Podcast appearances and mentions of john mays

In today's show Dustin is joined by Darin Proffit district 7 director with the Iowa Corn Promotion Board, Andy speaks to Kaycee McGregor of Merit Auctions, and Russ is joined by John Mays of Central Life Sciences.

The music industry has been in something of a mess over the past two decades. Digital platforms have come and gone and come again, completely reshaping – and then reshaping again – the economic model of the music industry. The Christian music industry has had to undergo all these changes plus more: the rise of the worship genre, the growth of such radio juggernauts as K-Love and Salem, and the economic pressures these innovations have placed on the rest of the industry to conform or die. And the worship genre itself has shaped the way the church worships – whether we like it or not. Through all these changes, a small but influential music label in Nashville has not just survived, but it has thrived. That label is Centricity, and it owes much of its success to my guest today, John Mays. John is one of the co-founders of the label, and he has retained the title of Senior VP of A&R. And if you don't know what that means, stay tuned. John will explain. John Mays began his career as a musician, playing bass for some of the early bands in the CCM genre, first as a road dog, then as a session player. He worked for industry leader Word Records early in his career. With Word, Centricity, and others, he has been influential in the careers of artists such as Cindy Morgan, Point of Grace, Phillips, Craig & Dean, Andrew Peterson, and many more. John is currently working with Peterson, Jason Gray, and Lauren Daigle, among the two dozen or so artists currently on the Centricity label. John had this conversation with me from his home near Nashville. A special word before we go. I'm a bit of a music guy. I find music to be nourishing spiritually, emotionally, and intellectually. Contemporary Christian Music and Christian radio also have an outsized impact on the evangelical movement. So from time to time, we'll feature musicians on the MinistryWatch podcast. To hear recent interviews I've done with Charlie Peacock, Fernando Ortega, Andrew Peterson, and others, just go to MinistryWatch.com and hit the “Podcast” button at the top of the page. The producer for today's program is Jeff McIntosh. Thanks to PR guy extraordinaire Rick Hoganson for helping me arrange this interview with John Mays. Until next time, may God bless you.

Andy Schwab interviews Central Life Sciences experts John Mays and Randy Knight on a couple products that can help grow your profit.See omnystudio.com/listener for privacy information.

Dr. John Mays, orthopedic surgeon with Willis Knighton Bossier Orthopedics. He talks about hip pain, hip arthritis, bursitis, when to seek treatment, and what to do when hip pain won't go away.

Is it possible to find humor amidst pain? Join us as we kick off Season Two of "The Gospel According to Jeremy" with an exciting catch-up session that breaks the silence and finally lets Drew and Jennifer chat freely on-air. We reminisce about our journey, from spirited debates over the podcast's title to the evolution of our conversations. Expect laughter and spontaneous discussions, including quirky topics like the origins of chia seeds and their surprising uses. This episode sets a refreshing tone for the season ahead with a perfect blend of humor and heartfelt reflections.What role do enneagram types play in our emotional lives? We delve into the complexities of relationships and the pain that often underpins addiction. Our candid conversation covers the impact of personality types on communication, struggles with intimacy, and the deep-seated grief that surfaces from unfulfilled dreams and premature responsibilities. The episode confronts the difficult process of mourning, especially after losing a close friend to an overdose, offering a compassionate look into the human experience of pain and healing.As the episode unfolds, we navigate from lighthearted summer recaps to intense political discussions, and even explore conspiracy theories about major political events. Special guests Aaron Benward, Robert Beeson, John Mays, and Scott Williamson join us for a reunion filled with laughter and touching moments. We conclude with deep reflections on faith, ministry, and vocational paths, sharing powerful insights from personal spiritual journeys and career transitions. Don't miss this rich tapestry of conversations that promise to engage, entertain, and resonate with our listeners.

You cannot tell the story of Christian music without John Mays. In his nearly 40 year career, Mays discovered and signed Point Of Grace, Cindy Morgan, Matt Redman, Nichole Nordeman (just to name a few). And, oh yeah, he took a chance on a young vocalist named Lauren Daigle! This episode is full of great CCM stories and trivia, as well as an intimate look behind the scenes of many of the artists and songs you've loved down through the decades.Support the showandychrisman.com

You cannot tell the story of Christian music without John Mays. In his nearly 40 year career, Mays discovered and signed Point Of Grace, Cindy Morgan, Matt Redman, Nichole Nordeman (just to name a few). And, oh yeah, he took a chance on a young vocalist named Lauren Daigle! This episode is full of great CCM stories and trivia, as well as an intimate look behind the scenes of many of the artists and songs you've loved down through the decades.Support the Show.andychrisman.net

I never thought I'd find myself chuckling over tales of missed musical chances, yet here I am, joined by the one-and-only John Mays, sharing a laugh as we traverse down memory lane. Our latest episode isn't just a nod to Texas pride and the ripples it casts far and wide; it's a mosaic of personal journeys, music industry insights, and the tender, often complex weaving of faith and culture in the tapestry of life.Our conversation roams from the nostalgic backroads of our early music careers to the bustling intersections where opportunity and intuition collide. John's candid stories, like passing up the song "God of Wonders" or musing over potential collaborations, offer a rare peek behind the curtain of the music industry. We even take a playful detour into the realm of fast food rivalries, comparing the merits of Whataburger versus In-N-Out, and how these experiences, however trivial they may seem, anchor us to familiar comforts.But this episode reaches beyond the lighthearted; we confront the weightier issues too, like the impact of modern culture on mental health and the introspection that reshapes our faith. We tackle the significance of staying relevant and authentic in a world brimming with expectations, all while sharing laughter and the promise of future stories left untold. Join us for an episode where humility, curiosity, and a touch of Texas charm blend into an unforgettable listening adventure.

Most people still struggle within the depth of this topic. Come along for this journey as My guest John Mays and dig deeper than just race.   John E. Mays – www.Johnemays.com   Book Purchase: DEI-Conversations Made Easy Subscribe to everything Building Bridges: Buildingbridges520.com  Shop Building Bridges: https://www.etsy.com/shop/BuildingBridges520   You can also support this podcast individually below.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/buildingbridges520/message Support this podcast: https://podcasters.spotify.com/pod/show/buildingbridges520/support

Longtime Cedar Hill citizen/Cedar Hill All-Pro Dads President John Mays shares the story of how the group has grown significantly in Cedar Hill and how it's impacted Cedar Hill ISD Scholars and Families.

Dr. John Mays with Bossier Orthopedics discusses the different types of shoulder pain, symptoms, and treatments. He also emphasizes the need to keep the shoulder moving to lessen stiffness if an unpleasant condition arises.

Dr. John Mays with Bossier Orthopedic discusses the common symptoms of hip pain, ways to treat the condition, and interesting causes of hip pain in patients of all ages.

Ever wonder what A&R folks at record labels are looking for in artists? On this episode, we share a snippet of a private session that Centricity Music's Sr. VP of A&R, John Mays, taught for the Christian Artist Mentorship program in Spring 2022. If you're interested in joining the next Christian Artist Mentorship group, visit https://christianartistmentorship.com/ -you'll get to hear from John as he teaches this session again! SUBSCRIBE TO THE PODCAST: On Apple Podcasts On Spotify All other platforms CONNECT WITH US: christianmusicmarketing.com Christian Music Marketing on Instagram Christian Music Marketing Facebook Christian Music Industry Podcast on Instagram CONNECT WITH JOHN MAYS: centricitymusic.com Bumper music provided by Land of Color - from their single, "Warriors". --- Send in a voice message: https://anchor.fm/christianmusicindustry/message

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Today is the day for the much-anticipated conclusion from last week's discussion with John Mays (@mayscast)!   You should really listen to "A Day in the Life" before listening to this. Or at least have it queued up and ready to play.

Our brave hero Ian descends deeper and deeper into The Beatles' catalogue. On Episode 6 of our first season, IAN HEARS THE BEATLES, we encounter the groundbreaking, the paradigm-shifting splendor of The Beatles' 8th album Sgt. Pepper's Lonely Hearts Club Band. And for Ian, it's of course his first time experiencing it.   Our guest this week is John Mays (@mayscast)! John is the Vice President of A&R at Centricity Music and was a wonderful choice with which to discuss this big honkin' album. He was such a lovely conversationalist that we are turning this discussion into a TWO-PARTER!! Side 2 will come out next week.   Hear: - John's recollections about seeing the '64 Ed Sullivan show performance - Why this album didn't spawn any #1 singles - What were the two songs that producer George Martin left off Sgt. Pepper's and forever regretted doing so?   Learn all this and much more on episode 6!

Education as a program, even classically, did not traditionally begin until the child was reasoning. Talk to a 9 or 10 year old child for a time and observe the difference between his thinking process and conversational ability and your 5 or 6 year old. When the oldest is 5 or 6, and he's followed by younger siblings, he seems so smart, so capable. He is. But he is also still quite young.Whatever you do, don't try to start Latin with your 5 or 6 year old. Rather, read fairy tales, Aesop's fables, and begin working your way through the 1000 Good Books list.Don't construct science experiments. Have him spend hours outside each day, and go to different sorts of outdoor environments to play. In Teaching Science So Students Learn Science, classical school teacher John Mays says that outdoor experience is the best foundation for later science learning, and it comes at a premium in this tech-driven age.Start Morning Time, but not full-blown mimics of those who have older kids and have been doing it for years. Start with 15-20 minutes, including the reading of poetry and nursery rhymes. Pick a hymn and a Psalm to learn, add a new one every couple of months, and in ten years the amount you've filled your heart and mind with will astonish you. But it starts with one, not with a full binder.Do not despise the days of small beginnings.

Go order John Mays'  'Teaching Science So That Students Learn Science' here to see the Twenty-One Basic Tools of Science!

We got to stop by Centricity Music and talk with John Mays and Steve Ford. John founded Centricity Music and is currently head of A&R. Steve has been with working with John pretty much since the beginning and is currently the general manager of the label. Centricity Music is a Christian record label in Nashville, Tennessee with artists such as Jordan Feliz, NEEDTOBREATHE, and Lauren Daigle! We talked about topics like the founding of Centricity as well as the process of finding new artists and supporting them in their journey!

John Mays is the VP of A&R for Centricity Records. He's credited on over 100 albums, and has worked with artists over an almost 40 year history: Lauren Daigle, Jason Gray, Apollo LTD, Brandon Heath, Newsboys, Point of Grace, Nichole Nordeman, the list goes on. John has dedicated his life toward finding talented artists and helping them reach their full potential. The mission of Centricity: to enable our artists to create life-changing experiences for the world. Join us for this episode as John shares what it was like to "discover" Lauren Daigle at an artist retreat, how he views artistry in general, and the full circle moment that came when his first signing came to sing hymns for John's mother in her final days.

John is the SR. VP of A&R at Centricity Music. He's had a long career in CCM world that goes back to the 70's with the Speer Family. John has worked with many artists including Sandi Patty, Cindy Morgan, Point of Grace, Newsboys, Nichole Nordeman, Passion, Downhere, Matt Redman, Jason Gray, Unspoken, Lauren Daigle, Jordan Feliz, to name a few. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

John Mays, Director of Diversity, Equity and Inclusion at KFC US, shares with us KFC’s leadership values of smart, courage and his take on why the best inclusive leaders are coaches and truth-tellers. John explains that we need to move away from ‘what not to say’ in DEI to authentic, heart-led conversations, and how to create the safety that makes these conversations possible. Follow John on LinkedIn - https://www.linkedin.com/in/john-mays-a5082a42/  Check out more on Yum! Brand’s equity and inclusion work here - https://www.yum.com/wps/portal/yumbrands/Yumbrands/kfc-covid-19-response/#equity-inclusion

In part 2 of this Creatively Christian podcast episode, John Mays continues to talk to Andrea Sandefur. If you missed part 1, be sure to listen to that episode first. John is a songwriter and an A&R Representative for Centricity Music where he finds new musical talent and oversees the administrative aspects of music production. John works with artists like Jason Gray, Jordan Feliz, Unspoken, and Lauren Daigle. On this episode, John Mays talks with Andrea about creating quality Christian music and encourages aspiring musicians to make the best work they can. He also delivers some amazing advice for any creatives afraid to start or share their work. You can follow John on Instagram or send a message to info@centricitymusic.com. This episode (part 1 and 2 together) can be found on YouTube. Show Notes The following resources were mentioned in the show or are useful resources recommended by the guests. Links might be marked as affiliate links, meaning we earn a commission if you buy through the link. Artist Jason Gray and his song "Order, Disorder, Reorder"If You Want to Write [Affiliate] by Brenda UelandFearless Creating: A Step-by-Step Guide to Starting and Completing Your Work of Art [Affiliate] by Eric MaiselWar of Art: Break Through the Blocks and Win Your Inner Creative Battles [Affiliate] by Steven PressfieldVincent van Gogh: The Letters“Your Elusive Creative Genius” Ted Talk Video by Elizabeth GilbertThe Craft of Lyric Writing [Affiliate] by Sheila DavisSuccessful Lyric Writing: A Step-By-Step Course & Workbook [Affiliate] by Sheila DavisArtist Chris RenzemaLauren Daigle’s New Song “Hold on to Me” Credits This show is produced by Theophany Media. The theme music is by Bill Brooks and Andrea Sandefur. The logo is by Bill Brooks. Our wonderful hosts are Brannon Hollingsworth, Lynn Baber, Andrea Sandefur, and Bill Brooks. Follow us on Facebook, Twitter, or Instagram.

Today on the Creatively Christian podcast we are joined by John Mays. John is a songwriter and an A&R Representative for Centricity Music where he finds new musical talent and oversees the administrative aspects of music production. John works with artists like Jason Gray, Jordan Feliz, Unspoken, and Lauren Daigle. John Mays talks with Andrea about the Christian music industry and the importance of stewarding our creative gifts for the benefit of God’s Kingdom--even when balancing faith, art, and business is messy! He encourages creatives to develop the right character and he shares an extensive list of resources for creative encouragement too. You can follow John on Instagram or send a message to info@centricitymusic.com. This episode (part 1 and 2 together) can be found on YouTube. Show Notes The following resources were mentioned in the show or are useful resources recommended by the guests. Links might be marked as affiliate links, meaning we earn a commission if you buy through the link. On Writing: A Memoir of the Craft [Affilaite] by Steven KingWalking on Water: Reflections on Faith and Art [Affiliate] by Madeleine L’Engle Credits This show is produced by Theophany Media. The theme music is by Bill Brooks and Andrea Sandefur. The logo is by Bill Brooks. Our wonderful hosts are Brannon Hollingsworth, Lynn Baber, Andrea Sandefur, and Bill Brooks. Follow us on Facebook, Twitter, or Instagram.

Integration—The Key to Teaching Science Classically with Mr. John Mays

Integration—The Key to Teaching Science Classically with Mr. John Mays 2

This is my Season 1 Finale and fittingly We pay tribute to a great man Sean G. Nixon aka Berg - Winnie Pooh II Rho-Psi #73 My guests include Bill Mesure, Amy Howe Misal, Andy Yost, Ryan Hinkle,Scott Wesner, John Mays, Jimbo Karkoska, Rob Licopoli and John Shantz. Enjoy the memories! --- Send in a voice message: https://podcasters.spotify.com/pod/show/shatzersays/message

An update on the slumlord John Mays that owns Riverwood Park in Oak Hill Florida All voicemails are welcomed even the ones that say I suck because they’ll go right to the front of the line 407-270-3044 and I promise all calls are anonymous Donate to help upgrade equipment for my podcast PayPal.me/tuddleOnTheRadio EMAIL tuddle@Gmail.com WEBSITES tuddle.net YOUTUBE YouTube.com/tuddle PODCAST PLATFORMS Podomatic tuddle.Podomatic.com TuneIn Radio http://tun.in/pjOR7 iTunes Podcast https://podcasts.apple.com/us/podcast/the-tuddle-podcast/id1501964749 iHeartRadio https://www.iheart.com/podcast/269-the-tuddle-podcast-59498985?cmp=ios_share&sc=ios_social_share&pr=false&autoplay=true Spotify https://open.spotify.com/show/1ZHRedrnxvAX4CnAFybSJe?si=D1Juw7NuSIqIXVWbMsj99Q 315 Live https://315live.com/category/tuddle/ SOCIAL MEDIA Twitter.com/tuddle YouTube.com/tuddle Facebook.com/tuddle Instagram.com/tuddle LinkedIn.com/in/tuddle TikTok.com/@tuddleOnTheRadio Reddit.com/user/tuddleOnTheRadio

The History Of Cisco Welcome to the History of Computing Podcast, where we explore the history of information technology. Because understanding the past prepares us to innovate (and sometimes cope with) the future! Today we're going to talk about the history of Cisco. They have defined the routing and switching world for decades. Practically since the beginning of the modern era. They've bought companies, they've grown and shrunk and grown again. And their story feels similar in many ways to the organizations that came out of the tail end of the grants tossed around by DARPA. These companies harnessed the incredibly innovative ideas and technology to found the companies who commercialized all of that amazing research and changed the world. These companies ushered in a globally connected network, almost instantaneously transmitting thoughts and hopes and dreams and failures and atrocities. They made money. Massive, massive truckloads of money. But they changed the world for the better. Hopefully in an irrevocable kind of way. The Cisco story is interesting because it symbolizes a time when we were moving from the beginnings of the Internet. Stanford had been involved in ARPAnet since the late 60s but Vint Cerf and Bob Kahn had been advancing TCP and IP in the 70s, establishing IPv4 in 1983. And inspired by ALOHAnet, Bob Metcaffe and the team at Xerox PARC had developed Ethernet in 74. And the computer science research community had embraced these, with the use of Email and time sharing spurring more and more computers to be connected to the Internet. Raw research being done out of curiosity and to make the world a better place. The number of devices connected to the growing network was increasing. And Stanford was right in the center of it. Silicon Valley founders just keep coming out of Stanford but this one, they were professors, and early on. They invented the multi-protocol router and finance the startup with their own personal credit cards. Leonard Bosack and Sandy K. Lerner are credited for starting Cisco, but the company rose out of projects to network computers on the Stanford campus. The project got started after Xerox PARC donated some Alto workstations and Ethernet boards they didn't need anymore in 1980, shortly after Metcaffe left Xerox to start 3COM. And by then Cerf was off to MCI to help spur development of the backbones faster. And NSFnet came along in 1981, bringing even more teams from universities and private companies into the fold. The Director of Computer Facilities, Ralph Gorin, needed to be able to get longer network cables to get even more devices connected. He got what would amount to a switch today. The team was informal. They used a mother board from Andy Bechtolsheim, later the founder of Sun Microsystems. They borrow boards from other people. Bosack himself, who had been an ARPAnet contributor, donated a board. And amongst the most important was the software, which William Yeager wrote, which had a little routing program that connected medical center computers to the computer science department computers and could use the Parc Universal Packet (PUP), XNS, IP and CHAOSNet.. The network linked any types of computers, from Xerox Altos to mainframes using a number of protocols, including the most important for the future, IP, or the Internet Protocol. They called it the Blue Box. And given the number of computers that were at Stanford, various departments around campus started asking for them, as did other universities. There were 5,000 computers connected at Stanford by the time they were done. Seeing a potential business here, Bosack, then running the computers for the Computer Science department, and Lerner, then the Director of Computer Facilities for the Graduate School of Business, founded Cisco Systems in 1984, short for San Francisco, and used an image of the Golden Gate Bridge a their logo. You can see the same pattern unfold all over. When people from MIT built something cool, it was all good. Until someone decided to monetize it. Same with chip makers and others. By 1985, Stanford formally started a new project to link all the computers they could on the campus. Yeager gave the source to Bosack and Kirk Lougheed so they could strip out everything but the Internet Protocol and beef that up. I guess Yeager saw routers as commercially viable and he asked the university if he could sell the Blue Box. They said no. But Bosack and Lougheed were plowing ahead, using Stanford time and resources. But Bosack and Lerner hadn't asked and they were building these routers in their home and it was basically the same thing as the Blue Box, including the software. Most of the people at Stanford thought they were crazy. They kept adding more code and logic and the devices kept getting better. By 1986, Bosack's supervisor Les Earnest caught wind and started to investigate. He went to the dean and Bosack was given an ultimatum, it was go the wacky Cisco thing or stay at Stanford. Bosack quit to try to build Cisco into a company. Lougheed ran into something similar and quit as well. Lerner had already left but Greg Satz and Richard Troiano left as well, bringing them up to 5 people. Yeager was not one of them, even though he'd worked a lot on the software, including on nights and weekends. But everyone was learning and when it was to benefit the university, it was fine. But then when things went commercial, Stanford got the lawyers involved. Yeager looked at the code and still saw some of his in there. I'm sure the Cisco team considered that technical debt. Cisco launched the Advanced Gateway Server (AGS) router in 1986, two years after the Mac was released. The software was initially written by Yeager but improved by Bosack and Lougheed, as the operating system, later called Cisco IOS. Stanford thought about filing a criminal complaint of theft but realized it would be hard to prosecute, and ugly especially given that Stanford itself is a non-profit. They had $200,000 in contracts and couldn't really be paying all this attention to lawsuits and not building the foundations of the emerging Internet. So instead they all agreed to license the software and the imprint of the physical boards being used (known as photomasks), to the fledgling Cisco Systems in 1987. This was crucial as now Cisco could go to market with products without the fear of law suits. Stanford got discounts on future products, $19,300 up front, and $150,000 in royalties. No one knew what Cisco would become so it was considered a fair settlement at the time. Yeager, being a mensch and all, split his 80% of the royalties between the team. He would go on to give us IMAP and Kermit, before moving to Sun Microsystems. Speaking of Sun, there was bad blood between Cisco and Stanford, which I always considered ironic given that a similar thing happened when Sun was founded in some part, using Stanford intellectual property and unused hardware back in 1982. I think the difference is trying to hide things and being effusive with the credit for code and inventions. But as sales increased, Lougheed continued to improve the code and the company hired Bill Graves to be CEO in 1987 who was replaced with John Mordridge in 1988. And the sales continued to skyrocket. Cisco went public in 1990 when they were valued at $224 million. Lerner was fired later that year and Bosack decided to join her. And as is so often the case after a company goes public, the founders who had a vision of monetizing great research, were no longer at the startup. Seeing a need for more switching, Cisco acquired a number of companies including Grand Junction and Crescendo Communications which formed like Voltron to become the Cisco Catalyst, arguably the most prolific switching line in computing. Seeing the success of Cisco and the needs of the market, a number of others started building routers and firewalls. The ocean was getting redder. John Mays had the idea to build a device that would be called the PIX in 1994 and Branley Coile in Athens, Georgia programmed it to become a PBX running on IP. We were running out of IP addresses because at the time, organizations used public IPs. But NAT was about to become a thing and RFC 1918 was being reviewed by the IETF. They brought in Johnson Wu and shipped a device that could run NAT that year, ushering in the era of the Local Area Network. John T. Chambers replaced Mordridge in 1995 and led Cisco as its CEO until 2015. Cisco quickly acquired the company and the Cisco PIX would become the standard firewall used in organizations looking to get their computers on the Internets. The PIX would sell and make Cisco all the monies until it was replaced by the Cisco ASA in 2008. In 1996, Cisco's revenues hit $5.4 billion, making it one of Silicon Valley's biggest success stories. By 1998 they were up to $6B. Their stock peaked in 2000. By the end of the dot-com bubble in the year 2000, Cisco had a more than $500 billion market capitalization. They were building an industry. The CCNA, or Cisco Certified Network Associate, and CCNE, Cisco Certified Network Engineer were the hottest certifications on the market. When I got mine it was much easier than it is today. The market started to fragment after that. Juniper came out strong in 1999 and led a host of competitors that landed in niche markets and expanded into core markets. But the ASA combined Cisco's IPS, VPN concentration, and NAT functionality into one simpler box that actually came with a decent GUI. The GUI seemed like sacrilege at the time. And instead of sitting on top of a network operating system, it ran on Linux. At the top end they could handle 10 million connections, important once devices established and maintained so many connections to various services. And you could bolt on antivirus and other features that were becoming increasingly necessary at various layers of connectivity at the time. They went down-market for routing devices with an acquisition of Linksys in 2003. They acquired Webex in 2007 for over $3 billion dollars and that became the standard in video conferencing until a solid competitor called Zoom emerged recently. They acquired SourceFire in 2013 for $2.7B and have taken the various services offered there to develop Cisco products, such as the anti-virus to be a client-side malware scanning tool called Cisco AMP. Juniper gave away free training unlike the Cisco training that cost thousands of dollars and Alcatel-Lucent, Linksys, Palo Alto Networks, Fortinet, SonicWall, Barracuda, CheckPoint, and rising giant Huawei led to a death by a thousand competitors and Cisco's first true layoffs by 2011. Cisco acquired OpenDNS in 2015 to establish a core part of what's now known as Cisco Umbrella. This gives organizations insight into what's happening on increasingly geographically distributed devices; especially mobile devices due to a close partnership with Apple. And they acquired Broadsoft in 2017 to get access to even more sellers and technology in the cloud communication space. Why? Because while they continue to pump out appliances for IP connectivity, they just probably can't command a higher market share due to the market dynamics. Every vendor they acquire in that space will spawn two or more new serious competitors. Reaching into other spaces provides a more diverse product portfolio and gives their sellers more SKUs in the quiver to make quotas. And pushes the world forward with newer concepts, like fog computing. Today, Cisco is still based in San Jose and makes around $50 billion a year in revenue and boasts close to 75,000 employees. A lot has happened since those early days. Cisco is one of the most innovative and operationally masterful companies on the planet. Mature companies can have the occasional bumps in the road and will go through peaks and valleys. But their revenues are a reflection of their market leadership, sitting around 50 billion dollars. Yes, most of their true innovation comes from acquisitions today. However, the insights on whom to buy and how to combine technologies, and how to get teams to work well with one another. That's a crazy level of operational efficiency. There's a chance that the Internet explosion could have happened without Cisco effectively taking the mantle in a weird kind of way from BBN for selling and supporting routing during the storm when it came. There's also a chance that without a supply chain of routing appliances to help connect the world that the whole thing might have tumbled down. So consider this: technological determinism. If it hadn't of been Cisco, would someone else have stepped up to get us to the period of the dot com bubble? Maybe. And since they made so much money off the whole thing I've heard that Cisco doesn't deserve our thanks for the part they played. But they do. Without their training and appliances and then intrusion prevention, we might not be where we are today. So thank you Cisco for teaching me everything I know about OSI models and layers and all that. And you know… helping the Internet become ubiquitous and all. And thank you, listener, for tuning in to yet another episode of the history of computing podcast. We are so very lucky to have you. Have a great day!

John Mays, VP of A&R for Centricity, is one of Christian music’s most respected executives, having worked in A&R at Word, Sparrow, and Star Song Records before serving as president of Benson Records. Over his 35-year career, Mays discovered and signed Point Of Grace, Scott Krippayne, Cindy Morgan, Matt Redman, Nichole Nordeman, Warren Barfield, Jason Gray, and the Passion worship recordings. Mays helped found Centricity Music in 2005. He began his career in music at 17 as a musician, eventually landing jobs as a bass player with several bands and many Christian music recordings during the ’80s. Along the way, he co-wrote “Love In Any Language,” a career song for Sandi Patty included in CCM’s list of 100 greatest Christian songs. As VP of A&R at Centricity Music, John works with Lauren Daigle, Jason Gray, Jordan Feliz, Unspoken, Caitie Hurst, For All Seasons, and others. Connect with the guest: centricitymusic.com centricitymusic.com/staff/john-mays Connect with us: allaboutthejourneypodcast.com instagram.com/allaboutthejourneypodcast facebook.com/AllAboutTheJourneyPodcast marketingwithwisdom.com indieartistuniversity.com Listen/Subscribe: Apple Podcasts Spotify Anchor

episode 38: we thought mckenna lost this golden audio, but somehow it was recovered... the john mays podcast. john mays is a legendary A&R at Centricity Music + is one of our favorite people ever •• --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/theyoungescape/support

Scott MacIntyre and Mark Dowdy interview John Mays of Centricity Music about his journey into the music industry, balancing faith and business, and leaving a legacy.

Music business executives have come and gone through the years, but no one has outlasted Centricity Music’s John Mays, the longest-standing A&R Director in Christian music. John’s career has spanned thirty years and he has been influential in the careers of artists such as Cindy Morgan, Point of Grace, Phillips, Craig & Dean, and many more. John is currently directing the musical development of successful artists such as Johnny Diaz, Jason Gray, and the award-winning Lauren Daigle. In this episode, John Chisum sits down with his long-time friend to discuss nicknames, Mexican food, work ethic, the state of the Christian music industry, and the amazing opportunities awaiting songwriters and artists in the future. Check out more information and a full artist roster at www.centricitymusic.com and follow John on Twitter at @maysjp and on Instagram at @mayscast

Music business executives have come and gone through the years, but no one has outlasted Centricity Music’s John Mays, the longest-standing A&R Director in Christian music. John’s career has spanned thirty years and he has been influential in the careers of artists such as Cindy Morgan, Point of Grace, Phillips, Craig & Dean, and many more. John is currently directing the musical development of successful artists such as Johnny Diaz, Jason Gray, and the award-winning Lauren Daigle. In this episode, John Chisum sits down with his long-time friend to discuss nicknames, Mexican food, work ethic, the state of the Christian music industry, and the amazing opportunities awaiting songwriters and artists in the future. Check out more information and a full artist roster at www.centricitymusic.com and follow John on Twitter at @maysjp and on Instagram at @mayscast

A&R man John Mays joins me to talk about growing up with ‘70s pop and how being a musician and record executive has influenced his listening habits. And John picks a mutual favorite for my “100 Albums Bucket List” selection.

With over 35 years of experience in serving talented musicians, he is one of the most respected executives in the Christian Music Industry. In his career, John Mays has discovered bands such as The Waiting, Matt Redman, Point of Grace, Cindy Morgan (one of Tiffany's personal all-time faves), the Passion worship band, Nichole Nordeman, Lauren Daigle, and many, many more... Visit our website at teaoflifepodcast.com for show notes and links. 

With over 35 years of experience in serving talented musicians, he is one of the most respected executives in the Christian Music Industry. In his career, John Mays has discovered bands such as The Waiting, Matt Redman, Point of Grace, Cindy Morgan (one of Tiffany's personal all-time faves), the Passion worship band, Nichole Nordeman, Lauren Daigle, and many, many more... Visit our website at teaoflifepodcast.com for show notes and links. 

Music business executives have come and gone through the years, but no one has outlasted Centricity Music’s John Mays, the longest-standing A&R Director in Christian music. John’s career has spanned thirty years and he has been influential in the careers of artists such as Cindy Morgan, Point of Grace, Phillips, Craig & Dean, and many more. John is currently directing the musical development of successful artists such as Johnny Diaz, Jason Gray, and the award-winning Lauren Daigle. In this episode, John Chisum sits down with his long-time friend to discuss nicknames, Mexican food, work ethic, the state of the Christian music industry, and the amazing opportunities awaiting songwriters and artists in the future. Check out more information and a full artist roster at www.centricitymusic.com and follow John on Twitter at @maysjp and on Instagram at @mayscast

New CD from Big Daddy Wilson: Neckbone Stew. Canadian Blues Spotlight shines on the late John Mays.

John Mays, one of Christian music’s most respected executives, joins Michael Easley in studio and shares his insights on the Christian Music Industry and the importance of "making the truth new" in songwriting and art.

Note:  This Show is airing live  7 pm - 8 pm CST and 8 pm - 9 pm EST. Welcome to the Soul Inspirations Radio Show with your Host Christine "In the Key of C" and tonight's special Guest Ms. Jilian Linklater, Singer, Songwriter and Guitarist. About Jilian: www.jilianlinklater.com I don't care if you're rock, pop, indie, folk, country or jazz-fusion, you will love Jillian's music. You'll love it because it has a way of cutting through styles and genres, and heading straight for your heart. That's the kind of music we all love - the kind that connects us to the deepest things that matter most about our lives, and that's what lies at the core of Jilian's beautiful gift. Buy this music. Go see her play. She's one of the rare ones. — John Mays, VP of A&R, Centricity Music The opinions expressed in this radio broadcast are for inspiration and entertainment purposes only. This show is a production of Atlanta Life Radio and to learn more visit us at www.atlantaliferadio.com   Th

In this episode we have the pleasure of sitting down with John Mays, Vice President of A&R with Centricity Music. John Mays is a legend in music and friendship, and as you listen you'll know why. 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.fca_eoi_layout_5.fca_eoi_layout_postbox div.fca_eoi_layout_name_field_wrapper input{font-size:18px !important;color:#777 !important;background-color:#fff !important;}#fca_eoi_form_269 .fca_eoi_layout_5.fca_eoi_layout_postbox div.fca_eoi_layout_name_field_wrapper{border-color:#ccc !important;}#fca_eoi_form_269 .fca_eoi_layout_5.fca_eoi_layout_postbox div.fca_eoi_layout_email_field_wrapper,#fca_eoi_form_269 .fca_eoi_layout_5.fca_eoi_layout_postbox div.fca_eoi_layout_email_field_wrapper input{font-size:18px !important;color:#777 !important;background-color:#fff !important;}#fca_eoi_form_269 .fca_eoi_layout_5.fca_eoi_layout_postbox div.fca_eoi_layout_email_field_wrapper{border-color:#ccc !important;}#fca_eoi_form_269 .fca_eoi_layout_5.fca_eoi_layout_postbox div.fca_eoi_layout_submit_button_wrapper input{font-size:18px !important;color:#fff !important;background-color:#81b441 !important;}#fca_eoi_form_269 .fca_eoi_layout_5.fca_eoi_layout_postbox div.fca_eoi_layout_submit_button_wrapper input:hover{background-color:#70a01f !important;}#fca_eoi_form_269 .fca_eoi_layout_5.fca_eoi_layout_postbox div.fca_eoi_layout_submit_button_wrapper{background-color:#70a01f !important;border-color:#70a01f !important;}#fca_eoi_form_269 .fca_eoi_layout_5.fca_eoi_layout_postbox div.fca_eoi_layout_privacy_copy_wrapper div{font-size:14px !important;color:#8f8f8f !important;}#fca_eoi_form_269 .fca_eoi_layout_5.fca_eoi_layout_postbox div.fca_eoi_layout_fatcatapps_link_wrapper a,#fca_eoi_form_269 .fca_eoi_layout_5.fca_eoi_layout_postbox div.fca_eoi_layout_fatcatapps_link_wrapper a:hover{color:#8f8f8f !important;} The post FCM010 – Friendship with John Mays appeared first on Full Circle Music. See acast.com/privacy for privacy and opt-out information.

In this episode we sit down with Centricity Music General Manager, Steve Ford. 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a:hover{color:#8f8f8f !important;} www.fullcirclemusic.orgFCM007_-_Relationships_with_Steve_FordDuration: 00:50:21You're listening to The Full Circle Music Show. The why of the music biz.Chris: Welcome back to the Full Circle Music Show, it’s Chris Murphy and I'm sitting right beside Seth Mosley. How are you buddy?Seth: I'm good man. It's a busy week, lots of good stuff going on over here at the studio. And I’m excited to take just a few minutes out of our schedule to talk to one of our favorite people in the industry, Mister Steve Ford.Steve has been a guy that I've known for a long time, was one of the people that I met moving to Nashville in the music business. And we've talked to a lot of people on the creative side so far but we haven't yet talked to anybody on the label side. So, you think of the guy that sits in a dark room with a suit in a corner office, that's this guy! Except for not, he actually sits in a what is a pretty awesome office, he's the general manager of a label company called Centricity Music; has been pretty massively successful in the past couple of years and really since they opened. But, he's a really great leader and speaks to what they look for in a good producer, in a good artist, in a good team member at their label.So, if you're wanting to get involved in the music industry, this is a great episode to listened to. I learned a ton and I think you will too.Chris: You know, being a podcast junky, it's nice to meet a fellow podcast enthusiast as well. We had some great conversations in the episode but also talked a lot about our favorite podcasts on and off the mic. He's just a great guy, great to get to know him and I really appreciate Seth you setting this up. Another great interview and I can't wait to listen to it.Seth: And you can check out his company at centricitymusic.com. They have a lot of great artists that I think you'll dig.Audio clip commencesHey podcast listeners, something is coming February 1st 2016. Have you ever thought about a career in song writing or music production? We have created a couple courses with you guys in mind. We've been getting a lot of feedback on people wanting to know more about how to become a song worker; how to become a professional music producer or engineer. These courses were designed to answer some of those questions. Go to fullcirclemusic.org and sign up there for more information.Audio clip endsChris: You were saying earlier before we started rolling that you were a podcast guy.Steve: Oh yeah, big podcast guy.Chris: And, you've heard this podcast before?Steve: Yeah. I've listened to the first three.Chris: Okay. So, can I ask you to go out on a limb and give us a grade so far?Steve: You know what? I'd give them a solid B+. I want them longer. That's my thing; I want to go into the background. I want to hear when you did Brown Banishers which is funny because I've worked a lot with Brown but you didn't get past Amy Grant.Seth: Sure.Steve: I mean, this is the guy who worked with from everybody from Third Day to Mercy Me to Why Heart, he's done everybody like come one there are stories there. I tell people I'm on the corporate side because of Brown Banisher because of how he worked. I was an engineer in LA for ten years and he would come out and mix records with us, it was at a little place called Mama Joes and I would see him on the phone going, “Happy birthday sweetie.” Later knowing that it was Ellie; missed her first walk and all of these other things. And when my daughter was born, I was like, I can't do this. I needed a life and so I started praying and Peter York calls. So it’s because of him so it's fun to hear some his stories. I did a lot of records win Jack Joseph Puig and–Seth: And you were engineering at the time?Steve: Yeah. I was an engineer at LA.Seth: And at the time that was really engineering?Steve: Oh my gosh.Seth: You were cutting tape and…Steve: Yeah! I've cut a lot of two inch tape, quarter inch tape, half inch–Seth: Stuff that I hope to never do.Steve: You don't have to, Jericho does it for you.[Laughter] Seth: I don't know if Jericho has ever cut tape? In school he did.Steve: Now, I feel really old.Chris: Is that kind of like when you're in a biology class and not in any other time of your life will you need to dissect a frog but you just have to do it for the experience of it. Is that what it's become cutting tape?Steve: I don't know if you have to do it even that. It's sort of like this legend of starting a fire with flint, you know? It's sort of like, “Yeah. I used to cut tape.”[Laughter] Seth: I mean there's probably a resurgence. I would imagine knowing the process of what coffee has become and how artists.Steve: Yeah.Seth: I think there's a big thing in maybe it's the millennial generation or whatever it is but I think people are drawn back to slower, older more hands on processes it seems like than just pushing the button or going through the drive through–Steve: And somethings, don't you think, in some things its like just give me the button. Give me the filter on Instagram.Seth: That is true! That's true but then you've got the whole wave of people roasting their own coffee beans now and then they're grinding the with a hand grinder, and then they're putting in a… And, I'm saying this because we have like three artists that we work with; that come in and they bring their whole coffee apparatus.Steve: And they measure how much coffee goes in, weigh it?Chris: Yeah.Steve: My son has one of those has a scale that weighs, how much coffee goes in. Oh yeah just …Chris: Yeah, I thought you were going to say some of the artists that you work with, they actually bring their own barista in the studio because–Steve: I'm sure that will happen.Seth: That’s kind of a prerequisite to be in a band. There has to be at least one barista.Steve: True.Seth: In the band.Steve: There has to be one business guy in every band and one guy who can make great coffee.Seth: And then the guy who can actually play the instruments.Steve: Yeah. Then the artist.[Laughter]Chris: And then the fourth guy on base who just knows how to shape everybody's beards. He's more of a grooming guy.Seth: And sometime there's a drummer.[Laughter] Steve: You don't need a drummer; there are machines for that now.[Laughter] Seth: Yeah. I mean, just take us through a little bit of your journey, you started in L.A.?Steve: I was born and raised in L.A.; read an article when I was 14 years old about this guy named Sir George Martin. And I was like, “What? You can do that for a living?”Seth: Who is George Martin?Steve: He produced this little band called the Beatles, probably never heard of…most 20 year olds haven't heard of them so…Chris: And then isn't true that he went on from there to write The Game of Thrones?Steve: Did he? I'm not a Game of Throne person–Chris: Okay that's R.R. Martin, sorry.Steve: Wrong one. But I mean, you read about these guys and you sort of open a door into a new world that you didn't know existed. And so, I was 18 years old, junior out of high school walked into the recording studios and started from there.Seth: So, you didn't wait to have some sort of a college thing to get internships?Steve: My mom was like Reeds parents which was like, “That’s a nice hobby but let's make sure you have a backup plan, a plan B.” And so, I still went to school, I still went to college did all of that. Don't ask me my grade point average because I was going home at 4 o'clock in the morning, waking up at 8 to crawl into my first class, it was terrible. But yeah, my first job in the recording studio, I was making $500 a month from 6 o'clock to 3 o'clock in the morning.Seth: Living in L.A?Steve: Living in L.A.Seth: And that probably paid for a tenth of the rent?Steve: Maybe.Chris: Or, just the gas to get around?Steve: But I loved every second of it. And then from there you sort of work your way up. So, I did that… Like I said earlier my daughter was born and I was like an engineer’s life is a hard life in LA especially. Those were the days when you'd pay $1,500 a day block booking a studio; you booked a studio and you're paying $1,500 if your there six hours or eight there 24 hours. And a lot of them stayed 24 hours, and you just have next, next, next, next.Chris: And you've got to be the first guy there.Steve: First guy there, last guy out, yeah. You're sitting there winding tables at 6 o'clock in the morning going, “I just want to go home.”Chris: When the bug caught you, from that point until the time that you walked into that first studio and got a job, what skills were you harnessing?Steve: None.Chris: Just reading liner notes?Steve: Yeah. Lying in the floor, reading and going, there's one in North Hall and I'd write it down on a piece of paper because I grew up in the San Fernando Valley and start looking for them. Hey man that where Bill [inaudible 8:50] studio is or whatever the studio was and start. There wasn't really a whole lot you can do to prepare for it. It's no like in high school you go, “I wonder what class…”  I was in all the choirs and all the music stuff and that didn't prepare you for it. Probably the greatest skills for a studio engineer especially a starting one is being attentive, being hungry, being prepared and that depends on who you're working with.When you working together with somebody so well, I'm sure you and your team, they know what you want in advance and plugin something in before you even have to ask, that’s just working together. I've told a lot of wannabe engineers who want to go to some of these very expensive schools, don’t do it. Take that money, live on it for two years and go give yourself away for free for two years. You learn more two years in a studio than you will however long you go to one of the expensive ones.Chris: Yeah.Steve: It's just doing it. Just aligning the tape machine which is once again, it's like starting fire with flint again, knowing the lines taped but you learn by doing that.Chris: Absolutely.Steve: You learn by making a lot of mistakes. I recorded a lot of bad drum sounds.[Laughter] It just happened and then you go, “Oh if I do this, its better.” And 10,000 hours man, it takes 10,000 hours.Chris: Again, I think that it's not that schooling is necessarily a bad thing but the way that you learn in life versus the way that you learn in a classroom is different because for the most part, a classroom will deduct points for the stakes and if you’re in the–Steve: That's true. Good point.Chris: Yeah. I heard that -actually going back to our love of podcasts here- I heard Tim Farris on his podcast talking about the fact that he was going to go to, was considering something like Princeton or Harvard or something to go get his MBA. And he thought instead of doing that -or maybe this was advice given to him and he took it- instead of taking that couple hundred thousand dollars worth of whatever I needed to go get my MBA. I'm going to invest that in myself, very similar to what you're saying. And I'm going to use that to live on so that way I can go and I can intern for that company that I would never be able to if the money mattered that much. Because once you get out of school its like, “Oo I've got to go do something with this.” But if you've got the money set aside to go get the MBA anyway, it goes a long way to really feeling free to not have to pay that rent or pay that car payment that you could really dive in.Steve: And most people never use their college education for what they use. I had a meteorologist specialist. She had a degree in meteorology for TV and she was my marketing assistant. And you go, “I want to see what you spent four years doing versus what's your grade point average or what's you major.” I don't care about that stuff.Seth: So to fast forward to today, you are general manager of a very successful record label. When you got to hire somebody to your team, do you even say, “Hey, send in your resume. Where did you go to college?” Or does that not even cross your mind?Steve: I do want to see that. Four years in college gives me the impression that they follow through, they finish. You’ve said it before, finishing is such a hard art in today's world. To have somebody who finished is very valuable. Do I care about your grade point average? No. Do I even care about your major? No. Because if you have the right work ethic and the right heart, I can train you to do other things but I want to see how hard you're willing to work.Seth: So, a college degree still carries some weight but maybe it doesn't carry the weight that people think it does in terms of having the training because you kind of have to relearn it all when you get out into the real world.Steve: Exactly. Most college students that I see haven't learned anything that’s a really good use at a record label. My last five hires at Centricity have all come from internships. Now, I've had a lot of bad interns. I've wanted to fire a couple of interns, that's pretty bad when you want to fire somebody who works for free.Seth: What defines a good intern and what defines a bad intern?Steve: A bad intern sits on Facebook until you give them something to do and then they do exactly just to the letter of the law of what you asked them to do, hand it in to you and then get back on Facebook. A great intern does what you do and says, “Hey and I thought about this. And what about this more?” You give them to go to D and they go to G; then you give them to G and they go to S. I have a girl in my office, I asked her to do one thing and she says “Oh by the way while I was thinking about it I did these other three things that will help you out.” That type of proactivity and thinking ahead is so incredibly valuable. Like having somebody patching in your compressor before you ask for it. They know where you're going so fast that they're working ahead of you. And for all of those out there, that's old school once again patch bays.[Laughter]Seth: We have a small patch bay, we have two patch bays actually so we're probably on the old school end of things.Chris: It looks very cool though. It's looks kind of old science fiction movie.Steve: Spaghetti.[Laughter] Seth: It's like a telephone operator kind of thing. I heard a thing on…man, we keep talking about podcast, we're all just podcasts nerds, dude. I think that’s what we do for a living is listen to podcasts. And I heard one last night, they did a study of millennials; if you had a dream job, pick out of these choices what would be your dream job. Number one was the president; number two was a senator; number three was a successful athlete; number four foreign diplomat; five was a CEO of Apple; and then the last choice was the personal assistant to a famous actor or athlete. And 45% I think picked that one, hands down.Steve: They have no idea what that job looks like.Seth: They don't but it also speaks to they don't want to take the responsibility. Like, when you're that person, when you're the boss, they want to have a boss and maybe you can speak to a little bit to that but I feel like when you were talking about the internships, the ones who go above and beyond are the ones who are willing to take some responsibility and say, “Here's an idea” and just put it out there. How many interns would you have to get, to get that one good one?Steve: Probably 10 to 15.Seth: 10 to 15 to 1?Steve: Yeah, to 1. I think that’s what it is.Chris: Wow.Steve: Yeah, that's what it is. And I heard you, I think we had the conversation, there's such a different work ethic in today's young adults. And part of it is my fault, I'm a parent of a young adult they've been given everything in their whole life, they haven't had to work for anything. You want that iPhone! Here's that iPhone. You want that? Here's that. The art and the craft of working, the labor of getting something is a lost art, I think.Seth: So, would you go back and do those things differently?Steve: For my kids? My kids had to work.[Laughter]Seth: So, you weren't saying from my experience, you weren't–Steve: I’m saying that personally and much more of…[Laughter]What we made our kids do is like when they wanted that $100 American girl doll is you buy half, we’ll buy half. And all of a sudden they're digging out rocks in the backyard at $1 a bucket out of the garden. Because you want to give your kids what the value of work is and that's that doll at the end.In our world, I sat with an intern once and he was irritating everybody in the office. He's that guy who only asks questions because he wanted to tell you how much he knew. An intern needs to be quite and listen because there's a lot of information that flows around… And then they find the person that they can go to and go, what did that mean when he said this? So, what did that mean or… Come to me! I've told everyone in my internship, feel free to come to me and say, what does it mean when you said that? Versus this guy would come to you and tell you everything he knew. So, I was sitting him down one day and going,  “Man, you're irritating everybody. The whole office wants to prove you wrong.”Seth: You literally said that?Steve: I said that to him and later on, “I know I do that. I'm just trying to figure out where I fit and trying to find a job make $100, $120,000 a year and start in the music industry.” And I said, “You're in the wrong industry, man.”Seth: Go into finance!Steve: Go into finance, or go be an architect somewhere I guess or something. It was just about wanting to make as much money as his dad did, now! This generation wants to start where their parents have gotten to right now. I've seen it with artists, I've seen it with interns–Chris: They don't want a drop in their lifestyle that they've become accustomed to.Seth: A luxury once had, becomes a necessity.Steve and Chris: Ooohh.Steve: Very nice.Seth: And I'm very guilty of that. You fly first class once and you feel like a swine by sitting in coach.[Laughter] Steve: I've flown private jets twice in my whole life, in my whole career both times sort of accidentally. And man, once you do a private jet and you don't have to go through security and you’re just like, “Oh, I want that.” I say this all the time about artists. The worst thing you can do for an artist is start them touring in a bus because that's the expectation and then you know what happens? Is they got on the bus and they’re, “This isn't a very nice bus.” There are people in vans like when you were out in a van, to be on a bus, to be able to sleep horizontally would be the greatest thing ever and just because you started at this place and then you get into private jets. Everybody needs to start their first tour in a Silverado truck and then the next one to a bigger–Seth: Graduate to a suburban!Steve: A suburban would be great, then a 15 passenger old church van that you bought for $5,000 that the left side of the speakers don't work. And then, you work your way into a [inaudible 19:58] van and then into a bus. Then you're grateful for everything that's better along the way.Seth: It's more about the process than anything.Steve: Yeah.Seth: And getting there.Steve: A wise manager once said, his job is to make his artists life better every year, just a little bit better. I'm like, that's a good goal. That's a good goal to have.Seth: It is. So, your transition, we shipped about 20 years–Steve: We skipped through it very fast.[Laughter] Your transition from doing that 6pm to 3 in the morning thing in LA, you had your baby…Steve: Yep. My wife and I were praying at that point going, “God, please give us some sane clients or open another door.” And I just worked probably two months before with Peter York–Seth: And for those out there listening, was this at a record label you got your first…Steve: I was working with Peter in the studio and he called me up and said, “Hey, are you interested in A&R?” And I started in A&R in Sparrow…what's that 87, 88? Right around there and we were still in Chatsworth, California, spent time out there with him. So, I’ve been at Sparrow, moved from Sparrow to Star Songs and then back to Sparrow when they came up. Started in A&R worked my way into the marketing side, artist development side… So, yes back to Sparrow went to  Mer and worked my way up to Vice President at marketing at Mer, was general manager at [inaudible 21:34], general manager at SRI and now general manager at Centricity.Chris: Wow.Steve: It's been a long journey. If you’d ask me to 25 or 30 years ago, were you going to be general manager at Record Label? I would have laughed in your face.[Laughter]Chris: Because you didn't think it was attainable or because you didn't want have this job?Steve: That was not the path I was on. I thought, I was going to be producing records and engineering records.  Jack Pueg is still mixing great great records out there and I thought I was going to follow that path. God had something very different in mind which makes me laugh going I was talking to [inaudible 22:09] this morning and I can't believe I’ve been doing this, this long. When you're now an industry veteran it means that you've been around a long time.Seth: But I don't think looking back and I don’t want to put words in your mouth but you don't strike me as one of those people that's looking back and feeling like you’re working in the corporate side of the industry because you never made it on the creative side.Steve: No, no.Seth: You don't strike me as that at all.Steve: I made that decision for my family. What's funny is I've learned more about engineering and more about mixing and more about mastering being on the corporate side of what we're trying accomplish and why trying to do what we're doing. I learned so much about that. And for the first year or so, I was mad at God going, “Why did I just spend 9, 10 years in studios, in dark rooms working long hours if this is where you wanted me?” But realize, every day of my life in the last 27 years in the corporate side I've used information I learned in the studio. Sometimes we can't ask God why until you're 20 years down and you go, “oh I get it.”It's the path he puts us on, he brings people in and out of your life. I remember a girl over at Sparrow she was an accountant, that was her thing she loved accounting and God put me with her to learn that whole budgeting, it was only like for four months and then we were separated again but once again she changed my perspective and my life for the next 20 years. So, you don't know if these people that are coming in and out of your life are for a short period of how they're going to impact you.But yeah, I've sort of worked my way, I was one of the strange guys everybody wants to be in A&R. I started in A&R and left to got to marketing and then got back into it as I moved back up into the but everybody wants to be an A&R guy, hang out in the studios and have dinner with the artists which is not what an A&R guy does.Chris: Well it's the perception out there–Steve: Yeah, exactly, that's what they think.Chris: Just like you saying the artist is going to be in private jets.Seth: And for honestly if somebody's out there, can you break down what exactly what it is A&R. What is that? What is that job?Steve: A&R, we [inaudible 24:27] airports and restaurants which is [inaudible 24:28].[Laughter]It’s artist and repertoire. It’s basically looking for artist, finding people that have a seedling of something. Sometimes you don’t know what it is. We’ve all got our standards of what we feel like will lead to success. But finding that, nurturing it, grooming it, it’s sort of the mustard seed put into the ground, pat around and hopefully something really great grows out of it. Sometimes the plants don’t live, sometimes they give up. But it basically the music made by the A&R guy, we have one of the best in the industry in Centricity. When he’s done, when the music is done, he hands the baton over to me, and I go everywhere from there. But it’s his job to make sure we have hits, we have songs that work for live or work on the radio, an artist that’s got uniqueness to him that fits differently than everything else in the market place and sometimes it’s just plain old dumb luck. We’ve got all those where we’re like, “We though this person had everything they needed, was need for success and it didn’t work, and this one over here it’s that seedling and it’s just growing like crazy.Seth: Yeah, sometimes you don’t know or probably more often than not, I would think.Steve: How many songs have you worked on and said, “Man, that’s the hit.” I have a memory of I will eat my shoe if this is not [inaudible 26:04][Laughter] I believe you owe me a shoe eaten.Seth: I’m wearing Nikes right now. I have a feeling that this material is not organic.Chris: I was going to say, whatever you choose make sure its biodegradable.Steve: I was going to send you a shoe after one particular sock.[Laughter]We’ve all got them dude.Seth: Oh yeah, totally. I think more often than not and it’s honestly becoming a theme on this show is, we’re all just kind of winging it we’re all just guessing. So, my question to that is, I mean, it sounds like there’s a lot of responsibility placed on the shoulders of an A&R person. They’re the one that’s finding and nurturing talent and ultimately seeing what songs make it on records.I think a lot of people listening in our podcast audience, we have a lot of producers and writers and people outside of the music industry but then there are also probably some people who are just wanting to get in on the music business side and people who maybe want to be in music marketing or be in music management or maybe do what you’re doing someday, run a record label. You said what you look for interns, what qualifies a person to be an A&R person?Steve: Wow. Interesting. There are a few A&R guys you should interview. A great A&R person is able to inspire an artist beyond what they’ve every thought they could do. A great A&R person knows how to get a good song to a great song. We’re no longer in a society that good is not good enough, it has to be great. A great A&R guy can go, “You know what? There are seedlings, there are moments in here that are really great.” But you’re missing the mark I these two or three places. And then, coming in and sitting side by side with a producer like you and making sure that… I think that I’m a big movie buff and A&R guy is sort of like an executive producer on a movie where you put the team together and then sort of let the team go make the music. So, it’s the right producer for the right, for the right song and for the right artists and then let them shine where they go. It’s very much putting the pieces together. They’re not usually playing the music, they’re not [inaudible 28:34] musicians, they have to have a really good song sense and I think one of the skills an A&R guy has to know is, it’s not about them. They’ve got to know their audience, know what they’re making for because all of us have a tendency to gravitate towards music that’s on the fringe because we listen to so much stuff that all of the stuff in the middle starts mucking up. There’s a big muck in the middle. So, “you know what I like? I like this thing way over here or way over there.” Where a normal consumer listens to 10 records a year, the middle is the sweet spot for them. So, an A&R guy that understands who he’s trying to record for is very important.Seth: That’s very good. And, you said that they have to have a great song sense, that is even a sticky situation because why is one person’s song sense better than the other? Is that determined by track record? And, if you’ve never done A&R before, how do you prove that, hey I know a hit when I hear one?Steve: You know what? Our history of…John Mays is a 25 years somebody took a chance on him 27 years ago and said “You’re a great musician on the road, let me bring you in here.” Part is the relationship, you know, can they sit and hang with an artist? You know, you’ve been in these mediums. Where it’s like can you move an artist from A to Z while making the artist think it’s their move? As a producer it’s the same skill set of can you get an artist to bend without knowing that they’re bending? Or being able to move–Seth: All the artists out there, they just had a–Steve: I know they had a convulsion.[Laughter]And all the producer are like, yeah![Laughter]But that’s part of it, of like how do you get a song… because you don’t want to tell an artist, “You know what? This song sucks.” You just want to say, “Let’s work on the chorus. The chorus isn’t paying off hard enough, let’s make it lift better. Let’s make it shine.” Whatever it may be, moving them away from, “I love this, this is my baby. It’s beautiful.” To let’s keep working on this song.Seth: So, it sounds like it maybe starts with who they are as a person. Are they a good hang? Are they a servant? And then, the music kind of just follows and that taste follows.Steve: Our young A&R guy over there, he went through our radio department so he was listening to radio hits, radio hits, radio hits. And part of it is… There’s marketing guy named Roy Williams, I went to a seminar with him and he said he has a friend that works at General Market Record Label to pick all the singles and I’m like, “How did you learn this?” And the guy basically said, “Since I was five years old, every week I’d get my allowance and I would go buy the number one song in America.” And so for his whole life, he poured into himself hits. This is what a hit sounds like, this is what a hit sounds like, this is what a hit sounds like.Seth: That’s pretty good wisdom, right there.Steve: And so, at a certain point you go, you got to know our music, you got to listen to our music, you got to know what a hit sounds like. I’ve heard a lot of kids come though “I hate listening to Christian radio.” Then why do you listen to Christian music? How many people in country music go, “[inaudible 32:11] but I hate country music.” Get out! You’re not going to succeed.[Laughter]But they almost wear it as a banner that I hate Christian music in our market place. We have an open concept office and I’ll try to listen to two hours of Christian radio every day in my office. And if I’m listening to it, everybody in my office is listening to it too; more for this is what a hit sounds like, this is what radio sounds lie. If you’re trying to meet a need at radio and you don’t know what they’re playing, how can you meet the need? So…I digress, sorry.Seth: No, that’s gold. That’s all gold.Steve: I think you nailed it in your earlier podcast when you said, this is a servant industry. It really is. And in my life, it took me a lot of time to figure out what my calling was. I knew I wasn’t an artist but God, what does that mean? And I was walking through Exodus with my kids when they were very young and hit Exodus 17 where God say to Moses, they’re out of Egypt heading towards the Promised Land and they hit the Analcites, God calls Moses up to the hill top; arms up in the air he wins, arms down they lose. But what never caught to me until I was reading it, Moses took two people along with him Aaron and Hur and I love to say I am the Hur in the Moses’ life. It’s my job, what Hur was up there to do is to hold Moses’ arms up, that’s all he did. When Moses was weak, when Moses needed help, Hur held his hands up. That’s my calling be a servant, be there to hold your hands up. Some people know Aaron “Aaron, you know, Moses’ little brother.” No one knows who Hur is. If you’re okay standing, holding someone’s arms up and no one recognizes, you are created to be in the music industry. Because you’re not in to be the rock stars; we’re in the back of the room with our arms folded, looking at the person on stage going, “Yeah. I was there to hold their arms up.”Chris: That’s wise. One of my favorite movies is That Thing You Do, I don’t know if any of you have seen that.Steve: Yeah. I’m the guy that goes, “You look great in black.”[Laughter]Chris: Has anyone told you that?Steve: Yeah.Chris: But, one of my favorite characters in the movie, and they’re filled with them. Anybody out there that hasn’t seen it, it’s a great movie.Steve: Please, go see it.Chris: But there’s Horus who’s basically the A&R guy that sees them in–Steve: In the camper-[Laughter]Chris: Yeah, he lives in a camper and he’s essentially the A&R guy. But he sees them in a performance at an Italian restaurant or something and comes and buys their album and get’s them to sign a little deal. And then at the end, when they get signed to a major label and they’re going out to play these state fairs, Horus leaves and the main character drummer of the band says, “We don’t want you to leave.” And he goes, “My [inaudible 35:27] is done. I’ve done what I’m supposed to do.” And then move on to the next thing and so he wasn’t meant to ride that out the whole movie; he’s there for a specific piece to move it from A to C. He’s the B part of it, the Hur of that story so to speak.Steve: Nowadays, you’d call them just production deals. You start working with an unknown artist who has a little bit of talent, you start developing them and then you start shopping them to record labels. And then you go, my job here is done. They then take the baton and now try to make to a national artist. If you make 2 out of 20, 3 out of 20, you’re in great shape. You’re a hall of fame baseball player if you hit 3 out of 10. And you’re a hall of fame A&R guy if 3 out of your 10 are hit artists.It’s a cycle, you have the young artist going up; you have the artist at their peak; and then you have some that are on their way down. And you’ve got to keep that circle going because any artist that’s been at the top is going to be past its peak and slowly work its way down, and you got to have the new artist coming up behind to grow into. So it’s a continual cycle of in the music industry. The circle of life in music would be that.Chris: I had a mentor –Scott [inaudible 36:48] if you’re listening I’m about to talk about you- but he always talked about how life in the ministry or in a career is kind of like looking at life or the people that you interact is like a watching a parade go by. There are things that are right in front of you, there are things that you just saw, and there are things that are coming down. And to really appreciate what is happening in the parade you have to absorb it all. And so there’s a little bit of grabbing from each of those in order to get the full experience of it all.Steve: And the bigger what’s right in front of you, the bigger those artists are in front of you, sometimes you don’t have time to look behind and develop what’s behind and what happens is with a lot of these record labels and I’ve been at these where, man they’ve got the big, and they slowly slipping. The [inaudible 37:32] slowly start getting past their prime and they haven’t developed anything behind them and then you’re in trouble because you’ve got this machine you’ve got to feed and you haven’t created for the future, it’s only for the present.And so, every A&R guy wants to sing but some of the big labels, the big artists, the A’s are so big that’s all they’re paying attention to. We’ve all seen it, we’ve all seen artists where we say, “Man, they’re amazing” but they got lost in the shuffle and that’s the sadness. We forget that we’re playing with people’s lives, especially on the record label side their dreams.I signed this band at a label and they were 18 years old when I signed them and 21 years old when I had to drop them. So, their dreams had come true and shattered by the time they were 21. And it’s just hard when you start thinking about that stuff.Chris: That’s true. And if you think about it there are some people that are fortunate enough to have a full career in the music industry and there are some people that have a three year window kind of like a profession sports guy or those things. There’s a window and the once you pass it, yeah but the guy is only 24 and the band is only 21. What’s coming up for them?Steve: You know what, I think it’s a catalyst of those people leaving or burning out, is balance. You guys have said it; I can walk through a record label at 8 o’clock at night and I can tell you which employees will be gone in a year because they have nothing to put back into themselves. The music industry is a take industry, it just continues squeezing and it just wants more and more and more. If you have one they want five; if you have five we want ten; if we have ten we want twenty, and it’s never enough. My poor radio team goes, “Hey we got number one.” And I’m like, “Great. How do we keep it on number one for another week?” It’s never enough and so you continue squeezing out what this industry does, if you don’t have a ministry, if you don’t have a relationship, if you don’t have friends that give back to you that don’t care what you do  for a living and basically go, “Yeah, yeah. You do music, how are you?” You know, if there aren’t nursing students at the college that you got to that are your friends, you’re going to burn out.  Because there’s nothing giving back, there’s no one pouring into you. Sooner or later the candle ends, there’s no more fuel and it juts burns out.So, I try to keep my staff saying, I want you to go to concerts and date people and go home at 6 o’clock and have a life. Because if you don’t have a life you have nothing to come back when you come back tomo

Live, Uncut, Uncensored Conversations  With "Musicians You Should Know" Angel Forrest will be rescheduled due to technical issues Fathead is John Mays, Al Lerman, Omar Tunnoch, Papa John King and Bucky Berger and they released Fatter Than Ever this past summer. This is their 10th album and they continue to prove that they can bring the Roots & Blues to the party.  I will speak with the guys about growing up in their hometowns in Canada, how the blues found them and how they found each other and formed back in 1992.  Madison Slim found Little Walter while serving in the US Air force in 1967.  He ended up in Chicago, playing with some of the best and became a member of The Legendary Blues Band and played with Jimmy Rodgers for 7 years, touring the globe.  He moved to Florida to relax and found Couch Kid Doug Deming and has been a memebr of the Jeweltones since then.   His new album is entitled Close...But No Cigar and I get to sit with Slim (and Doug and Mark Thompson) to talk about his life and new album. Mike Zito had to cancel due to a conflict

Join us for our intro to homebrewing episode. We have John Mays our Homebrew Guru Blogger, Jordy Smith and Alexa Long from Alternative Beverage (South Blv) and Professor Shawn McBride in studio. Shawn also tells us about his upcoming homebrew class at Central Piedmont Community College. The post Episode 039- Homebrew 101 appeared first on Cheers Charlotte Radio | Craft Beer and Homebrew Podcast.