because of its position as an indie manufacturer with no association to a major label. Such moves from a 24 year old entrepreneur made the year 1986 even more memorable, as he quickly followed up with a label/production deal with Warner Brother Records and his King Jay Records label, subsequently releasing the first Club Nouveau single ‘Jealousy’ and the album, ‘Life, Love & Pain’. After ‘Jealousy’ went to #8 on the Billboard R&B charts in September of 1986, followed by ‘Situation #9’ (#4 Billboard R&B charts), 1987 came in with an even bigger bang when ‘Lean On Me’ was released in February and became #1 Billboard Pop/#2 Billboard R&B platinum single, winning a Grammy for R&B Song of The Year. Club Nouveau's music is in heavy demand commercially in movies and is sampled in many of today's artists hitmakers like Ashanti, Chris Brown and many more. The group is STILL on the scene, performing hundreds of LIVE concert a year & recording NEW music! All Rights Reserved © 2019 BuildingAbundantSuccess!! Join Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBAS Join Me on Facebook @ Facebook.com/BuildingAbundantSuccess

This New York born, New Jersey raised actress received TONY and Drama Desk Award nominations and won a Helen Hayes Award for her portrayal of Mother in the Kennedy Center Revival of RAGTIME on Broadway. She is currently starring in the record-breaking First National Tour of DEAR EVAN HANSEN. She made her Broadway debut creating the role of Emma in JEKYLL & HYDE, receiving a FANY award for Best actress in a musical. Ms. Noll received her second Drama Desk nomination for her work in CHAPLIN on Broadway. She has been seen perennially as Sister Margaretta in NBC’s THE SOUND OF MUSIC LIVE with Carrie Underwood and she supplied the singing-voice of Anna in the Warner Brothers animated feature THE KING AND I.    She has also enjoyed starring in Broadway productions of ELF (at Madison Square Garden), IT AIN’T NOTHIN’ BUT THE BLUES and on tour in URINETOWN (Ovation Award), THE MAMBO KINGS, GREASE!, MISS SAIGON and CITY OF ANGELS as well as a tour of Australia and Thailand of SOUTH PACIFIC. With a reputation for great versatility, Ms. Noll has performed a varied repertoire in Broadway, Operetta and Jazz. She has been a frequent guest soloist with symphony orchestras in every state in the USA, as well as international appearances with Toronto Symphony, Vancouver Symphony Orchestra, Jerusalem Symphony, Sinfonica Brasileira in Rio, China Philharmonic with concert pianist, Lang Lang and orchestras in Hong Kong, Czech Republic and Kuala Lumpur, Malaysia. She made her Carnegie Hall debut with Skitch Henderson, in his last pops performance with The New York Pops and sang with Steven Reineke SONDHEIM! THE BIRTHDAY CONCERT at Carnegie Hall. She made her Hollywood Bowl and O2 Arena debut singing with Julie Andrews in GIFTS OF MUSIC and her opera debut with Placido Domingo in THE MERRY WIDOW at the Kennedy Center as well as operetta performances in City Center Encores! THE NEW MOON, THE STUDENT PRINCE, THE PIRATES OF PENZANCE and THE MIKADO. Ms. Noll has premiered shows Off-Broadway and regionally: SNOW CHILD, OCTOBER SKY, City Center Encores! 1776, John Kander’s KID VICTORY, THE COTTAGE, THEY’RE PLAYING HIS SONGS, ACE (Helen Hayes nomination), THE WITCHES OF EASTWICK, THE PIPER, FRANKENSTEIN, KEPT (Krieger/Russell), CALL THE CHILDREN HOME, A FINE AND PRIVATE PLACE, TAKE FLIGHT (Maltby/Shire), LITTLE BY LITTLE and LIZZIE BORDEN.  And happily starred in favorites NEXT TO NORMAL (Connecticut Cristics Circle award), FOLLIES (St. Louis Critics Circle award), CLOSER THAN EVER (Off-Broadway Alliance award), BEAUTY AND THE BEAST, MARY POPPINS, 1776, THE KING & I, LITTLE SHOP OF HORRORS, INTO THE WOODS, MACK & MABEL (Connecticut Critics Circle Award), THE BAKER’S WIFE, THE SOUND OF MUSIC (Salzburg Marionette Theare), and CAROUSEL. Ms. Noll as also enjoyed television performances on LAW & ORDER SVU, MADAM SECRETARY, and THE GOOD FIGHT.  Christiane has performed her solo shows in cabaret at 54 Below, The Metropolitan Room, Birdland, The Regency, The Nikko, The Plush Room, The Duplex, The Nevermore, Arci’s Place, The China Club, Peaches, B.Smith’s and The West Bank Café as well as appearing in Town Hall's BROADWAY BY THE YEAR and the Lincoln Center's AMERICAN SONGBOOK SERIES.  Along will many cast albums and compilation recordings, she has released five solo CD’s, CHRISTIANE NOLL – A BROADWAY LOVE STORY and THE IRA GERSHWIN ALBUM, both on Fynsworth Alley, LIVE AT THE WESTBANK CAFÉ on 2Die4 Records, MY PERSONAL PROPERTY on Jay Records and GIFTS – LIVE AT 54 BELOW on Broadway Records. Christiane is a graduate of Carnegie Mellon University.  ChristianeNoll.com - Twitter: @christianenoll - Instagram: @christiane.noll --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/confessionsofanactress/message Support this podcast: https://anchor.fm/confessionsofanactress/support

William Claude Dukenfield (1880-1946), better known as "W.C. Fields," was an American comedian, actor, juggler and writer. He appeared in many plays and movies, always playing a hard-drinking misanthrope.In 1946, shortly before his death on Christmas Day, Fields recorded a spoken-word album, which consisted of 2 tracks: "Temperance Lecture" and "The Day I Drank a Glass of Water." The recording session was arranged by Bill Morrow and was recorded at Les Paul's studio, where Paul had installed a new multi-track recorder. You can hear Paul playing guitar in the background. It was Fields's last performance.The album was originally released on 78, but has been re-released many times, including this 10" record published by Jay Records in about 1950. See acast.com/privacy for privacy and opt-out information.

Chicago based. Major acts on the label in the 1950s included blues singers Jimmy Reed, Memphis Slim, and John Lee Hooker, and rhythm and blues vocal groups the Spaniels, the Dells, and the El Dorados. The 1960s saw the label become a major soul label with Jerry Butler, Gene Chandler, Dee Clark, and Betty Everett having hit singles on both the pop and R&B charts. Vee-Jay was also the first label to nationally issue a record by the Pips (through a master purchase from the tiny Huntom label of Atlanta), who became Gladys Knight and the Pips in 1962 when they moved to Fury Records. I play the original Vee-Jay Gladys Knight Every Beat of My Heart.

This Week: Evan Hansen needs to do laundry, debating the baseball glove song, Rob's new shower playlist, Rob toots his horn, directorial tips from Susan H Schulman, James Lipton returns, Savage AF with actors, Rob defends directors, the celebration of British theatre, connecting global audiences, Audra McDonald needs some rain, JAY Records and John Yap return, and celebrating Jones & Schmidt. Every week director Robert W Schneider and actor Kevin David Thomas pull back the curtain on neglected, forgotten, and under appreciated musicals, as well as bizarre performances, endearing television appearances, and all things show business. Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4

Debut Their New Single " On The Block featuring Maino Ghetto & Blues, formerly known as The Product G&B, is an American R&B Duo made up of Sincere Gubano and Marvin Moore. The melodic Duo was once Protégés of Wyclef Jean and affiliated with the Refugee Camp, as well as a part of Clive Davis’s Jay Records roster. Since their debut in 1998, Sincere and Marvin Moore have lent their vocals to numerous tracks and have aided the success of several singles and albums. Since their debut in 1998, the duo lent their vocals to several tracks on Pras' Ghetto Superstar album, including the single "Blue Angels". Wyclef Jean convinced Arista Records chief Clive Davis to release "Maria Maria", the duo's collaboration with Carlos Santana, which contributed to Santana's Supernatural album eventually selling over 30 million copies worldwide. The song became a worldwide number one hit. "Maria Maria" was named the 14th most successful song on the Billboard-History Hot 100 "last decades" and the second most successful song of all-time in the Hot Latin Songs. In 2000 the song won a Grammy.