Podcast appearances and mentions of Johnny Gill

Grammy-nominated soul stirring singer and songwriter Johnny Gill joins Tavis in studio to talk about his illustrious 40 plus year career.Become a supporter of this podcast: https://www.spreaker.com/podcast/tavis-smiley--6286410/support.

Johnny Gill says Stevie Wonder can see. Also, the crew talks about The Queens Tour and speculates on what the order will be. Steve Harvey Morning Show Online: http://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.

Send us a textBosco and Christian return as a dynamic duo for a conversation that weaves through musical icons, basketball legends, and cinematic gems with the natural flow that defines their podcast chemistry. Ever wonder who you'd sound like if you could magically sing? The hosts open up about their dream vocal abilities, with Christian admiring Music Soulchild's smooth delivery while Bosco fantasizes about channeling Luther Vandross or even Bobby Brown. Their discussion evolves into a passionate breakdown of R&B legends, highlighting how performers like Keith Sweat prove that emotional connection often transcends technical perfection. When they marvel at Johnny Gill's prodigious talent—sounding like Eddie Levert at just 14 years old—you can feel their genuine appreciation for musical mastery.The conversation shifts seamlessly to creative processes, with Christian revealing his journey from writing rap lyrics inspired by Eminem to crafting free-verse poetry. Their analysis of Lil Wayne's improvisational genius ("the LeBron James of rap") captures why certain artists change the game forever. Speaking of basketball, their debate about the sport's greatest ball handlers becomes a thoughtful meditation on how we judge talent across generations, punctuated by Bosco's personal encounters with Magic Johnson, Larry Bird, and Michael Jordan.Perhaps most compelling is their exploration of body image and gym culture—noting with insightful irony that fitness spaces are paradoxically filled with the most insecure people. The episode concludes with enthusiastic movie recommendations, especially "Woman in the Yard," which Christian discovered bears an uncanny resemblance to a screenplay he once wrote.Join us for this authentic conversation between friends and don't forget to follow us on Instagram @nobodystalkingpodcast where you can send us messages and connect with the community we're building together.Thanks for listening to the Nobody's Talking Podcast. Follow us on Twitter: (nobodystalking1), Instagram : (nobodystalkingpodcast) and email us at (nobodystalkingpodcast@gmail.com) Thank you!

Send us a textThe crew kicks off by crafting an R&B supergroup, debating which combination of vocal powerhouses like Luther Vandross, Johnny Gill, and Raphael Saadiq would create the perfect sound while managing the inevitable ego clashes. The Discussion turns to Kanye West's latest shocking interview. Black KKK outfit and more shots at Jay-Z. Gospel artist Marvin Sapp tells church ushers to lock doors until collecting $40,000 from congregants. "The Lord said come as you are. The Lord said if you tithe, tithe 10%. He has my wire information,". This conversation sparks a deeper conversation about religious exploitation and childhood church experiences.Ruby Rose's OnlyFans revelation ($400,000 monthly without explicit content) and the troubling Cardi B-Offset breakup drama round out the major topics, with the hosts offering zero sympathy for toxic behavior and empty complaints from privileged celebrities.Ready for unvarnished opinions on everything from church collection plates to celebrity meltdowns? Hit subscribe and join the conversation wherever you get your podcasts.FOLLOW. SUBSCRIBE. SHARE. Contactmixedvibeztv@gmail.com (720) 381-1092Facebook www.facebook.com/mixedvibezYouTube https://youtube.com/@mixedvibezmediaTikTokhttps://www.tiktok.com/@mixedvibezmedia?_t=8aEYresFfkw&_r=1Instagramhttps://www.instagram.com/mixedvibezpodcast/

Episode 187 - March 31st, 2025 - Put Your Cap On   - Violations Counter - DJ Intence - 1 x Walt - 0 x Ceddy Ced - 12 - Political Crashing Outs  - RIP To The Victims Of The Happy Land Tragedy in Bronx, NY in 1990  - Yolanda Saldivar denied parole, Selena's killer  - Marvin Gaye beef witihin the music industry  - R&B guys aren't for play…… - James Brown x Prince x Michael Jackson on Stage ( https://youtu.be/zIU8TBJ7SYU?si=wvbpco_7VQiUnNTY )  - Put some respect on Johnny Gill & Keith Sweat…. - Memphis Grizzlies & Firing Taylor Jenkins (NBA Talk)  - Mark Cuban “ETHERING” a fellow employee & SuperFan  - Elon Musk Wisconsin Supreme Court Prize Giveaway  - 2000 George W. Bush vs Al Gore Presidential Election Supreme Court Ruiling  - A Georgia woman is arrested & charged after miscarriage  - Must have for minorities to have a Will, Living Will, Beneficiaries, Trust, &/or Estate…… - Spanish courts' overturn Dani Alves' rape conviction  - Wise Guy's Segment - Woman goes viral for a man asking the wrong questions?  - Wise Guy's Segment - The best relationships are best with Companionships   - Wise Guy's Segment - Is it appropriate for your significant other to DRESS in provocative outfit with you on an outing?  - Audible - Kanye West & DJ Akademic Interview 

This week, the 'MOC Old Skool Mix Party' returns with Metro Beatz spinning old school bangers from Tony! Toni! Toné!, Johnny Gill, Boz Scaggs, Roy Ayers, Guy, Michael Jackson, Boyz II Men, Gil Scott Heron, Blackbyrds and more!! Listen live every Saturday at 6pm (EST) on mocradio.com

Tento kriminální případ nás zavede do osudného roku 1888, kdy se londýnská čtvrt Whitechapel ocitla v sevření děsivého vraha, který účtoval s tamními prostitutkami, tzv. Jacka Rozparovače. Vražda, k níž došlo téhož roku v přibližně 300 km vzdáleném Bradfordu, však byla neméně děsivá...Když se 27. prosince nevrátil sedmiletý Johnny Gill domů, domnívali se jeho rodiče, že se jen někde zdržel s kamarády. Jenže hodiny plynuly a hoch se nevracel. Každé ráno Johnny doprovázel místního mlékáře Williama Berretta na jeho rozvážkách, toho dne se však rozloučili předčasně a ani dvaadvacetiletý muž neměl o chlapcově dalším pohybu žádné povědomí. Marné pátrání policie ukončil až děsivý nález, který učinil řeznický pomocník v zapadlé uličce nacházející se pouhých pár set metrů od domu Gillových.

Folks, we're stretching a bit on this one.  Lynch noticed that Roger Waters performed "The Wall" at the Berlin wall in this month, and used that as an excuse to feature A Momentary Lapse of Reason, which was the latest studio album by Pink Floyd. Since that originally came out in 1987, we're asking you to squint a bit to see it's relevance to the summer of 1990.  That being said...A Momentary Lapse of Reason is the first Pink Floyd album released after bassist and primary songwriter Roger Waters left the band.  Waters had expected that Pink Floyd would simply disband, and was surprised when David Gilmour and Nick Mason decided to continue without him.  Acrimony and lawsuits appeared, but in the end a Water-less Pink Floyd continued on.Unlike many prior Pink Floyd albums, this one is not playing off a single concept.  Instead, it is a more traditional collection of songs.  Gilmour presented the album as a return to earlier Pink Floyd material, which was perhaps a reaction to common critiques of their previous album "The Final Cut" as a Roger Waters solo effort masquerading as a Pink Floyd album.  There are a number of well-known session musicians that participated in the making of this album.The album was a commercial success, debuting at number 3 on both the US and UK albums charts.  The US tour was the most successful of the year, selling out almost every venue it played in the States.  Roger Water's lawsuits would be overcome, and a settlement was reached between Waters and the band by the end of 1987.Lynch brings us this Pink Floyd reboot album for today's podcast and we're joined by guest host Julie Doran joins us on this episode. On the Turning AwayThis power ballad was co-written by Gilmour and British experimental composer Anthony Moore.  It is an anti-war song, one of the more political Pink Floyd songs written since the departure of Waters. It begins with a solemn Gilmour vocal supported by understated keyboards, then builds to an almost orchestral conclusion.  Learning to FlyA surprisingly upbeat song for the group, the inspiration for this first single is David Gilmour's experience learning to fly airplanes.  At the time he would do practice flights in the mornings and work in the studio in the afternoons.  It is also a metaphor for the band coming back together after splitting with Roger Waters.One SlipThe fourth US single discusses the long-term consequences of a one-night stand, and contains the lyrics that would become the title to the album as a whole.  Gilmour co-wrote this song with Roxy Music guitarist Phil Manzanera.  Fans of bassist Tony Levin may recognize his work on a Chapman Stick in the instrumentation for this track.  ENTERTAINMENT TRACK:Real Wild Child by Iggy Pop (from the motion picture “Problem Child”)This dark comedy starring John Ritter follows the trials of Ben Healy Jr. as he adopts a less-than-model child from a questionable adoption agency.   STAFF PICKS:Stop by Jane's AddictionWayne leads off the staff picks with a college radio hit off the "Ritual De Lo Habitual" album.  Lead singer Perry Farrell warns about apathy towards environmental disaster, telling people to turn off the smokestacks.  "And the water will run, come a day, the water will run, no man will stand for things he had done."Brave New World by Michael PennRob brings us a jangly deeper cut with a song with rapid fire lyrics off Penn's "March" album.  The song reflects confusion in where the singer is going, perhaps making a commentary on society as it heads into a "brave new world."  "This may not be my best day, but this ain't no golden age.  You looked pretty on the freeway.  Let's drive into the brave new world."Give It Up by Hothouse FlowersBruce features a s song from an Irish group off their second album, "Home."  This song that went to number 2 on the US Modern Rock chart is summed up in the lyrics, "Well, this song's inspired by a good man and his tune doing good for others, sing 'Amazing Grace' for you." Rub You the Right Way by Johnny GillJulie's staff pick is an upbeat hip hop song, and Gill's first single after he left New Edition earlier in the year.  Despite the lyrics, Gill was the son of a minister and got his start in gospel music.  He signed with Motown as a teenager.  Gill had become very accustomed to performing live, and had a difficult time switching to studio work.  Blue Sky Mine by Midnight OilLynch closes out the staff picks with the first single off Midnight Oil's seventh studio album.  The inspiration for the song was the experience of workers in the Wittenoom asbestos mines in western Australia, where they contracted a variety of asbestos-related diseases.  The "blue" in the title refers to "blue asbestos," a form of the mineral considered most hazardous. INSTRUMENTAL TRACK:Erotic Nightmares by Steve VaiGuitar virtuoso Steve Vai carries us out of this week's podcast. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

If you've ever found yourself relaxing on the couch with a warm cup of tea, lost in thought about your day, Cecily's beautiful music is exactly what you need to enhance those moments. Cecily is an amazing vocalist and songwriter based in DC, known for her soothing and rich voice. She describes her music as a blend of soul with strong influences from jazz, 90's R&B, and a touch of folk.She's shared the stage with some incredible talent, opening for award-winning artists like Gregory Porter and Jose James, as well as R&B stars like Johnny Gill, Kenny Lattimore, and Elle Varner. She's even performed alongside folk artist Becca Stevens and alternative soul pioneer Bilal. Just this past June, she released Awakening Pt. II, the follow-up to her critically acclaimed 2019 project Awakening Pt. I. I had the pleasure of chatting with her virtually on Zoom, and it was truly inspiring. We explored her musical influences, reminisced about her experiences at the Umbria Jazz Festival, and discussed her connection to Gil Scott-Heron. We also delved into the messages and creative process behind Awakening Pt. II. We wrapped up our conversation by talking about her approach to songwriting and the challenges of releasing an album independently. It was such a delightful exchange, and I really hope you enjoy listening to it as much as I enjoyed our conversation!

Frank finally gets the chance to talk (and talk) about New Jack Swing. And we finally get to the bottom of just what Johnny Gill's "Rub You The Right Way" is all about. Original video Johnny Gills legendary Arsenio Hall performance Our mixtape You can find us on Instagram, Facebook, and our website. You can email us at BandFGuiltFree@gmail.com, too. Feel free to rate and review us wherever you listen! Here is our Spotify playlist featuring every song we've featured. Our theme music is by the incredibly talented Ian McGlynn.

This week, the 'MOC Old Skool Mix Party' returns with Metro Beatz spinning old school bangers from artists such as TLC, Johnny Gill, Ralph Tresvant, MC Hammer, Midnight Star, Raekwon, Brandy, Zhane, Big Bub and more!! Listen live every Saturday at 6pm (EST) on mocradio.com

Send us a textAnother one of the greatest R&B crooners our our time: Mr. Johnny Gill!

For this week's ep of my podcast Apt. 5B we're chopping it up about someone or something  who helped "save"  an MC, singer or group's career! For exp. Preemo producing for KRS' Boom Bap album, Ye bringing Com back with Be, the Lox getting off Bad Boy or Johnny Gill joining New Edition! Just another DOOOOOOOOPE ep y'all and don't forget to subsrcibe to our YouTube channel and check us out wherever you listen to your fave podcasts at!@Kil889  www.willmakebeatsforfood.com

In this episode of the mibo show, Shanti Das talks with Grammy-nominated, multi-platinum singer/songwriter/producer & philanthropist Johnny Gill and Actor/Comedian/Producer Kenan Thompson about awareness surrounding prostate health.We also speak with Dr. Stan Frencher Jr, an associate professor of Urology at UCLA and Chief of Urology at the Dr. Martin Luther King Health Center. Dr. Frencher helps dispel myths about dealing with prostate screenings. the mibo show is proudly supported by Johnson & Johnson as part of its long-standing commitment to advance health equity in the United States and around the world. We continue to be grateful to Johnson & Johnson as the sponsor of the mibo Show, including this episode on prostate cancer. For more information on prostate cancer, I encourage you to check out Talk That Talk, a program from J&J featuring NFL Hall of Famer Shannon Sharpe promoting frank conversations among Black men around prostate cancer and to encourage screening. You can also learn more though J&J's BRCA in Men campaign about the important role of genetic testing and how it can help reveal things like BRCA mutations.Resources:Talk That Talk - https://www.talkthattalkpc.com My Health Can't Wait (MHCW): https://www.myhealthcantwait.com Johnson & Johnson Health Equity: https://www.jnj.com/global-health-equity Please support Shanti Das' non-profit: https://www.silencetheshame.com

In this episode of “The Pulse”, Johnny Gill from New Edition joins Bill Anderson to talk all about his 40 years in the entertainment business.  Johnny tells Bill about one Philadelphia show that gave him the jitters, his Las Vegas residency, and how long he wants to keep going with New Edition.  “The Pulse” has welcomed names like Marlon and Tito Jackson, Michael Rapaport, Sarah Silverman, Sheryl Lee Ralph, Lewis Black, Ruben Studdard, Clay Aiken, Jeff Ross, New Edition, Macy Gray, DJ Jazzy Jeff, Donnell Rawlings, Vivica A. Fox, Bill Bellamy, Michael Blackson, Gavin Rossdale, Sheila E., Jay Mohr, Jerry O'Connell, Star Jones, Mo'Nique, Craig Ferguson, Darryl McDaniels, Kenny Lattimore, and more. In addition to the Podcast The Pulse airs on TV in Philadelphia every Monday night at 6:30pm on FOX 29 as well as airing every Monday on FOX Soul.

Listen on your favorite podcast service: https://pods.to/wesoundcrazy Stream songs from the episode on our official We Sound Crazy playlists: https://lnkfi.re/8I8Drkfz This week, the legendary singer and musician Johnny Gill joins us on We Sound Crazy. From his early days in New Edition and LSG, to a trailblazing solo career, Mr. 5000 Miles takes us on a deep journey sharing unforgettable stories, laughs, and career highlights. Press now to hear Johnny Gill's journey, reflections, and the music that made him an icon. We Sound Crazy is your backstage pass to all things music and culture. Special thanks to our We Sound Crazy team! Director: John Dierre Camera Op: John Dierre, James Hart, Josh Sowemimo, Vyvy Thai Editing: Lamont Baldwin Producer: Michael "Roux" Johnson Assistant: Brittany Guydon PA: Kaye Brasley Talent Producer: Isaac Hamm III Photography: Ah'meer Holt  Thank you to all of our listeners, as well as our partners at Visit Music City.   Special thanks to Johnny Gill! Subscribe to We Sound Crazy on Spotify, Apple Podcasts, and anywhere you get your favorite podcast.  Follow us on Twitter, Instagram, Facebook, YouTube, and TikTok! Follow We Sound Crazy on Social Media: ~ Facebook: https://wesoundcrazy.ffm.to/wscfacebook ~ Instagram: https://wesoundcrazy.ffm.to/wscinstagram ~ Twitter: https://wesoundcrazy.ffm.to/wsctwitter ~ TikTok: https://wesoundcrazy.ffm.to/wsctiktok ~ Email: https://ffm.link/wsc-signup Subscribe to We Sound Crazy on YouTube: https://wesoundcrazy.ffm.to/wscyoutube-subscribe Visit the official We Sound Crazy website: https://wesoundcrazy.ffm.to/officialwebsite #WeSoundCrazy #JohnnyGill Learn more about your ad choices. Visit megaphone.fm/adchoices

Can a single film redefine an entire genre? Join us as we dissect the cultural phenomenon that is "Boomerang" and its legendary star, Eddie Murphy. From the humor of Eddie's meticulous coordination and the memorable mushroom shirt scene to the groundbreaking portrayal of Black professionals, we revisit moments that made this film iconic. We'll also break down the unforgettable soundtrack featuring PM Dawn, Johnny Gill, and TLC, exploring how it added a rich layer to the film's lasting appeal.We'll take a closer look at how "Boomerang" challenged stereotypes by placing an all-Black cast in a professional setting, tackling criticisms about the film's racial composition, and emphasizing the importance of these portrayals in media. Hear personal stories of how "Boomerang" influenced our lives and shaped our perspectives, making it a cult classic despite initial negative reviews. We'll explore its role in paving the way for future Black romantic comedies, shedding light on the importance of representation in Hollywood.Finally, we'll reflect on the lasting impact of Eddie Murphy's character, Marcus, on our perceptions of gender roles and relationships. From Marcus's charm and ambition to the deeper lessons about love and vulnerability, this film left an indelible mark. We'll share our favorite scenes, memorable quotes, and how younger generations might view these classic moments differently today. Plus, celebrate Eddie Murphy's extensive filmography and his impactful portrayal in "Dolomite Is My Name." Don't miss this heartfelt tribute to a film that continues to resonate across generations.Support the Show.Tell An Eddie Murphy fan to tell an Eddie Murphy fan that you love this podcast

Cher's boyfriend Alexander 'AE' Edwards calls her his "b****" and fans are shocked! Plus, Kim Zolciak and Kroy Biermann's divorce gets messy after Kroy allegedly stole two of Kim's cellphones, and Gary With Da Tea dishes with honorees Johnny Gill and Hezekiah Walker, LeToya Luckett and more of the hottest stars at the 2024 Black Music Honors! 

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Gary D. Hines, Music Director and Producer of the 3-time, Grammy Award-Winning Sounds of Blackness, stops by to discuss their latest single "Woke, featuring Quan Howell from the motion picture soundtrack ( Black Skin). Gary has recorded, performed, toured, written for and appeared with: Quincy Jones, Jimmy “Jam” Harris & Terry Lewis, Prince, Usher, Stevie Wonder, Michael Jackson, Luther Vandross, Aretha Franklin, Elton John, Johnny Gill, Patti LaBelle, Sting, Dolly Parton, Danny Glover and Jordin Sparks to name just a few.

On this episode, we are having a conversation about the 40+ year career of one of the greatest R&B groups of all time, and the inspiration for all of the boy bands that followed their blueprint. From direct descendants like New Kids On The Block and Boyz II Men, to current day acts like BTS, New Edition is “where it all started.” We talked about the early discography, Bobby Brown leaving the group after their 3rd album, the addition of Johnny Gill for the Heart Break album and the solo works of Bobby, Johnny, Ralph Tresvant, as well the Bell Biv Devoe projects. We also got into the many reunions over the years, including this current run with all six members participating.If you enjoy the content that we're making and you're looking for ways to support our independent podcast, here's a little something that you can do:Please leave us a 5 star rating or review on Apple Podcasts, Spotify, Podchaser or Goodpods.You can also drop a few coins in our tip jar here: https://ko-fi.com/troypodcast if you're feeling generous.If it's merch that you're looking for, check out our store, Nuthin' But A Tee Thang, at teethang.comSpreading the word about the show to your friends and family helps too.However you choose to support, know that it is greatly appreciated as always.

Dans ce 14e épisode, nous faisons une plongée dans l'année 1998. Au programme : Next, Aretha Franklin, LSG (Gerald Levert, Keith Sweat, Johnny Gill), Jon B, Brandy & Monica, Nate dogg & Warren G, Stardust, Maceo Parker, Faith Evans, George Michael, Will Smith, Whitney HoustonAidez nous, en soutenant gratuitement ce podcast !Comment ? C'est très simple :1)

Mulah Davinci, hailing from Georgetown, South Carolina, is known not only as a talented rapper but also as an entrepreneur. His popularity is evident with over 27K subscribers on YouTube and 9K followers on Instagram. Consistently releasing new songs every month, his latest track "Johnny Gill" has already garnered 41K views on YouTube. Check out his clothing brand, Dirty South Calabasas, for the latest shirts and hoodies. Don't forget to subscribe and follow Mulah on all platforms and listen to his music on SoundCloud, iTunes, and Spotify. Support the showMake sure to subscribe to us on Spotify, Apple Podcasts, and Google Podcasts. Also follow us on Instagram and Facebook @hilltopglove. Sponsored by: BOPs, Lynx Recording Studios, Mid Carolina Service Co., Asylum Digital Recording & Mixing, Celeb Studio Cafe, the Simon Marketing Agency, and TruBrilliance Ent. Become a member of our Patreon channel to get access to full video episodes, early premieres, and bonus content!

Episode 97. Join Host Troy Saunders as he takes the listener on a ride through the life and career of a true renaissance man, Bradd Marquis. Since childhood it seems that Bradd had been groomed to be in the field of entertainment. From singing in church as a child to starring roles in several plays; Bradd has learned to do it all. He can sing, act, song-write, produce, arrange, run a business, promote and so much more. With a voice in the vein of Christoper Williams, Johnny Gill and of course Sam Cooke, Bradd in his own unique style, can deliver a song that can stir your emotions and leave you wanting more. He is a force to be reckoned with.In this episode we touch on how, Bradd wound up in the entertainment industry. Believe it or not it was not the profession he dreamt of being in as a child. A unique play he starred in that got him over the fear of being on stage and taught him to put it all out in his performances, literally. We also cover how a leap out on faith landed him on Billboard, and several other music outlets, as an Independent artist. Also find out how the idea of starting a show that paid tribute to the late great Sam Cooke, starring Bradd himself,  came to be and how it evolved into the spectacular that it is today.Of course, our conversation  is laced with some of my favorite Bradd Marquis songs. Ending with his current offering "OU" which will be on his new EP "I Choose You" dropping shortly on all podcast platforms in April. Join us as we turn up the good vibes, through, laughter, great conversation and of course music.Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

We take a lot at the legendary balladeer's 1990's solo run FOLLOW ME ON TWITTER @LEGENDSOFS82332 EMAIL ALL VOICENOTES & COMMENTS ROBERTSILVA57@HOTMAIL.COM

Get ready to unwind and chill to the soulful vibes on 'Chillmode' with Metro Beatz! This week, enjoy the smoothest R&B and slow jam tunes that will soothe your soul. This week unwind to the melodies of Tyrese, Luther Vandross, Mariah Carey, Usher, RAYE, Wonder 45, Four Tops, Bob Marley & The Wailers, Johnny Gill, Justin Timberlake and many more incredible artists! Tune in every Sunday night at 10pm for the ultimate chill-out session exclusively on mocradio.com. Let Metro Beatz be your guide as he curates a mesmerizing playlist made for relaxation & chill. Whether you're winding down the weekend or seeking a soothing escape, 'Chillmode' is the perfect soundtrack to set the mood.

My guest today on Up In Your Business with Kerry McCoy is the renowned trumpeter, musician and performer, Mr. Rodney Block. If you live in Little Rock, or close by, then chances are you may have had the pleasure of hearing this gifted musician blow his horn, all while slipping in some of his encouraging and uplifting words about humanity and compassion for all peoples. This Ding Dong Daddy from Dumas, Arkansas has performed pop, jazz, hip hop, Latin, and even country music with legends like Earth, Wind and Fire, Bobby Brown, the Jazz royalty Ellis Marsalis, soul singer Lalah Hathaway, and the great R&B artists Johnny Gill, Eric Benet and Joe. And Rodney often plays with legendary hip-hop artist Doug E. Fresh. Listen to learn about the business of music, how Rodney has made a living in the music industry, how he came to perform on national and international stages, and why his greatest role models are still his mom and dad.

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 316 (Part 2 of 2): R&B singer Stacy Lattisaw Jackson. Just 12 years old when her debut album came out in 1979, during the next 10 years she would go on to record nine more LPs, with four reaching the R&B Top 20. During that highly successful period – often working with producer Narada Michael Walden – she notched a dozen Top 15 R&B hits that included “Love on a Two Way Street,” “Let Me Be Your Angel,” “Nail It to the Wall” and the Johnny Gill duets “Perfect Combination” and “Where Do We Go From Here.”  Retiring from popular music while still in her early 20s, she turned her life's focus toward family, church and spirituality – authoring her autobiography in 2011, called “I Am Not the Same Girl: Renewed.” RECORDED NOVEMBER 2023 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 316 (Part 1 of 2): R&B singer Stacy Lattisaw Jackson. Just 12 years old when her debut album came out in 1979, during the next 10 years she would go on to record nine more LPs, with four reaching the R&B Top 20. During that highly successful period – often working with producer Narada Michael Walden – she notched a dozen Top 15 R&B hits that included “Love on a Two Way Street,” “Let Me Be Your Angel,” “Nail It to the Wall” and the Johnny Gill duets “Perfect Combination” and “Where Do We Go From Here.”  Retiring from popular music while still in her early 20s, she turned her life's focus toward family, church and spirituality – authoring her autobiography in 2011, called “I Am Not the Same Girl: Renewed.” RECORDED NOVEMBER 2023 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

Which joke did they somehow remember 100 episodes later? Where's the coolest luxury vacation spot in Chicago? And are you in the market for a trench coat turkey? We answer these questions and more as we baste Season 3, Episode 20 of Family Matters. Alex Diamond, David Kenny, and John McDaniel heard that the long-running network sitcom Family Matters ends with side character Steve Urkel going to space. And the best way to figure out how that happened - obviously - is to watch the last episode first and make our way backwards through nearly ten years of television.Join our countdown to number one (and our slow descent into madness) in all the places you expect internet people to be:Website: jumpingtheshuttle.spaceEmail: jumpingtheshuttle@gmail.comInstagram: @JumpingTheShuttle / @ThatAlexD / @dak577Twitter: @JumpingShuttle / @ThatAlexD / @dak577TikTok: @JumpingTheShuttle / @ThatAlexD / @dak577Brought to you by Smooth My Balls

This week on The R&B Money Podcast, Tank and J Valentine sit down with massively influential R&B icon Johnny Gill for a wide-ranging, in-depth conversation about his decades-spanning music career. From getting his start singing gospel in DC-area church groups as a talented kid to landing a record deal and charting his first single while still a teenager, Johnny takes us through the origins of his meteoric rise in the industry.  He shares behind-the-scenes stories from his time dating a young Stacy Lattisaw, becoming an integral member of New Edition after Bobby Brown's departure, and scoring smash solo hits like "Rub You the Right Way" and "My, My, My." Johnny opens up about his experiences in the R&B supergroup LSG alongside Gerald Levert and Keith Sweat, naming artists like Jeffrey Osborne, Luther Vandross and Donny Hathaway as inspirations and friends who helped shape his approach to singing and storytelling.  While he's lived an extraordinary life in the spotlight, Johnny explains his philosophy of keeping his personal relationships private from the public, protecting his inner circle and maintaining balance. Now, over 40 years into his iconic career, the universally-admired vocalist joins the show to trace his evolution from gospel prodigy to a veritable living legend who helped define generations of R&B music. Enjoy an in-depth look at Johnny's incredible journey, Now on The R&B Money Podcast.   Extended Episodes on YouTube: https://www.youtube.com/RnBMoneyPodcast Follow The Podcast: Tank: @therealtank   J Valentine: @JValentine Podcast: @RnbMoneyPodcast  See omnystudio.com/listener for privacy information.

Did Johnny Gill and Eddie Murphy have a secret affair? Langston and David talk with D.C.'s finest, Jamel Johnson, about this conspiracy theory from growing up. While our world is becoming more familiar and open about the sexuality spectrum, let's just say the 80s and 90s were not too kind. They talk about the shit-talkers of the industry and why this was meant to pit Johnny against Eddie. Plus, we learn a lot of important nuggets from Jamel's mom. Send your conspiracy theories, music drops, and more to mymommapod@gmail.com HEY LIL' MOMMAS! FOLLOW + SUBSCRIBE ON ALL PLATFORMS FOR ALL HILARIOUS AND PROBLEMATIC TALKS: INSTAGRAM: https://www.instagram.com/mymommatoldmepod/ YOUTUBE: https://www.youtube.com/channel/UCm1wMf8iYG-imuTwqje2PNg TIKTOK: https://www.tiktok.com/@mymommatoldmepod?lang=enSee omnystudio.com/listener for privacy information.

Halloween Havoc is understatement!!! The fellas are all over the place this episode, a rebuilt tag division, Melo defending himself against allegations, and also did you know about the parallels between robocop & Cody Rhodes?? THE WHAT?? And also Johnny Gill was a Cenobite.... It's getting real spooky, tune in, or be haunted by the pennywise of NXT... wait that's just Blair Davenport

On the next episode of #IRPresents Let Me Book The Territory.... Halloween Havoc is understatement!!! The fellas are all over the place this episode, a rebuilt tag division, Melo defending himself against allegations, and also did you know about the parallels between Robocop & Cody Rhodes?? THE WHAT?? And also Johnny Gill was a Cenobite.... It's getting real spooky, tune in, or be haunted by the Pennywise of NXT... wait that's just Blair Davenport Purchase Let Me Book The Territory Merch Link: www.letmebookpod.com/shop

Amanda celebrates International Artist Day, emphasizing her role as an artist and educator. The episode features an extended interview with Lara, known as Gazan Girl, who is an international lawyer and activist. The episode continues with a segment on recent headlines, including a former Trump campaign lawyer's guilty plea, the resurgence of Howard University's golf team thanks to Steph Curry's funding, and Young Thug's RICO case. There's also a focus on the rise of household wealth in the United States during the pandemic, especially among Black families. Amanda keeps the discussion lively and engaging, and the episode ends with a Black Pop Quiz with Professor Supreme and a vocabulary lesson. The show successfully combines entertainment and education to provide an engaging experience for its audience. Listen, Laugh, and Learn with The Amanda Seales Show   FOLLOW ALONG AS WE COVER:   Of course, here's the text reformatted with the timestamps in the (HH:MM:SS) - Description format for the news:   (2:37) - GUEST - GAZAN GIRL - LARA EXTENDED INTERVIEW   WE'RE TALKING TO LARA, ALSO KNOWN AS GAZAN GIRL. SHE'S AN INTERNATIONAL LAWYER, ACTIVIST, AND THE CO-HOST OF THE PALESTINE POD   (31:19) - 60 SECOND HEADLINES:   STORY 1 - Former Trump campaign lawyer Jenna Ellis has pleaded guilty in the Georgia election subversion case and will cooperate with Fulton County prosecutors.   STORY 2 - Howard University's golf team is now a force to be reckoned with after Steph Curry's funding has led them to compete on a Division ONE level. Howard hasn't had a golf team since the 1970s.   STORY 3 - Young Thug has named a few notable Hip-Hop figures that he'd like to see take the stand in his ongoing YSL RICO Case   STORY 4 - Household wealth in the United States rose significantly during the pandemic, with Black families doing remarkably well financially, though still far below White household wealth.   STORY 5 - Netflix has announced the release of a comedy documentary titled, Kevin Hart & Chris Rock: Headliners Only, coming to the streaming platform in December.   (34:46) - IT'S THE AMANDA SEALES SHOW. WE'RE ALWAYS TAKING YOUR CALLS ON ANY OF OUR TOPICS. CALL US AT 1 855 AMANDA 8 … THAT'S 1 855 262-6328   (39:15) - HAPPY BIRTHDAY IF TODAY IS YOUR BIRTHDAY!   ALSO HAPPY BIRTHDAY TO:   - CIARA ← The woman who single-handedly changed single women's prayer lives worldwide! - CRAIG ROBINSON ← AKA “Mr. Take Yo Panties Off”. It's a song. It's hilarious. Google it   (41:49) - AMANDA IN THE COMMENTS. Former President, Barack Obama, released a statement on Instagram (because that's where we are now– IG is the new CBS NEWS) about Israel and Gaza.   (46:24) - Johnny Gill is admitting that he took a lie detector test to dispel once and for all if he is gay or not.   (50:49) - BIG UP, LET DOWN   (62:02) - IT'S THE AMANDA SEALES SHOW! I'M AMANDA SEALES. ISSA BLACK POP QUIZ… THAT'S WHAT IT IS. PROFESSOR SUPREME WILL JOIN US.   (67:28) - I REALLY WANT TO HEAR YOUR LIST OF THINGS I LEARNED THIS WEEK TOO! CALL US ANYTIME AT 1 855 AMANDA 8 … THAT'S 1855 262-6328 …   (71:11) - IT'S TIME TO LISTEN, LAUGH, AND LEARN… I HAVE THE WORD FOR THE DAY…. AND THE WORD OF THE DAY IS… HIRSUTE (HER-soot) (adjective)   (74:12) - WHITE HOUSE NATIONAL SECURITY COUNCIL SPOKESPERSON JOHN KIRBY SAID THIS ABOUT WHAT IS HAPPENING GENOCIDE THAT IS HAPPENING IN PALESTINE.   (79:02) - THANK YOU FOR JOINING US ON THIS WEDNESDAY! WE COVERED A LOT OF STORIES:   FOLLOW THE SHOW ON ALL SOCIALS: @Sealessaidit @Amandaseales @Jeremiahlikethebible If You Have A Comment Leave Amanda A Message At 1 855-Amanda-8 That's 1-855-262-6328  See omnystudio.com/listener for privacy information.

Episode 84. Dive into a captivating conversation as host Troy Stephens speaks with renowned songwriter/producer Nes. Discover the unexpected journey Nes took into the music industry, and learn about her incredible rise to stardom after a serendipitous encounter with the Force MDs.Episode Highlights:Unexpected Beginnings: Nes never planned to be a singer but found her knack for songwriting early on.The Big Break: A chance performance at a party led to collaborations with legends like Jimmy Jam, Terry Lewis, Anne Nesby, Johnny Gill, and even Queen Latifah.GRAMMY Dreams: Get a glimpse into Nes's passion as she discusses her GRAMMY-considered song "Everything About Me Is Dif'rent.”Industry Insights: Nes delves into the lessons she learned from music moguls and her experiences with icons like Michael Jackson and Janet Jackson.The Comeback: Unravel why Nes took a hiatus from music and her triumphant return filled with new opportunities.Looking Ahead: Stay tuned for upcoming projects, potential collaborations, and two EPs from the unstoppable Nes.Catch this episode and more on the BAAS Entertainment Podcast, available on major platforms like Spotify, Apple Podcasts, and Google Podcasts. Simply say, "Hey, Alexa. Play the BAAS Entertainment Podcast."Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

Saved by the Bell then Boise St v Memphis & BREAKING Lillard Lillard news + Norton Hurd IV in-studio from TEAM THAD 

This season we discuss over 300 albums of the 1990s selected from https://besteveralbums.com. The show starts at (2:04). The Five Singles segment starts at (7:18). This episode covers the following albums: Johnny Gill - self-titled (45:17), Sinead O'Connor - I Do Not Want What I Haven't Got (1:04:49), The La's - self-titled (1:24:18), and Sonic Youth - Goo (1:48:27). --- Send in a voice message: https://podcasters.spotify.com/pod/show/combingthestacks/message

Continuing their Doc To School campaign, the Men of Micheaux go from debates about Twix candy bar, Johnny Gill vs. Ralph Tresvant, Mac Miller, Watchmen, Alan Moore, and (00:44) the tragic story of jazz trumpeter Lee Morgan and his common-law wife Helen Morgan. Rate & Review The Mission on Apple Email micheauxmission@gmail.com Follow The Mission on IG, and Twitter @micheauxmission  Leave a Voicemail for Vincent & Len Subscribe to the Mission on YouTube  Get your Micheaux Mission SWAG from TeePublic We are a proud member of The Podglomerate - we make podcasts work! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this exclusive sit-down (and first-ever podcast interview) with drummer extraordinaire Jerrod "J-Rod" Sullivan, we dive into the mindset and secrets to success of one of the industry's most in-demand drummers and prolific content creators.  In 2006, J-Rod uploaded his first Youtube video, and the reactions confirmed what he knew all along, his musical talent would be used as a gift to educate and inspire others. As a social media influencer with a growing community of 700K+ followers, he is a model for how to grown your online presence as a creative.  An alumnus of the Atlanta Institute of Music, J-Rod is the current drummer for The 4 Korners, Jeffrey Osborne, & Avery Sunshine, and has performed alongside musical artists such as Bebe Winans, Smokey Robinson, Chantae Moore, Johnny Gill, Kenny Latimore, and Byron Cage. In addition, he's made television appearances on Being Mary Jane (BET), SingleLadies (VH1), Greenleaf (OWN), American Soul (BET), Dynasty (CBS), and BET HER. As the founder and owner of the style-centered streetwear brand "Got Pocket?", he has united musicians in over 25 countries. His style, method, and dedication creates an energetic community of aspiring and talented musicians. In this episode, J-Rod shares how he went from zero to hundreds of thousands of followers worldwide, his strategy for creating consistently engaging content, why the idea for "Got Pocket" almost never happened, and how he juggles these responsibilities with being an in-demand drummer in the music industry. This one is so good we had to break it down into two parts! Be sure to tap in for this one! #contentcreator #professionalmusician #touringdrummer #socialmedia #recordingartist #entrepreneur #musicindustry #musicallyhitched    FOLLOW the podcast by pressing (+) above and turn on notifications.   SUBSCRIBE to @musicallyhitched on YouTube to watch video episodes. *** Grab your Musically Hitched apparel via the SHOP at  www.musicallyhitched.com    Follow us on IG: @musicallyhitched Follow J-Rod on IG: @jrodsullivan Follow Zack on IG: @zackreynoldsjr   Advertising Inquiries: info@morey-entertainment.com         

This week I had the honor of sitting down with the one and only Kevin Ross, and we're diving deep into his world of music, soulful vibes, and creative genius. From his smooth vocals to his incredible songwriting skills, Kevin Ross is a true musical powerhouse who remains INDEPENDENT and has managed to stay on the R&B Charts! His writing credits range from Nicki Minaj, Trey Songz, Jamie Foxx, to Johnny Gill and even had Diane Warren performing for him!! Get familiar! Executive Producers for Breakbeat: Dave Mays & Brett JeffriesExecutive Producers: Bill Bellamy & Barry KatzProduction: TRDMRKD ProductionsRecorded: DASH Radio, Hollywood, CAIG: @BreakbeatMedia @BillBellamy

In this exclusive sit-down (and first-ever podcast interview) with drummer extraordinaire Jerrod "J-Rod" Sullivan, we dive into the mindset and secrets to success of one of the industry's most in-demand drummers and prolific content creators.  In 2006, J-Rod uploaded his first Youtube video, and the reactions confirmed what he knew all along, his musical talent would be used as a gift to educate and inspire others. As a social media influencer with a growing community of 700K+ followers, he is a model for how to grown your online presence as a creative.  An alumnus of the Atlanta Institute of Music, J-Rod is the current drummer for The 4 Korners, Jeffrey Osborne, & Avery Sunshine, and has performed alongside musical artists such as Bebe Winans, Smokey Robinson, Chantae Moore, Johnny Gill, Kenny Latimore, and Byron Cage. In addition, he's made television appearances on Being Mary Jane (BET), SingleLadies (VH1), Greenleaf (OWN), American Soul (BET), Dynasty (CBS), and BET HER. As the founder and owner of the style-centered streetwear brand "Got Pocket?", he has united musicians in over 25 countries. His style, method, and dedication creates an energetic community of aspiring and talented musicians. In this episode, J-Rod shares how he went from zero to hundreds of thousands of followers worldwide, his strategy for creating consistently engaging content, why the idea for "Got Pocket" almost never happened, and how he juggles these responsibilities with being an in-demand drummer in the music industry. This one is so good we had to break it down into two parts! Be sure to tap in for this one! #contentcreator #professionalmusician #touringdrummer #socialmedia #recordingartist #entrepreneur #musicindustry #musicallyhitched    FOLLOW the podcast by pressing (+) above and turn on notifications.   SUBSCRIBE to @musicallyhitched on YouTube to watch video episodes. *** Grab your Musically Hitched apparel via the SHOP at  www.musicallyhitched.com    Follow us on IG: @musicallyhitched Follow J-Rod on IG: @jrodsullivan Follow Zack on IG: @zackreynoldsjr   Advertising Inquiries: info@morey-entertainment.com         

This week we will discuss the prequel to the classic New Edition album Heartbreak. We will be touching on some things not shown in the New Edition Biopic and the origin story of how Johnny Gill joined the group. 

Few record labels have left their stamp on the industry quite like Motown. This assembly line churned out hit song after hit song in the ‘60s and early ‘70s. With a who's-who roster — Marin Gaye, The Jackson 5, Diana Ross, and Stevie Wonder, among others — The Hitsville U.S.A. sign Gordy put on Motown's front door became warranted. This episode is the story of Motown Records — it's formula for success, what led to its decline, and where it stands today under Universal. I'm joined by friend of the pod, Zack O'Malley Greenburg. Here's what we covered in this episode:0:38 Berry Gordy's origin story8:08 Motown museum in Detroit9:20 Cultivating a culture of creativity13:05 Shifting the sound of Black music20:12 Motown's knack for discovering talent 34:29 The beginning of the decline36:12 80's decade of transition39:48 Post-Gordy struggles45:51 Motown's uncertainty today53:59 Best signing?55:16 Best business move?568:45 Dark horse move?1:01:58 Biggest missed opportunity?1:07:13 Motown big-screen picture1:09:22 Berry Gordy won big1:10:41 Who lost the most?1:14:56 Zack's Jay Z indexListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Zack O'Malley Greenburg, @zogblogThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Zack Greenburg: Berry Gordy created with Motown and sort of the Motown genre, which I think really like more than any label has become synonymous beyond just sort of like the name of label itself, you say Motown music, and a testament to the sound that he created,[00:00:13] Dan Runcie Audio Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:38] Dan Runcie Guest Intro: Today's episode is a deep dive into the one and only legendary Motown records. At its peak, Motown was the most successful black business in the country. It peaked at 30 million dollars of revenue in 1968 and Barry Gordy and his team assembled a sound. a unique genre of music that produced hit after hit after hit and Hitsville USA lived up to its promise.So in this episode, we take you through the origins of how Motown came to be. What are some of the business principles and strategies that worked in its favor? And then what are some of the challenges that Motown faced too? It's now been 50 years since the peak of Motown. And this record label has had plenty of ups and downs and plenty of journeys that we went deep on in this episode. And I'm joined by Zach Greenburg He is a biographer of Jay Z and several others, and he also wrote about Michael Jackson. And in that he talked about Michael Jackson's time with Motown, especially in the Jackson 5. So we had a lot of fun in this one. So come take a trip down memory lane with us. Here's our episode on Motown.[00:01:42] Dan Runcie: All right. Today we're back with another case study style episode, and we're going deep into Hitsville, USA. Motown, baby. Let's do this, Zack, I'm excited for this one.[00:01:53] Zack Greenburg: Thanks for having me as always.[00:01:55] Dan Runcie: Berry Gordy is so fascinating because At one point, this was the most successful black business. They're the most successful black entrepreneur in the country invented a genre.And it's so hard to be able to do that. And that legacy still lives on today. We know so many record labels that have taken inspiration from what Berry Gordy built with Motown records, but let's start from the beginning. What inspired Berry Gordy to even want to get involved with music in the first place?[00:02:23] Zack Greenburg: Yeah. So, you know, Berry Gordy, and his family were in the Detroit area, you know, a bunch of serial entrepreneurs, get a record shop early on, but he was actually like semi professional boxer coming up. And, think one thing led to another and you just kind of saw that, you know, there was a market that was not being served in music.you know, certainly like the business was concentrated, on the coast and particularly in New York at that time, you know, eventually more in LA, but. you know, there was some stuff going on in Chicago. there was some regional acts, regional labels, things like that. But, you know, I think he just basically saw an opportunity, to start something.And, you know, sort of in the way that if you look at, Richard Branson or Puffy or, you know, what are those types of entrepreneurs? It's almost It doesn't really matter what they get into. They find a way to make it work. and they're just always on the lookout for a new sector. That's, kind of, you know, right for some creative destruction, know, and some refreshing or some freshening, some revising, I don't know, whatever you would call it.And, you know, in the case of Berry Gordy. Kind of amazingly, when you think about music over the past half century, he looked around and he thought, well, this is actually, this is a sector that is very promising amongst all the sectors that I could possibly get into. So, that's how Motown came to pass.[00:03:36] Dan Runcie: That point about whether it's Diddy, Branson, Gordy, and I think a lot of the tech CEOs fall in this category as well. You're going to put them in any generation. And I do think that these people would have found a way to make things work. And that's the same point you're making, right? He saw an opportunity to music, but let's say he came 30 years later.It could have been another aspect. Let's say he came today, probably could have been trying to do something in AI or even figure it out, how to make AI, be transformative with his music. And I think a lot of his work, whether you think about how he built derivative work or how he had this process with artists that we'll get into so much of it taps into, okay, here's an opportunity to optimize things.Here's how we can make things work. And music just happened to be the format. He chose it.[00:04:21] Zack Greenburg: Absolutely. And even, you know, when you think about it, he got started sort of mid century 30 years later, he was looking into other things, getting involved in film and TV. And You know, moving the business out West, but, you know, we'll get there eventually, but, he certainly did, you know, find other ways to extend the Motown brand as time went on.[00:04:37] Dan Runcie: So he starts off, he has this record business and things go okay with that. specifically talking about the store. And that was a lot of it was connected a bit more from the family perspective, but then he ends up getting the job at Ford specifically working with that Lincoln mercury plant. And that's when he was only there for 2 years, but he then sees how the process works and the whole concept of Ford is, which is that assembly line process that Henry Ford has been famous for.He sees that and then he taps back into his opportunities with music and he's like, okay. Okay, there's an opportunity to do the same with music. So he sees this assembly line, essentially have all these parts go through the inputs. And then the output, you get this car, he wanted to be able to pull some kid off the street, bring them into the Motown and bring them into this record label facility.And then outcomes a star. And he felt like he had the ability to be able to create that type of dynamic. And it took some time to get there, but that's essentially what he did. And a lot of the creations of what we saw from Hitsville USA was that exactly.[00:05:48] Zack Greenburg: Absolutely. And, he'll tell you that, I've interviewed him a couple of times. Once for Forbes, once for my book, Michael Jackson Inc, where he talked a lot about that. And, you know, he really has a formula, for making a hit song. And, you know, it's sort of like the song has to have a clear beginning, middle at an end. The chorus has to have a sort of grand arc that summarizes the song every time it happens.And then there's a sort of like grand finale bridge ending thing that, brings it all together, always at the end you hear the artist shout out the song's name almost, you know, invariably one last time and you know, that's like pure marketing, right? And you think about it in those days, this great songs on, you're hearing it, but like, you know, maybe you're in the car, it's on the radio, maybe you're artist and a record player.It's not popping up on your phone. So you know what it's called when you hear Michael Jackson shout out, I want you back at the end and I want you back. what you're going to go out and buy, you know what, you're going to call in, you know, to the radio station and ask them to play. So, it's very calculated, it really works and it's proven and, you know, if it sort of seems like, gosh. You know, this is like a cliche. This is obvious. I think part of it is because he helped create this cliche, obvious thing, right? I mean, things become cliche or obvious because they're smart or necessary most of the time.So, you know, at some point it was novel and, you know, very corny, I think was part of, making that whole song structure novel. And, you know, really. When you look at how he executed it, you know, I think a modern day analog, we talked about this, you know, before on our bad boy episode, but so, you know, his role was very much like the Puffy role, or at least the early Puffy role in production. So, you know, he had a hand in songwriting and production, but, you know, mostly he figured out who he wanted to have producing his labels, songs and sort of who he wanted to be in charge of authoring that certain type of sound.So for Berry Gordy, it was a handful of, producers called the corporation, just like Puffy had the Hitmen. And, you know, then he would kind of come in and do his own little thing on top when he thought it was necessary. But, you know, in a way it kind of adds that whole assembly line aspect, right? Where, you know, that there's going to be a certain level of quality, there's going to be like a distinctive sound, whether it's a bad boy or Motown, or, you know, even going back to, you know, what a Ford car was, you know, in those days you had kind of an ideology to get.And I think that's one of the things that really set Motown apart.[00:08:08] Dan Runcie: Exactly. And I think with that too, you have him going through the process of starting this. So this record label started with an 800 with 800. That's what he had initially. And he uses that to then start Hitsville USA. So that's the location on Grand Ave in Detroit.Have you been to this museum by the way?[00:08:30] Zack Greenburg: I did. We did a special event there. One time we had the Forbes 30 under 30, Summit and we did this like, special, like one off private interview where I went there with Quavo and we sat in Motown studios, you know, where Michael Jackson and all them had recorded. and we did a little like video discussion on the state of the music business, I think it's floating around the internet somewhere, but, it's a really cool building. I mean, I think what strikes. Me the most, you know, like the first time I went in is like the fact that just a house.I mean, it really just looks like a house. the rooms are sort of like room size, you know, it's not some sprawling like, you know, I don't know, institutional type place like a lot of modern, recording studios, you know, it's just a converted house but you know, you kind of walk through each room and it's museum and everything now, so you can kind of get a feel for it. It's very different from the modern day glitz and glamour of the record business for sure.[00:09:20] Dan Runcie: Yeah, been there twice. it was really cool because just like you said, you feel like you're actually in a home and that's the vibe that the studio gives you. And I felt like the people that were the tour guides as well, they clearly knew their history in a way where it should sound obvious, but that could obviously be hit or miss with museum sometimes.So I felt like that piece of it was good. And it ties back to a few things that tap into the culture that it is. Gordy wanted to create that. I think make it work. He lived upstairs. Studio is downstairs. So he has everything there and he wanted to make this somewhere that creativity could spawn at any particular moment.So he wanted to create a 24/7. Set up where he had made sure the vending machines were always stocked. So people could stay there year, you know, day in day out. If creativity comes to you at 3 p. m. or 3 a. m. you can go right there and do what you have to do. And you could keep things moving there internally.And this is one of the things that I do think worked really well for them because. Although I think the music industry has gotten away from this, there was this era where the culture and the vibe that you could create from a label and all that continuity really helped things. So when you saw how deliberate he was from an assembly line perspective was essentially keeping his product in place and keeping all the materials in place so that it can produce outputs at any given moments to just increase the likelihood that you could have hits coming time and time again.[00:10:49] Zack Greenburg: Yeah, for sure. And, you know, I mean, he certainly spoke a lot about, quality control, which is, it's kind of funny, you know, given the eventual QC relationship, but, you know, I think that's a really big part of it. And when you're that hands on and, you know, in some cases you could say micromanaging, but it does enable you to really have a unified.We can also get into this, fact that at some point it can become a bit of a creative constraint for artists as they mature.[00:11:14] Dan Runcie: Right, because with quality control, there was someone on the team that listened to everything that came through Motown and they essentially picked the best. They brought it to this weekly meeting and most of the Motown artists weren't writing or producing their materials necessarily, but they were going in and you had all these artists that would essentially sing.The same exact song and then they would pick the best version that came out of that to then release the song. Sometimes they had multiple artists that would end up releasing a version. And we saw different versions of this where you had both Diana Ross and Marvin Gaye have their versions of Ain't No Mountain high enough.Granted it was a few years later in different songs, but a lot of that stems from that quality control aspect. And there's this one quote that, was here from One of the books that was written about, Berry Gordy and Motown, where they talked about quality control and they said, quote, the artists were a means to an end in a way, end quote.And that's exactly what we're talking about how the downside is that it could limit creativity, but the upside is that it gives you the opportunity to get the best polished diamond from all of the creations that come from this studio.[00:12:24] Zack Greenburg: Absolutely. And man, there were quite a few, right? I mean, when you look through, I mean, the heydays, Smokey Robinson, the Miracles, Diana Ross, the Supremes, Four Tops, Marvin Gaye, coming into, you know, Michael Jackson, the Jackson 5, you know, think we've talked about in our previous discussions about hip hop, you know, like sort of the staying power, of different labels and, you know, and how you can kind of keep identifying talent and keep it coming. I mean, that's quite a breadth You know, of like musical accomplishment that they've got, that you could say that Berry Gordy identified over the years.So, you know, I would really, obviously I'd put him up against any other, identify any A& R, any, you know, music mogul in the history of the business, for sure.[00:13:05] Dan Runcie: I agree. And I think the other thing that's interesting too, is This taps back into the whole process and quality management things. Berry Gordy really wanted to help shift the sound and direction of this label because at the time, black music and music that was made by black artists was quite segmented where people didn't feel like it could reach beyond a certain audience.And he experienced some of this himself. One of the reasons that his record stores closed was because he was focused primarily on jazz music. At the time, even Black folks weren't really into jazz at that particular moment. So he just didn't have the market to be able to continue this. So I think that helps Chase Motower.He says, okay, I want the music that's able to be listened to by everyone. I want Black people to ride with it. I want white people. I want anyone in America to be able to ride with the same way that people would listen to the Beach Boys. And he had a few more interesting things that were part of this process.One, everyone had an etiquette coach. And these are things that we're teaching them, essentially, how you have black people essentially speak to white people. Granted, I think there's a lot of that that is problematic. That probably wouldn't fly into the same ways today, just given some of the language there.but then additionally, he also had white salesmen that were essentially the ones that were promoting the records in different areas, going to different radio stations. And he would go as far to insert in records that he's promoting to not even show the artist on the cover because he wanted the record to reach.And he didn't want people to necessarily immediately see or relate it to a black artist, which I thought was interesting, but lined up with a lot of these things. So, even though some of the choices clearly were problematic, it probably wouldn't fly at the same way today. That's how he was about process and wanting to essentially be able to sell this talent anywhere in the country.[00:15:01] Zack Greenburg: Yeah, and it's especially remarkable when you sort think of the cultural context of, you know, of when this is all happening in the 60s. You know, I mean, this is a time of great polarization and social change and, you know, really like turmoil, in a lot of ways, disunity, but, what Berry Gordy created with Motown and sort of the Motown genre, which I think really like more than any label has become synonymous like a genre, you know, beyond just sort of like the name of label itself, you say Motown music, and you're talking about like a genre, as much as you're talking about a label, the fact that you'd be able to sort of create that it like in the 60s, even the late 60s, when things were really why we think we're polarized now.I mean, the late sixties, oh my gosh. Like what a testament to the sort of the sound that he created, which, you know, just like bridged all these divides and, you know, you obviously still go to any wedding, black, white, you know, at anything. And, you're gonna hear Motown all over the place.So I think that kind of goes back to what he created, you know, even at the time. being so accessible to so many different audiences and, you know, one of the things he told me, when I interviewed him, he said that, Martin Luther King came to see him, in Detroit, at the peak of the civil rights movement.And apparently, according to Gary Gordy, MLK said, he said, what I'm trying to do politically and intellectually, you're doing with your music. I love the feeling people get when they hear your music. And so maybe we can make a deal. And they made a deal to actually put out some of MLK's greatest speeches.They put out three albums on Motown and Gordy kind of summed it up by saying, if you do the right thing will come to you. So I thought that was such a cool. Little nugget that people don't necessarily realize. and, you know, I think people don't, think of Berry Gordy as like avant garde, you know, civil rights activist or anything, but, he kind of approached it in his own way, which was to make this music that could, you know, that could really bring people together.They could also get black culture, you know, into the mainstream us culture, at the same time. And, you know, I mean, we saw that, you know, decades later with hip hop, but. Berry Gordy, you know, he made that blueprint, you know, very, very, very early on.[00:17:03] Dan Runcie: It's a great story because I think it highlights the complexity and that people just aren't in these corners. And as you mentioned, Berry Gordy wasn't known for his civil rights activism. In many ways, people would often point to things that he may have shied away from, where I remember, especially in the 70s when you started to hear a bit more of a pacifist and things like that, there was a push and people wanted Motown to lead more into this and he necessarily wasn't as eager at the time and I remember even Marvin Gaye's What's Going On, one of the biggest records that was ever made.There was tension leading up to that because Gordy was like, wait, what is this? you want to do this? Like, what are we doing here? And then it eventually gets made. And then you see how I feel like every time that one of these publications has one of the greatest songs ever made, I'm sure it's come up on number one, or at least on several, one of these.So you see that, and you've seen other areas where he clearly has leaned into this, but I do think that his. Place in his role at that time, often highlighted some of that ongoing tension that we've seen from black leaders over the years about people want progress, but what's the best way to agree with this?And you date back to some of the more public debates between folks like Booker T. Washington and W. E. B. Dubois about what is the best way for black progress and group economics and things like that. And I feel like Berry Gordy clearly was on a Particular side of that, that not everyone may have agreed with, but he clearly still wanted to be able to help progress things in a particular way.So he's a very fascinating figure as we look at this progression, especially in the 20th century.[00:18:42] Zack Greenburg: Well, that's right. And, you know, I think there's a reason you see him put out MLK speeches. I don't, think he put up Malcolm X's speeches, you know, but that was just sort of his approach, right? He was more Martin than Malcolm.And, you know, obviously you could speak to the merits of either method, but, Berry Gordon definitely, had his preference there.[00:18:59] Dan Runcie: The other thing that I want to talk about, you mentioned it earlier, but the talent and the breadth of talent that was in this place is such a constraint and such a valuable time.It's one of those things where just imagine walking through on a, some day in, let's say 1964, you're just walking through Motown and all of the names that you could just see there making music on a Wednesday afternoon. It's crazy to think of the names and also how he found folks because. Look at Smokey Robinson and Smokey Robinson, the miracles essentially end up releasing shop around, which I do think ends up becoming the first true hit that, or the first, hit single that comes from Motown.He found that he found Smokey on a street corner performing almost, and in many ways, it feels similar to. What we see decades later with Sylvia Robinson driving around the New Jersey tri state area, finding hip hop artists for Sugar Hill Gang. This is how these early entrepreneurs did it. They were the talent development.They saw things and granted it was a much less crowded market. So the people that were pushing music onto folks had a little bit easier time breaking through, but it was still tough, especially at the time. And he was able to make it work in that way, which was, cool.[00:20:13] Zack Greenburg: Yeah, I mean, he actually did. And, you know, of course, like the one group that we haven't talked about too much yet is Jackson and sort of the way that, different groups were signed in those days, you know, they're all the stories about, well, you hear, you see somebody busking and you sign them and this and that.And, sort of some of the stories, though, if you talk to a lot of different people, you get, you talk to 3 people, you get 3 different stories. Right? So, I think for my book on MJ, I talked to. His dad, I talked to Berry Gordy and I talked to the guy who signed them to this little record company called Steel Town in Gary, Indiana.And they all had three different versions of, you know, how it went down, right? And so, there's that old saying, basically that the winners get to write history and, you know, Berry Gordy won. So, you know, whether his version is a hundred percent, accurate or not, that's kind of the version that, you know, we tend to hear I think his version is usually correct, but there's definitely some, you know, embellishment or some showmanship from time to time.So, you know, I think, for example, with the Jackson 5, Berry Gordy decided to put out, I think it was their first album as Diana Ross presents the Jackson 5 and, you know, she had this little thing where she's like, I discovered this group from Gary, Indiana and like blah, blah, blah, and that wasn't really how it happened at all.And it was really, you know, depending on who you ask, but I think what happened is Suzanne DePasse, who was one of Berry Gordy's lieutenants, had discovered them, and I think it was, there's another band who heard them, like sent them along to Suzanne DePasse that like, she kind of did the legwork for Berry Gordy.And it was like many times, many. Kind of connections later that Diana Ross, you know, became connected, to the group. but, you know, it's such a better story, right? Like Diana Ross has found these kids from, from the Midwest and, you know, bringing them out, onto Motown. So. I always think that's, kind of funny how, the stories end up getting presented and, you know, when you hear it from everybody else involved, I mean, and Diana Ross, of course, did become, really instrumental and especially Michael's life, as time went on, moved to LA and I think she, he actually lived with her for a little while while they were, you know, making the move and all this stuff, but, you know, it, didn't exactly start out that way.[00:22:18] Dan Runcie: Right. And the Jackson 5 is interesting because they, in many ways were the last group that came through in the heyday of Motown because the heyday we're really talking about is that 50 to 60s run that we've been talking about with a lot of the groups and the artists that we mentioned, especially young Marvin Gaye, young Stevie Wonder, Diana Ross and the Supremes.And then Jackson 5 comes along. But they come along towards the end of the decade. And just for some context setting, in 1968, Motown is doing 30 million in revenue. And they at one point had a 65% hit rate on the songs that they released in terms of actually being able to chart. So the highs were quite high and they were, killing it.The thing is, though, in the early 70s, this is where things start to shift a little bit, because at this point, Berry has his eyes set much bigger, and he wants to move beyond things in Detroit, because of course he was in the Hitsville, U.S.A. house, solely, after the riots that happened and there was some damage there, they ended up expanding things closer.they ended up expanding further in Detroit to just get a bigger size studio there as well. But then, he eventually wants to go to Hollywood so that he could get more into film. He wants to get into production for plays. He wants to bring these artists on the big screen. And it makes sense. We see why this is a huge medium.You saw how much, popular this talent is. And if you can get people to see them and buy into this, visual image that he's clearly curated, no different than we saw someone like Diddy decades later curating things, he wanted to do that. And I think that in many ways, this was one of those big challenges that any leader can have.Do you stay with the thing that's working really well? Or do you try to expand? And when you do expand, how do you find out? How do you make sure that you have the best talent around you? How do you make sure that you're well equipped? And I think that bowtie really started to strain because as things started to grow for the label, a lot of the artists started to feel like they were getting neglected because of these broader ambitions.And that in many ways, now we're dating 50 plus years ago to like 1972 timeframe. That's when a lot of ways was the beginning of the end, at least in terms of the Motown that a lot of people grew up with and knew.[00:24:41] Zack Greenburg: I think so for sure. And, you know, I think as an entrepreneur, you have to seek the next thing, right? I mean, you don't want to stagnate and you kind of have to take the risk and go for the next big thing and maybe you succeed and maybe you don't, and I think that's at least the way we've been conditioned to think. On the other hand, there could be an argument for like, we don't need to have this growth at all costs mindset as a society, you know, what's wrong with having a really awesome business that's just like constantly, you know, successful has happy employees, you know, that kind of thing. But, I guess that's, you know, this is, you know, Trapital not, you know, Trapsocialism, I dunno, we're talking within a certain realm of, you know, of economic, styles and systems.So that's what's gotta happen. And that's what Berry Gordy decided to do, you know, by moving everything to LA but we talked, a while ago about John McClain, and his role in kind of in, in the past few decades as an executive. He's somebody who rarely talks, but somebody interviewed him at some point.He said that he thought that moving to LA was, kind of the beginning of the end for Motown, because it, kind of changed Motown from being a trendsetter to being a trend follower. And, I think I agree with that. And, you know, that's not to say that there wasn't additional success, especially, you know, beyond the recorded music business that occurred. And that moving to LA kind of, you know, like supercharged some of that, but yeah, you know, I mean, I think when Motown was in the Motor City, in its namesake place, like, You know, it was sort of like, I don't say the only game in town cause there were other labels, but I think it was sort of, the main game in town and, being in a place that, you know, wasn't sort of the epicenter of the music business allowed it to have kind of its own unique style and not sort of be influenced as much by what else was going on.And, you know, don't forget in those days, it wasn't like everything was, you know, it wasn't like we were all tuning into the same social media channels. you know, we weren't even like really tuned into cable TV or anything like that, you know, there wasn't the same kind of like national culture that there is today that, you know, where trends just kind of like fly across in a second. And things did kind of take time to move from one place to the other. throughout the country. So, you know, there was like a certain regionalism to it that I think set Motown apart and, you know, maybe you lose a little bit, you know, once you're out in LA, but, you know, certainly around that time, you really start to see some of the artists who wanted more creative freedom, leaving, you know, some others pushing back, you know, I think even within, a few years of moving to LA, the Jackson 5, we're kind of, having some issues with Motown and in terms of, you know, can we make some of our own types of music? You know, do we really have to stick to quite the assembly line? So, yeah, I do think it was a mixed bag for Berry Gordy to head west.[00:27:20] Dan Runcie: And this is where things really started to struggle because a lot of what worked for Berry Gordy was so perfect for. The Hitsville USA West Grand Ave mentality of building everything there and not to say that he was only an early stage founder that couldn't necessarily progress. But I think a lot of the processes he had were more fit for that era. So naturally, you see the growing success of the Jackson 5 and Michael is no longer 9 years old.He is at this point now a full on teenager, but unfortunately, it just didn't quite. Progress in a few things, as you mentioned, you wanted more, they wanted more creative control. They also wanted to have a bit more ownership. There were disputes about royalties. And I remember reading something that said that the Jackson 5 had calculated how much they got.And it was only a 2.3% stake of how much revenue was either coming through or would be coming through in the future. And they see this and they're like, okay, well how can we see our opportunity to get more of that? So then they leave for Epic. And then you also saw a handful of artists at this point were already on their ways out and things were definitely starting to look a little bit more bleak because by the time you get to the end of the seventies, the beginning of 1980s, The music industry was already, granted things are cyclical, but they were starting to sour a bit on black music.This was the end of disco and people wanted nothing to do with that genre. And even though Motown wasn't disco necessarily, there was vibes of the types of artists they were trying to naturally capture in the 70s. So then that had all of black music taking a hit in a lot of ways and there were groups like the barge and others that I think they tried to make work. Obviously, I think Stevie Wonder was a mainstay during all this and that worked out really well for them, but he was really just 1 mainstay. You did have Marvin Gaye, but again, still, it just wasn't necessarily. The same, and I think that they definitely started to struggle even more at that particular moment.And even as early as the 80s, you start to see more of that narrative that honestly, you still hear today about recapturing that Motown magic or recapturing that Motown journey. People have been saying this now for 40 years.[00:29:40] Zack Greenburg: Yeah, for sure. And I think one thing that people forget is that even though the Jackson 5 moved on to Epic, you know, and that's where MJ ended up, you know, Epic and CBS, and, that's where MJ ended up launching a solo career, people forget that Jermaine actually stayed at Motown initially. He had married Berry Gordy's daughter and, you know, they had this whole wedding with like, you know, 150 white doves were released and, you know, they had this, you know, kind of fairytale situation. And apparently, Berry said to Jermaine, like, Hey, you can go with your brothers and stay with me, whatever you want.And, you know, knowing Berry, I think he maybe didn't put it that delicately or, you know, that was kind of a huge break from Motown because you know, he had really taken the Jackson 5 under his wing. They used to have, Gordy versus Jackson family, baseball games. Michael Jackson would play catcher. It was very So, you know, I think Tito was like the big power hitter, is what I heard. but yeah, for, you know, I mean, these were two families that were really intricately linked. And I think ultimately it kind of came down to, you know, there was some creative control issues, but, you know, Joe Jackson was, pretty controlling, Berry Gordy was pretty controlling and at some point, you know, it just, I think it became impossible for them to coexist.And so, Joe kind of guided them over to Epic to get that big deal, but, you know, Jermaine. It wasn't obvious that Michael was going to be, you know, by far the superstar of all the Jacksons. And, you know, Jermaine did seem at the time to be like the one who had the most promising solo career, or at least it was, you know, pretty close.And, you know, he never really found his niche is a solo act and eventually it would go on to get back every night with his brothers and go on tours and that sort of thing.[00:31:22] Dan Runcie: I think that's a good distinction because people will often point to and think about what are the big nine and then he drops off the wall. This isn't what happened. There's a pretty big difference between those few years. No difference than anyone where naturally there's a difference between a 15 year, but there were others that experienced.So many of the artists that ended up leaving at that particular year old artist and a 19 year old artist. You're a completely different person at that point. And that's exactly what we ended up seeing with Michael. So missed opportunity for sure missed opportunities that Motown had, we'll get to miss opportunities in a minute, but you often hear people talk about them not being able to keep Michael, but to your point, the Jackson 5 leaving Motown in 1975, 76, isn't the same as.Them leaving in 1970 time ended up having greater,success once they were able to have a bit of freedom after leaving Motown, which was a bit unfortunate because obviously, I think it would have been great to see them continue that success under Berry Gordy's umbrella and continue to see them grow.But not everyone is going to be Stevie Wonder. Not everyone is there to say, Hey, I'm with you until the end. And I'm going to be riding with you during this entire journey. It just doesn't work that way. People have careers. No different. You see them today where people see a bigger opportunity and the grass is greener.They want to take advantage of that, especially if they don't feel like they are being put in the best position to thrive. So in the 80s, Motown is now officially in its transition recovery mode, trying to recapture what was there and we see a few things happen.So they start leading in on debarge. And a lot of people, DeBarge did have a pretty big hit with Rhythm of the Night, but I do think that they tried to make the DeBarge family replicate some of this Jackson family, where you had El DeBarge, and you had all of these others, but it just didn't quite click, at least in a mainstream way to that perspective, but then you did have Lionel Richie, who did end up having a pretty big career, especially with everything he had done since the, Commodores and, but then you also had Berry Gordy's son that they were also trying to work into the mix, who performed under the name Rockwell, who had had that song, somebody's watching me that Michael had sung the hook on.So you had a few things there, but just didn't exactly click because again, it's stuck in two models. Berry wanted to continue to have complete control over it. And the artists just didn't want that anymore. I think that worked when you were literally giving artists. No giving artists in a region of the country like Detroit a platform and opportunity, but they had no other options.But now they had leverage. Now they could go talk to mca Now they could go talk to CBS Epic and some of these other labels. So Berry's mentality just didn't work as much. And then by 1988 is when we see him transition on from the label, at least as the CEO level. And then we start to see the new blood come in to run the record label.[00:34:30] Zack Greenburg: Yeah. I mean, I think it is important to note that, you know, although you could characterize the 80s as sort of like musical decline era for Motown, you know, in the way that many artists are entrepreneurs, like, seem to be in a period of delays over some decade or whatever, they actually get much richer during that period of malaise, because what they had built before was so good.And there's still kind of like, they're finally cashing in on it, whereas maybe they didn't cash in on it when it first happened. But like, enough of the sort of like older, wealthier decision makers who can pay them more are like, finally getting hip to the fact that, you know, this is a big deal.So, I would definitely think about Motown that context and that, you know, when Berry was able to sell, you know, a huge chunk, of the company kind of like step back from it, that was after like a a period of time when Motown was not as hot as it had been.But you had things going on, like Motown 25 in 1983, that special. Put together, where MJ came back and reunited, with his brothers and the whole Motown crew and he had, you know, all these other artists, but that was actually the first time I think that MJ moonwalked, you know, sort of in public, like you know, he sort of like the popular debut of the moonwalk and it just really kind of, Created, so much buzz around that, that then kind of rubbed off on Motown and didn't really matter whether he wasn't on Motown anymore, but it just kind of gave a little more shine to the label and gave it sort of like, a relevance, I think that helped kind of carry through to the end of the 80s and helped get Berry Gordy, this really big payday.So, I wouldn't discount like You know, I don't know the sort of like delayed reaction that sort of the half life of fame or whatever you want to call it. But, there were still some of these moments that were created, that kept paying dividends as the time went on. I think[00:36:13] Dan Runcie: That's a fair point because he also sold at this smart time when right as we're seeing in this current era that we're recording, it's a very hot time for music asset transactions as were the late 80s and early 90s too. That's when you saw Geffen do many of the deals that he had done and Gordy. Did the same where I believe he made 61 million from the sale, or at least his portion of the sale in 1988, which is huge.You didn't see people, especially black business owners that fully owned everything being able to cash out at that level. So that's a good point. I'm glad that you mentioned that. And with this is when we start to see the transition of leadership. And we start to see a few things that do ring true.Where the first person that takes over is Gerald Busby, who was leading black music at MCA at the time. And even though Motown had had a bit of its malaise in the 1980s, MCA did not, in many ways, it was seen as the leader in black music. And Bubsy was able to. Have quite a good amount of success there with all of the work that he had done.the thing is though, he had started to run into some issues because he was in this weird dynamic where this company, Polygram had owned part of the label, as did Boston Ventures, his private equity group, and Bubsy was at odds with the folks at Boston Ventures about. some creative control. And he had this quote where he says he'd rather quit Motown president than see the label become a cash cow for a huge corporation trafficking off of nostalgia.And that was a quote that was said back in the 90s just thinking about how. Similar, some of those quotes now come to today. And this was someone who was largely credited from helping to say blast black music from that disco era. But unfortunately, I think a lot of those tensions that he had had, at the time just made life a little bit more difficult for him at Motown.So he eventually we Left. And while he was there, he was able to at least get a few things under. Like he was the one that had brought in voice to men. He had Queen Latifah there. He had Johnny Gill, who was another artist at the time that was quite popular, but maybe hadn't necessarily lived on in the way.And his dreams were, he wanted to have Motown cafes, the same way you had hard rock cafes. He wanted to have the young acts going and touring around at different places to recreate that vibe. And this is something that we'll get into. I think we see time and time again, where these leaders have all these dreams and visions for what they see.Motown can be, but because of the powers that be because of other things, they just can't quite get there to make it happen.[00:38:51] Zack Greenburg: Yeah. And I think that one of the things that set Motown apart early on, you know, as sets many startups apart early on, and many record companies are early on is that they were independent and they could do whatever they wanted.And, you know, Berry Gordy was, sort of like the unquestioned leader and, you know, things kind of, in the way that things kind of get done, let's say more efficiently, if not, more equitably in dictatorships, like he could just get shit done, move things around, have it happen immediately. And so when you started to have, you know, these corporate parents, parent companies, you know, you'd have to go through all these layers of approval to do anything.And, kind of like stop being able to be agile. and I think that's especially important in the music business when, you know, you have to. Not be reactive, but proactive, right? You have to be ahead of things. So, you know, if you're getting to a point where you're having to wait on approvals and things like that, you've already lost because you should have been out in front to begin with.[00:39:48] Dan Runcie: And this is something that I think plagued Motown time and time again, because Gordy didn't necessarily operate in this way. He had so many people that wanted to replicate what he did, but they didn't have the same parameters and the same leeway to make those decisions. As you mentioned, they're now working for corporations that now have their own vested interest.And to be frank, one of the tensions that we see often in music is that these brazen, bold leaders want to be able to take big swings and do things that are innovative and off the cuff. And these corporations are hard set pressed on efficiency. They don't want to see overspending. They don't want to see over commitments, or they want to be able to feel like this is being run in a strategic way.This is something that in the Interscope episode that we talked about, Jimmy Iveen struggled with this as well, even as recently as his tenure with Apple music. But this is one of those frequent tensions that happens with music executives. And we saw that continue with the person that replace Busby, which is Andre Harrell.We talked about him a bit in the Bad Boy episode, but Andre, of course, at this time was coming fresh off of Uptown Records where he was working in collaboration with MCA and he was able to build a little bit of his own fiefdom there where granted he still had people he had to answer to, but I think he had a pretty good relationship with the folks at MCA up until the end there.Then he goes to Motown and he sees this opportunity. And there's a few things that stick out about this because. As early as a year ago, he was starting to get rumored as to be the next person to then take over. But then he gets 250k as an initial announcement. He takes out this full page ad, New York Times.And then he has this ad that essentially says from Uptown to Motown, it's on. And it's him sitting in the back of the chair and you see a sweatshirt in the back. And people hated it. People grilled him. The way that they talked about him, the trades and even Russell Simmons and others coming in and giving him shit about it.He had pretty verbal flight fights with Clarence Avon, who was pretty powerful at the time. And Clarence even said he had swung on him at one particular point and was quite critical of him as well. There's this one quote that I think was really funny here, where this was from the Netflix documentary that was, The Black Godfather, which was about Clarence Avon.And, or actually, no, this is before this summer variety interview, but they talked about this as well. The doc, Clarence says, Andre and I didn't get along. And then he pointed to an image of the Motown boy band, 98 degrees. And Avon says, Andre wanted to send these white boys to Harlem to make them sound black.And I was like, you're out of your fucking mind. And it's a funny quote, because I do think that 98 degrees. Maybe didn't exactly have as many hits as they probably would have thought, but in Andre Harrell's defense, and sadly, but true, the mentality wasn't necessarily wrong because of the 90s, the most successful Motown act that you had was Boyz II Men, and we saw at the end of the decade that, what's that guy's name, the con artist that had the boy bands, Lou Pearlman, like, he literally modeled Backstreet Boys and NSYNC after How can I find white boys to men and make them see modern contemporary and make this happen?And that's how he was able to have success there. And that was before, what's his name? That was before Andre Harrell was really getting going. So he saw where things were going. But it just didn't click at the time. It just wasn't right. And obviously 90 degrees ends up having some decent success, but that's well after Andre Harrell had left the label.So he ended up leaving and the press was not kind to him. Literally headlines were. Andre Harrell gets fired from LA Times it's a type of headline that we probably don't see now when record label execs get fired in the same way. I think the industry is much more controlled in its PR sometimes to a fault, but it was very interesting to see that, come through. And another interesting quote from that, Lucian Grange had called the Andre Harrell at Motown relationship, an organ rejection. In terms of the relationship there.[00:43:56] Zack Greenburg: Yeah, no, I mean, and it's kind of interesting if you think about, you know, around that same time. What was going on in the music business, what would have been a great fit at Motown that didn't happen, would have been to sign Eminem, right? I mean, rather than try to do it with 98 degrees, if you really want to go and sort of like figure out what the kids are listening to, and do the thing where you have a white guy making black music, like. Holy shit. There's Eminem from Detroit, you know, doing his thing. But, you know, I think it took different kind of Andre to pull that one off.So, you know, in a way well played, you know, I mean, in a way it was like Andre was maybe Andre Harrell was taking some risks, but he wasn't taking quite enough. Like, he wasn't going far enough. He wasn't going way out enough on a limb. So, if you were really going to try to read that Motown, then that then go all the way at the same time, though, I would argue.I mean, if you look back, it's sort of like what worked with Motown and what did it, I think one of Motown's greatest attributes is also a limiting factor. And that's the thing we talked about before it, it's a label, but it's also a genre. And so if you have Motown making hip hop, it's like, wait a minute this isn't Motown. Like this isn't the genre of Motown. Like this is not the thing that I heard at my aunt's wedding, you know, this is something different. So, I think that they got kind of caught in between and I know that they've done all this stuff in hip hop over the years and, whatever, but it still doesn't feel like quite a fit because Motown, I mean that, you know, Motown was Motown, Motown wasn't hip hop and, you know, maybe if it had started getting into hip hop in the early days of hip hop.you know, it would have felt a little bit different about that, but, you know, hip hop is Def Jam, hip hop is is Roc-A-Fella hip hop is Bad Boy, and I just, you know, for all the efforts that Motown has made to get into hip hop, I think, it, has had a hard time, you know, fully sticking in the way that it would need to for Motown to replicate its, early success.[00:45:51] Dan Runcie: And one of the things that I think that a lot of these post Berry Gordy leaders struggled with was... As you mentioned, yeah, with Andre Harrell or others, there was the desire and opportunity to be able to do more, but the combination of the corporate structures in place that just didn't give them the same freedom that a Berry Gordy himself would have had.And then secondly. The business structure of how Motown itself as a company was set up didn't necessarily allow that because even things like radio or promotion and things like that, they still relied on other labels under the corporate umbrella, even to this day to get some of those things in place.So it really wasn't. Given the same freedom, even though their name, especially in the late 90s early two thousands was used in, especially back then it was the whole universal Republic Motown group or whatever the amalgamation was at the time. It really wasn't given the same freedom as some of those other record labels were.And I think we saw those challenges come in from time with some of the other leaders as well, because. Afterward, after, Harrell left, you had George Jackson who was there, felt like a bit more interim there for a couple of years. And then you had Kedar Mazenberg who was there late 90s early 2000.And that was a bit more than Neo soul vibe. You had India, Ari and a few others, but he has this quote that he gave to the independent, 2000 where he says, but we're not going to dominate the pop charts. Like we used to, how can we, there are too many other companies out there for that. So please don't compare it to the Motown of yesteryear.This is someone that is in the leadership role saying that exact quote. like How do you get past that? And then he talks again. I think they made a comparison to Def Jam where he said, you know, Def Jam, it took 10, 20 years to get to this established guidance, the way that you did with someone like a Lyor Cohen.And you essentially had that with Berry Gordy. But again, Lior was doing this before Def Jam ended up, you know, becoming under the whole Island Def Jam group and everything happened there. After that, you have Sylvia Roan, who was rising up the ranks herself. Still one of the most successful Black women in media and music right now.She's currently at Epic, but she had her time at Motown as well. And I'm going to get into her because I have something I want to say for missed opportunities there. And then you get more recently to the era of Ethiopia Habtamirian, who was there from 2011. Up until 2022, and she's 1 of those that I do feel like was put in a pretty hard spot because on 1 hand, she was able to essentially double the market share.Thanks in part to the partnership that she had made with hip hop through quality control to be able to help. them succeed And this is especially when the Migos are first starting to pop off, and then that transitions into the success of artists like Lil Yachty and Lil Baby and City Girls and others. But I think that also some of the overspending and things like that were quite critiqued.And especially from a PR perspective, the same way I was mentioning earlier when. Andre Harrell's challenges were bright front and center for the entire industry to read. Ethiopia's necessarily weren't in the same way. And even in some of the aspects of her leaving, the media had they called it a bit more reflective of, oh, Ethiopia has chosen to step down.When, yes, that's true, but there was also a pretty large severance package from Lucian and others at UMG. And again, I don't think she was necessarily given as much leadership either, because Motown was kind of, and still is kind of under capital, but now they've essentially moved it back. They had announced that she was solely the CEO back in 2021, but that was a pretty short lived.And to be honest, it felt like. Yeah. 1 of those announcements that the industry made in this, like, post George Floyd era to try to highlight and support black CEOs, which was great to see, but she's someone that's talented. You don't want to see her just become a tokenized person to have this. So, even though, like any CEO, I think there was things you could point out that she probably could have done differently.Still wasn't given the most leeway to begin with it. Now we're back in this point where what is Motown who's leading Motown. It's essentially the subsidiary under capital, but it's now a brand. And who knows where things are going to be. And it's quite unfortunate, but given everything that we've said up into this point, it also, isn't that surprising just given the dynamic.[00:50:21] Zack Greenburg: Yeah, a hundred percent. And I think, you know, like you mentioned the the partnership with quality control. I mean, I think. That was a smart way to get more involved in hip hop because that was a brand that did have roots in hip hop more that, kind of resonated. and so when you sort of like, build as a partnership and look at it that way, it seems a little more credible than like,you know, Motown is doing hip hop now. so it's too bad that, you know, things kind of turned out the way they did, but, it's an interesting asset, right? I mean, it's a brand that has a lot of value. But it's not exactly clear, you know, how to sort of monetize it. And I think with Motown right now, it's like, it's probably about more, than the music, right?Like that's maybe where most of the monetization opportunity would be, whether it's, you know, Motown branded, you know, I don't know, films and, you know, I don't know, products, whatever the case may be. It resonates more, I think, than it does, as a record label. And people don't care so much about record labels anymore.Like we've talked about this, you know, in prior episodes, but it's not the same. You're not going to put on your record on a record player and see that big Motown logo on it, you're having something pop up your ear. And there, there's no visual, like, you don't know whether it's on Motown or Def Jam or Universal or Sony or, and you don't probably don't care.Right. I mean, and I think as things have kind of blurred together, genres are blurring together, you know, different, labels are gobbling each other up over the years, you know, people have just kind of like lost track and, you know, sort of like the idea of a label just isn't as important anymore.So, I do think that it's. a valuable piece of IP and, you know, there's things to do with it still. But, you know, I think, Berry Gordy certainly like squeezed, you know, all he could out of it and, did a great job of sort of ultimately profiting off of what it was that he built.[00:52:04] Dan Runcie: Right. Because what you have right now is this brand where they do have Motown the musical, which I do think has been pretty successful, both in the US and in Europe and elsewhere that it's traveled. but that's it. I mean, quality control partnership doesn't exist in the same way since they've been now bought by hive.Hopefully, Ethiopia and those folks were able to at least retain some type of revenue for helping to set the framework to make that deal possible, but we'll see I, where I landed with this is that. The way to quote unquote, I don't want to say save Motown because that can just seems like such a blanket statement, but if you were trying to improve it from its current inevitable state, it would be finding a way to spin off the asset and the catalog from Universal and having it be in the hands of someone else who can make it work.The challenge is Universal isn't going to want to give that asset up. That's one of their most valuable back catalogs that they have. So. I was thinking through it in my mind, the same way that you have someone like a Tyler Perry, who are these modern moguls that have a bit of that Berry Gordy vibe to them.The way that Tyler Perry is, we'll see whether or not he ends up buying BET, but could that same mentality be applied to a record label? And then with that, you're able to then build up your own promotion. You're able to build up your own talent, and then you take things in a slightly different way. I still don't think that guarantees success, but at least you shake things up in a particular way and you still give it that black ownership mentality.You give it a bit more of that independence and the autonomy and you could potentially see what happens because. We all know what the continued fate is as a legacy entity of a catalog holder that it would be under the UMG umbrella.[00:53:50] Zack Greenburg: Yeah, a hundred percent. Totally agree.[00:53:52] Dan Runcie: And with that, I think it would be a good time to dig into some of these categories here. So what do you think is the biggest, this will may be obvious, but what do you think is the biggest signing that they've done or that Motown ever did?[00:54:04] Zack Greenburg: Yeah, I think I'd go with the Jackson 5 I mean, you know, although Motown did not ultimately profit off of MJ's solo career, in the way that it would have if it had retained him for a solo career, Motown did profit off of the association as he became the biggest musical star, but basically entertainer of any kind in the world.and, you know, going back to the Motown 25 moment, you know, other kinds of associations. So I would say like good process. Not really a bad outcome, but like signing the Jackson 5 could have been the path to also signing Michael Jackson as a solo artist. And then, you know, just because that didn't work out in the end, does it mean that that wasn't a huge signing for them?[00:54:47] Dan Runcie: Yeah, I was going to say Jackson 5 or Stevie Wonder, which is the one that I had and I say him because of the longevity because even when times were rough, Stevie Wonder still had arguably his best decade in the 70s But, he had a number of them that were there, especially in the seventies. I think that was his strongest run and he stayed through. And I think that in a lot of ways helped bridge the gap during some of those low moments when other artists did come and went. Did come and go. So that was the one I had there.What do you have as the best business move?[00:55:18] Zack Greenburg: Well, okay. This is something we haven't talked about and maybe we should talk about it but more, but here we are, we'll talk about it more now. I think it was Berry Gordy setting up, his publishing company. So, I mean, maybe that's cheating a little bit because it was outside of, Motown itself but of He set up Joe bet, publishing, you know, pretty early on. And he didn't realize, you know, his big payday for it until later 1997, but he sold it for 132 million for just for half of it. so the EMI, and then he sold another 30% for I think 109 million. And then he sold the rest of it for, something like 80 million in, what was that?It was like 2004. So, you know, we're talking like over a quarter billion dollars and that's not inflation adjusted. you know, for the publishing and that, you know, that dwarfed whatever he got for Motown itself. So, and, you know, think about if he held onto it until, the recent publishing Bonanza, I mean, I mean, it could have been close to a billion dollar catalog, right?I mean, you know, there's nothing, really like it out there. So. He was always very smart about ownership and I think Michael Jackson knew that and, you know, studied him as a kid growing up. And that's kind of what convinced Michael to want to own his own work, and also in the Beatles work, which then became the basis of Sony ATV.And that was another massive catalog. So, yeah, I think the publishing side of it definitely gets overlooked and, you know, was ultimately the most, financially valuable part. But, even though it was sort of a separate. Company, you know, I would argue it, for sure it wouldn't have happened without Motown happening.[00:56:51] Dan Runcie: That's a great one. And I'm glad you mentioned that. Cause definitely could get overlooked and doesn't get talked enough about in this whole business. I think publishing in general is something that people don't understand. And so they just don't, dig into it, but he wrote it. I mean, he owned everything.And obviously when you own the value. When you own something that valuable, it has its assets. And I think why publishing continues to be so valuable in the industry i

On this fun filled episode of The Jay Sutton Show we discuss a variety of topics. Starting with our experience at the Tequila Celebration, my performing on a Gulf course ( video avail on channel ). RIP to Tina Turner & Jim Brown. Ja Morant updates and breakdowns. Lakers swept LBJ steals thunder with retirement hints. J. Lo breakdown and her new movie The Mother. Fetty Wap update, Rick Ross & DJ Envy online beef, Scar Lip the new it girl of Ny. Johnny Gill is the Wesley Snipes of acting (Always steal scenes/songs). HS Dean recruited kids for Latin Kings, a man beat another man with a python snake. Martha Stewart in bathing suits and a whole lot more. So press play and enjoy the show. #IntelligentIgnorance #The Jay Sutton Show #TrapQueen

Keith graduated from San Jose State University with a degree in Business Management. After his graduation pursuit of his real dream began; Keith moved to Los Angeles to become a fashion designer. While studying at the Los Angeles Trade and Technical College, he met and became an assistant designer to his mentor the late Bill Whitten. With the help and support of Bill Whitten, Stella Ruata, Bessie Nelson, Warren R. Caton- he reached his goal rather quickly. Keith was working with entertainers such as Don Cornelius, Dolly Parton, Jermaine Stewart, Chico Debarge, Blair Underwood, Bobby Brown, Whitney Huston, Michael Jackson, Heavy D, Boyz II Men, GUY, New Edition, Johnny Gill, LSG, Patti Labelle, The Body Sisters, Sam Kinison, Little Richard, The Temptations, Surface, Barry White, Chante Moore and Latin super star Juan Gabriel. Some of his memorable and stylish pieces were displayed for “A Renaissance Gypse Affair” gala at Cielo Celeste Farm hosted by Celeste Huston and attended by Angelica Huston, Bo Derek, Jacqueline Stallone and other celebrities and dignitaries from around the world. Recently at Keith Holman Presents “7 Decades in Hollywood,” costumes and archives were presented from Michael Jackson, Dame Elizabeth Taylor, the 1939 Judy Garland version of “The Wizard of Oz” and other legendary performers. The next natural step for Keith was to branch out and produce a clothing line, Holman Harper Designs, which was picked up by major retailers and specialty boutiques including Macy's, H. Lorenzo, Exclusive, Fred Siegel and others. Shortly after, Keith took his creativity to music, television and movies. He designed clothing and wardrobe for more than two hundred music videos designed for special episodes of hit TV shows, such as LA Law and Doogie Howser, M.D., for various award shows including the Grammy's, Soul Train Music Awards, Academy Awards, and American Music Awards. Keith's designs also were showcased on major artists' tours including Michael Jackson's, Victory, Bad, Dangerous and History tours; Dolly Parton's Treasures tour; New Edition's Tours; Bobby Brown; Johnny Gill; L.S.G; Heavy D and Boys to Men; Guy; Cassandra Pierson “Elvira Mistress of the Dark;” the late Sam Kinison and others. Wanting to strengthen and expand his talent and creativity into the interior/exterior design industry, Keith studied at Thomas Schoos Designs. His unerring eye moved from the body to the home in the design of custom water features, indoor and outdoor furniture pieces, furniture accessories and landscaping. The list of celebrities that have put their home decorating into Keith's capable hands includes Bernadette Peters, Eddie and Nicole Murphy, Mary Kate and Ashley Olsen, Jamie and StevenTisch, Tracey Bregman-Recht, Kim Novak, Mrs. John Huston, Will and Jada Smith, and Countess Maria Cortez. During this time, he also began facilitating the sale of antiques and designing meditation gardens for his top clients. Effortlessly moving between personal and commercial spaces, Keith's restaurantdesigns include Koi Restaurant in Las Vegas and Los Angeles. Working alongside Icrave Design, Keith decorated and designed for casual elegance One Sunset on the Sunset Strip, STK Restaurant in West Hollywood, Coco De Ville in West Hollywood and Boudoir West Hollywood. During this time, Keithcontinued to create costume masterpieces for his celebrity clientele for events, premiers and their personal wardrobes. Keith has been featured in television and radio on shows like Entertainment Tonight, the Arsenio Hall Show and more. He's been written about in articles for Ebony Man, GQ, Boston Globe, LA Times, The London Mail, and more. He has received several awards such as the coveted Gold Thimble Award and the humanitarian NAACP Image Award for Black Designers, Humanitarian Award “Kids Feeding The World,” RSMA Legends Award, and the 30th Anniversary Thriller Award. Keith donates his time and money to various charities and foundations. --- Support this podcast: https://podcasters.spotify.com/pod/show/moviemakingpod/support

Hollywood hyphenates Vajna Renee and Andrew PC Yevish joined Mark and Nicole for a wild super-sized vodka infused party... Andrew was came to LA from Wildwood NJ, where he made a lot of money with a rock and roll lifestyle store but was going through a divorce and ended up purchasing a home from a Laker, learning lessons from dating and acting coaches and writing and directing the upcoming movie Fake It Til U Make It, and autobiographical comedy starring Tom Sizemore in one of his last on screen appearances, singer Rockwell of Somebody's Watching Me fameand Nicole Sixx herself as a tarot card reader. He details the unique way Sizemore got his "energy" up to do the scenes, how he met Rockwell, who seems to be stalking Nicole, and how his girlfriend puts him sternly in his place (but he likes it)  Vanja was surprised to learn that Mark knew about her teenage rap career and how Jesus stopped her from touring, which was a blessing because she was getting groomed by Johnny Gill's brother, she talked about her mixed race heritage and what it was like growing up as a Jehovah's Witness, then a black nerd, then the "hot mom" on the Dorito's Cool Ranch commercial. The conversation quickly got off the rails as everyone started talking about bisexuality, transexuals, swinger clubs, child stars turned towel boys, 3 somes, 4 somes, 5 somes and her incongruous crush on Michael J. Fox, even post Parkinson's diagnosis... Get some Dark Mark Show gear Go to www.teepublic.com/user/dms1 for shirts, mugs, phone/laptop covers, masks and more! Go to lulu.com and get Nicole's poetry book “Slow Burn” This show is sponsored by: Eddie by Giddy FDA Class II medical device built to treat erectile dysfunction and performance unpredictability. Eddie is specifically engineered to promote firmer and longer-lasting erections by working with the body's physiology. Get rock hard erections the natural way again. Using promo code DARKMARK20, you can save 20% on your Eddie purchase, and you and your partner will be chanting incantations of ecstasy together faster than you can say “REDRUM.” Go to buyeddie.com/DarkMark for 20% off your purchase using code DARKMARK20 today. Raze Energy Drinks Go to https://bit.ly/2VMoqkk and put in the coupon code DMS for 15% off the best energy drinks. Zero calories. Zero carbs. Zero crash Renagade CBD Go to renagadecbd.com for all of your CBD needs Tactical Soap Smell Great with Pheromone infused products and drive women wild with desire! Go to https://grondyke-soap-company.myshopify.com/?rfsn=7187911.8cecdba

I'm Still in Love With You Johnny Gill!  As New Edition celebrates 40 years and prepares to head out on tour, Johnny joins the pod to look at events of the past as well as what lies ahead!  From amazing stories of Whitney Houston, to details of the band's inner struggles, to which member was against him joining the group…AND rumors of a Vegas residency! See omnystudio.com/listener for privacy information.

Johnny Gill   New Edition member and legendary R&B artist Johnny Gill talks about his career including his early years as a solo artist. His introduction to New Edition and the many amazing producers he has worked with throughout his career.See omnystudio.com/listener for privacy information.

Mychael sits down to talk about his solo record Genesis.Mychael Gabriel's background in the musical arena has been a colorful one: Writer, producer, arranger, engineer, mixer, musician - his extensive collaborations in the professional music arena include: Sheila E., Stevie Wonder, Ringo Starr, Hans Zimmer, Usher, John Legend, Snoop Dogg, Beck, Common, Gary Clark Jr., St. Vincent, Miguel, H.E.R., Juanes, Goapele, Earth Wind and Fire, Gloria Estefan, George Duke, George Clinton, Freddie Stone (of Sly and the Family Stone), Luis Enrique, Tony Succar, Joss Stone, Debi Nova, Israel Houghton, George Benson, Tony! Toni! Toné!, C.O.E.D., Escovedo Family, Avery Sunshine, Ellis Delaney, Kevin Ross, Johnny Gill, Peter Rafelson, Jean-Marie Horvat, Victor Wooten, Damon Castillo, MasterClass, DreamWorks Animation, ABC Network, 2007 and 2012 Latin Grammy Awards, 2016 BET Awards, Super Bowl XXVI, 2020 Grammy Awards, 2020 Grammy Salute to Prince, 2022 Summit of the Americas, 2022 World Games, and so much more...