Podcast appearances and mentions of patty labelle

Plongeons dans les coulisses d'un tube mythique de la musique disco : « Lady Marmelade » ! Cet épisode de « Music Story » vous révèle les origines surprenantes de cette chanson devenue incontournable.Tout commence avec un groupe obscur, The 11th Hour, qui en a écrit la version originale. Mais c'est le groupe féminin Labelle, emmenés par la talentueuse Patty Labelle, qui a fait exploser ce titre et en a fait un véritable phénomène. Vous découvrirez que la célèbre phrase « Voulez-vous coucher avec moi ce soir ? » était à l'origine une expression utilisée par les prostituées du Vieux Carré de La Nouvelle-Orléans ! Bien que choquante à l'époque, cette référence osée a contribué au succès retentissant de la chanson.Vous en apprendrez également davantage sur les efforts déployés pour rendre les paroles plus convenables et les réticences de Patty Labelle à interpréter ce texte sulfureux.

The mustaches discuss the many murder victims of Ronald Dominique in Louisiana from 1997 to 2006. When Dominique's dreams of being a Patty Labelle impersonator and theater star did not pan out he focused on his other career as a serial killer.Try our 8% seltzers HardAFseltzer.comSupport this podcast at — https://redcircle.com/crime-corner-with-jessie-wiseman/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Steve Siler has written hundreds of songs , nine of them were #1 Christian Contemporary songs and 45 of them top 10. His songs have been recorded by some of the countries biggest stars...Kenny Loggins, Smokey Robinson, Patty Labelle, the Oak Ridge boys and others. To say the very least his song wrting skills are a true gift from God. Born out of his love of music at a very early age, combined with finding his way to Jesus as a teen was the fertile ground for what turned out to be his life's work. Although he loved writing Christian hits, he found his special niche in writing songs that address the challenges of our current culture:  eating disorders, body imaging, pornography, anxiety, additions, alzheimers, cancer and much more.  You'll hear how music has a unique way of breaking through to help heal wounds and bridge the challenges that so many face.  It was hearing his first hit song played on the radio that changed his musical direction and ultimately launched "Music for the Soul", Steve's non-profit organization that has been doing this amazing work for the past two decades.  In this episode you'll get to hear a brief sample of a couple of his most powerful and well known songs that will help you understand his mission and passion.  Find out more, listen to his healing music and help support his mission at www.musicforthesoul.org."Amazing Greats" is a library of interviews with highly successful people who have amazing career and life stories and who share how God has impacted their journey. Hosted by broadcaster Ric Hansen & produced by Klem Daniels. Available on Apple, Spotify, iHeart, Google and our YouTube Channel. Please help us grow our audience by "liking", "subscribing and "Sharing". Thanks so much.

Legendary singer-songwriter Luther Vandross pioneered a golden age of silky-smooth R&B and passionate slow jams. In addition to countless hits and platinum albums, he earned eight Grammy Awards, including ‘Song of the Year' in 2004 for “Dance With My Father” – a track that was released while he was hospitalized after suffering from a stroke. He studied from the best at a young age, spending hours watching and recreating the routines of Diana Ross and Dionne Warwick that he saw on television. He wrote, arranged and sang back up for David Bowie, Chaka Khan, Bette Midler, Barbra Streisand and Roberta Flack, before finally deciding to step into the spotlight as a solo artist.Despite his success, the powerhouse balladeer had a very public struggle with weight, especially with an unforgiving media fixated on image. He was also dogged by constant questions over his sexuality, despite pleas to respect his privacy. It's hard to believe that a man responsible for some of the most beautiful ballads ever recorded had a difficult time finding true love in his own life. Nonetheless, Vandross persevered with an unprecedented work ethic and an unrelenting spirit to succeed.Join I SEE U as host Eddie Robinson chats unguarded with award-winning filmmaker, Dawn Porter. Her latest documentary, Luther: Never Too Much, has received critical acclaim for uncovering details of Luther Vandross' life previously unknown to even the most die-hard fan. Utilizing a hefty trove of archival footage and rare rehearsal recordings, Porter allows Vandross to tell his own story with assistance from his closet friends and collaborators, including Warwick, Mariah Carey, Marcus Miller, Richard Marx and Nile Rodgers. With the recent news of CNN Films and OWN acquiring the film, the director chronicles for I SEE U the triumphs and tribulations of an extraordinary vocalist who grew up admiring the heroines of ‘60s music royalty to become one of the most influential and decorated artists of the last few decades.

Send us a Text Message.Ever dreamed of jamming with some of the music industry's most celebrated icons? Picture yourself backing up the likes of Chaka Khan and Patty LaBelle? Brian Dunne, a renowned drummer, is living that dream, and he's here to share his incredible journey. As he walks us through his early days of jamming with his brother to his experiences with world-famous artists, Brian's tale is a testament to the power of dedication, practice, and an unwavering passion for music.Navigating the unpredictable music industry is no easy feat. Imagine waiting on tenterhooks to find out if you'd be called back for another gig or dealing with overzealous fans. When we shift gears and delve into Brian's career progression and his experiences in the Long Island drum scene, it's clear that camaraderie and support can make all the difference. His candid tales reveal the exciting and sometimes challenging life of a professional drummer and the importance of friendship within the industry.In an industry steeped in tradition but continually evolving, understanding the fundamentals of drumming and their application to different musical genres is key. Brian sheds light on the evolution of drumming, the rise of modern drummers, and the impact of technology on the music industry. Whether you are a seasoned drummer seeking inspiration or a newbie fascinated by the world of drumming, this conversation with Brian Dunn will leave you with newfound insights and a renewed passion for your craft.Support the Show.

On this week's episode, television veteran Michael Burger (Family Feud, Price is Right, Mike and Maty, and many many more) talks about his showbiz career. He looks back on memories from working on cruise ships as well as being able to work with some of his idols.SHOW NOTESMichael Burger's IMDB: https://www.imdb.com/name/nm0121221/Michael Burger's Website: https://www.michaelburger.com/Free Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAUTOGENERATED TRANSCRIPTSMichael Jamin:So when you shoot a multi-camera sitcom the audience, they bring in an audience and it could take, I dunno, it could easily take five hours to shoot a half hour of television.Michael Burger:22 minutes. Five and a half. Yeah. Five hours to shoot. 22.Michael Jamin:And so what's the audience doing while they're resetting the scenes or the actors are changing?Michael Burger:Well, I've got a lot of stories. Some. I had a guy die once. What? And I just thought he was taking a nap. Yeah. I kept looking up going, God, I don't, A comic wants everybody engaged. Right? And he's just, and at the end, he's not leaving every, the bus is gone and they card him out and he died on the way to the hospital. I guess they revived him, then he died.Michael Jamin:You're listening to Screenwriters. Need to hear this with Michael. Hey everyone, welcome back to Screenwriters. Need to hear this. I'm Michael. I got a cool guest today. So as many of you know, my very first comedy writing job in Hollywood, I was a joke writer on a morning TV show on a b C called the Mike and Maddie Show. And my next guest is Michael Berger, the host of Mike and Mad Mike, thank you so much for joining me here. A areMichael Burger:You nice to see and reconnect with you again? It's been a fewMichael Jamin:And you are this, I know you're not quite a screenwriter, but I think have a lot to, I don't know, just a lot to add to the conversation because you're a professional talk show host and you posted so much. I'm going to blow through some of your credits real fast just so people, but don'tMichael Burger:Blow through 'em. I want you to land on 'em and marinate on 'em for a while.Michael Jamin:Let's linger on them unnecessarily for a long time. So obviously Mike and Maddie, but the Home and Family Feud, the live version as well as the Price is right, the live version, thousand Dollars Pyramid Match Game, iron Chef Personals, the Late Night Dating Show Straight to the Heart, not to mention your long history as a standup comedian on cruise ships, and then later doing warmup. I want for audiences for sitcom audiences, which I know you've, we've been on any of the same shows, which is, that's a whole nother level of comedy. I want to talk about that. But first I want to talk about where you began. It was, how did you become a comedian for cruise ships?Michael Burger:Well, a lot of these entries into showbiz come in through the side door. And this was certainly the case. I was a big fan of Steve Martin and back in the late seventies, there was a contest where they were looking for a Steve Martin lookalike and the payoff, the winner got a spot on the Tonight Show with Carson. So I figured this is my entry in, so I figured that I win this contest and I get my own show. Well,Michael Jamin:And you didMichael Burger:Well. You had to submit a cassette tape, audio cassette tape of you doing Steve Martin. No video cameras just a cassette. And they wanted that in theory, in front of a live audience while I had, I hadn't done any standup. There's no live audience, but my audience in the day was my classroom. So I went back to my high school and said, can I borrow the classroom and just do Steve Martin's material and I'll take my best cut from that. So I went to five teachers. I did five minute sets, and I submitted that tape with the best of the five to the radio station who said, yeah, great. Come on up to the tower records parking lot on Sunset, where there's 25 of us dressed like Steve Martin doing. You're a wild and crazy guy. I win that and go to San Francisco and I meet the western Halfie of the United States at the boarding house, and I win that. And the finals are at the Comedy store with the entire country represented. I'm one of six. Steve Martin is there, Carl Reiner is there. And the winner, the payoff is the Tonight Show spot. And I do, my thing and my twist on it was I came out white suit arrow through the head, no pants with boxers that said a B, C news brief.So I figured I'd add my joke and the guy I was up against that I thought was my competition, played banjo so well and looked like Steve. I thought, there's no way. Right. He does his bit, I do my bit. It's a tie between me and this guy from Nashville that looked like Steve. Steve Martin comes on stage and he's holding our wrists like a ref in a boxing match. And he holds up the other guy's hand. Okay, that guy wins. I lose, three months later I'm watching The Tonight Show and Johnny goes, oh, we have a guest tonight. And Steve Martin comes out and he's out for about 30 seconds and you realize it's not Steve. The real Steve comes out bound and gagged yelling, this guy's an imposter. That guy goes away. We never hear from him again. And that was my first taste at showbiz.Michael Jamin:And you were like, what? 20 something?Michael Burger:Yeah. Yeah. Maybe I was 27, 28. But what would you, somebody saw that and said, Hey, can you do that on a cruise ship? Can you do standup on a ship?Michael Jamin:But wait, what would've you done if you had won this? Because then you would've been on the Tonight Show, but you didn't have an act.Michael Burger:Well, I would do kind of what that kid did. The whole bit was to pay Steve Martin's movie off The Jerk that was coming out. And it was just a sight gag, but I certainly would've come up with something. And then, so what I wound up doing initially after that, and this is in the height of all the singing comedy telegrams, remember back in the day, dancing bears and roller skates? Yeah. So I did a Steve Martin lookalike Soundalike Comedy Telegram where Michael would hire me to make fun of somebody, and I would get all the information and I would go wherever they are, a bank, an office. I actually stopped a wedding once as Steve Martin air through the head white suit, hold on, I don't think this is right. And do a little Steve Martin thing. And there was a guy in the audience at a restaurant who came over after I just did this Rickles kind of riff. And he goes, that's very funny. Can you do ships? And I said, sure. And that's how I got on a cruise ship. And then I'd come on as Steve, and then I'd do my whole act after that, which I developed over time.Michael Jamin:But your act was basically kind of making fun of Steve, or was it all playingMichael Burger:Well, no, you quickly. No, I had some comedy ideas, but what I realized as soon as I got on the ship, 70% of the material comes from being on the ship. Right. I dunno if you've ever worked ships, but No. Oh, there's so much material. It's such a ripe group. And thenMichael Jamin:It's so interesting, you never even did the comedy clubs. You really came up your own way.Michael Burger:I really did. I did a few because of that little bit of notoriety, but the cruise ships were a better paying gig. You got to see the world and you really felt like you were in the business. You had a band behind you generally. There was an opening act. The only downside was if you didn't do well, you'd have to see these people for the next three days, four days, seven days.Michael Jamin:But howMichael Burger:Many I loved it.Michael Jamin:How many shows would you do on a, so you were like, let's say it was a seven day tour. How many shows would you do?Michael Burger:Two.Michael Jamin:That's it really?Michael Burger:Yeah. Yeah. I would do the three and four day cruises down to Ensenada and back. And so I would do welcome aboard show, I would be the headliner. I'd come out and do my hour, and then they said, you can do anything you want on Sunday night. So I'd go in the back lounge and then just try stuff. And that's really where you kind of learned what's funny, what's not. So I got to do, my God, for anybody listening that remembers the Catskills in those old days where you just work well clubs today, you go out and work material, I could go in that back room and I would go on at midnight and the buffet would start at midnight. And my goal as a performer was if I could keep people from getting up and leaving my show to go eat again, then I realized I had some pretty good material. So I would do an hour and a half, two hours in the back room.Michael Jamin:ButMichael Burger:The moment that really, maybe this is where you're headed, that launched my career was in the middle of the cruise. They had a passenger talent show. And on one of these cruises, the cruise director came up to me and said, Hey, can you fill in and host the Passenger Talent Show? I have other things to do. And he meant that as a verb. I mean, this guy was, he was all over the ship just right,Michael Jamin:Yeah. GoingMichael Burger:After whatever moved, you know what I mean? And I said, well, what do I do? And he goes, well, these people sign up throughout the week and then we turn 'em loose at midnight and they do whatever they do. Think America's Got Talent. And I said, well, what would you like me? Wait, introduce 'em, put a little show together, go at 11 o'clock at night, get with the piano player and you figure out maybe an order. I said, well, okay. It sounds like fun. So I did that. And I'm telling you, Michael, I had more fun doing that than any standup really. I had a chance to talk to somebody, where are you from? What do you do? And then you turn 'em loose. But because, and it's not unlike warmup where someone else is the star where someone else has the focus. You just set 'em up and turn 'em loose. Yeah. I had an 85 year old woman, get up and tap dance to the Lord's Prayer. You don't need to top that.Michael Jamin:Yeah. How do you, right.Michael Burger:I mean, I had everything. Right. So I started doing this and about at the same time, I was doing warmup for a game show. We're going to go way back now, a dance show called Dance Fever.Michael Jamin:Yes. WhichMichael Burger:Is again, these dancing shows, but way back, right.Michael Jamin:It was solid Gold and Dance Fever, those two shows. That'sMichael Burger:It. And they had three celebrity judges and they would judge the dancers. And the Cue card woman comes up to me on a commercial break and she goes, N B C is going to do a morning game show. And they want somebody new, somebody unknown, someone that no one's heard of. I said, that's me. I, I'm in the middle of the ocean. No one knows me. She goes, do you have a tape? I said, nah, I got a tape. Sure. I got a tape, I got no tape. So the very next cruise I go back on, I put 2,500 bucks on my credit card and I go buy that two piece video system where you had to buy the base unit, the head unit. And I brought that on the ship. I put it on a tripod, I put it back by the soundboard, and I pushed record and I videotaped every one of these passenger talent shows that I hosted and then cut everybody out.And it just kept my moment. My first demo tape was six minutes of me doing that. Right. So this woman at Dance Fever says, get me that tape. I'll get it to N B C. The two people in charge were Jake Talbert and Brian Franz. They were the presidents of daytime television, N B C. So she sends in the tape and I get a call, my agent and I come in, I have an agent at this point, and they go, do you know why you're here? And I said, yeah, Mary Steck was nice enough. I said, no, it's the guy at the end. I said, what do you mean the old guy? Yeah. What about him? Well, there's this charming old man that I'm introducing and playing with, and he grabs the mic out of my hand and goes, you must be saying something very funny, but I don't get it. Well, it's a huge laugh. And the N B C exec said the fact that that guy got the laugh and you let him have his moment and you didn't come back over with one more ad lib of your own tells me you got a sense of how to host. It's about making someone else shine. He said, we can teach you how to host a game show, but we can't teach you as the instinct to make someone else look better. Were youMichael Jamin:Aware of that though? I mean, we,Michael Burger:Not really. Yeah. I mean, I got better at it and I realized the sneaky joy of this is that if you get a laugh and get out of the way, put the onus back on them when you do a talk show. But when theyMichael Jamin:Said this to you, you're like, oh my God, I, I've been doing this all along and I didn't realize this. Or were you consciously doing that?Michael Burger:I think there was sort of a Midwest polite mentality, kind of how I was raised, don't interrupt, all that kind of stuff. It kind of goes part and parcel just being, I don't know, polite iss the perfect word. My dad was from Missouri, my mom was from Minnesota. We kind of raised in a polite family. I just thought that was the right thing. But I also realized that boy, you could use this to your advantage, 'em shine. And that I work at it to this day trying to be a better listener and try to be better at picking my moments. That's how it started. That's literally how my career started out at sea. AndMichael Jamin:Then so then what happened with that audition then?Michael Burger:So I got the pilot. I got the pilot for N B C Morning Talk show. My very first time on a lot is at N B C. And I'm parked six spots down from Johnny Carson. It's got a white Corvette. His license plate said 360 Guy thought that was a clever license plate all around Guy. Yeah. I'm six spots down from Carson. I just got off the boat. I am so far from showbiz. I'm walking on the set. We shoot the pilot at the same time. They're just about finished with a Tonight Show. We shot across the hall, very little security back in the eighties. I open the door and I walk in and I sit next to Gregory Peck. Colonel Michael going shelf is so easy. Yeah. He goes on, he comes out, I say, hi, Carson walks by, gives me one of these. Everybody walks out and we all go home. Kicker. The story is Pilot did not get picked up, but the production company, reg Grundy, who did all of those shows back in the day, sail of the Century and Scrabble, liked what I did and put me on retainer for a year to develop something else.Michael Jamin:But did they, and I never even asked you about Mike and Maddie did like Yeah. Did they coach you at all before you start doing this? Did they rehearse you or is it like, well, this is who we hired, let him do his thing?Michael Burger:It's a good question. In the game show world, when we were getting ready to do a game show, they would remind me that the first half of the game is fun and q and a and get some joy out of these contestants and root for 'em. And then when it shifts to the bonus round, there really needs to be a shift in tone. This money is serious money and this can change someone's life and this is not the place to go for a joke. Let's kind of shift the focus and really be there for 'em and root for 'em and console them if they lose and be happy for 'em when they win. So there was a little bit of that. Some of it, it's, most of it's just learning where your beats are, getting in and getting out.Michael Jamin:What about Mike in the game show world or home family, same kind of thing?Michael Burger:Well, Mike and Maddie was a whole nother league that was morning network everywhere in the country. And I was working with someone, which I had never done. So I came in for the audition and did well. And the woman I had auditioned with, they had a deal to put in place to put her on the air. And as I was driving home, my agent called and said, I don't know what happened in there, but they now want to do the show with you. And they're letting her go. Said, oh, well don't give her my address.Michael Jamin:AndMichael Burger:He said, we now have to find a woman to pair up with you for this morning talk show. And I thought, well, how do we do that? I said, well, Disney will set it all up. This is a dizzy production. And I auditioned and I audition's not even the right word. I sat down with 85 women and just said, how you doing? How you doing? And we just tried to see if there was any chemistry. It's like dating somebody. Is there there a connection? Maddie?Michael Jamin:This I had? No, I, I'm sorry, I have to interrupt. But this I had no idea about becauseMichael Burger:Yeah,Michael Jamin:It seems like they sell a show to A, B, C, they go, it's going to beMichael Burger:Morning show. We know, actually, let me back up. This show is going to be in syndication for Disney, which they could syndicate across the country and do anything. ABC's not involved at thisMichael Jamin:Moment.Michael Burger:So they had a development deal with this woman. They passed on, they put me in the spot. Now they got to pair me up. They pair me up, Maddie and I had instant chemistry. And about an hour after her audition, they say, we love you both. Let's do it. So we shot a pilot right at K H J on Melrose, a $40,000 pilot, right? I mean, that's about as cheap as you can get. And they took that pilot out and tested it and it tested as high as Oprah tested back in the day, right? A, B, C got wind of this and said, forget syndication, we'll put you on the air now. And three months later, Maddy and I hit the ground running, not knowing each other really. And what began a two year, 535 episode run with someone I got to know every day. We shot literally every, well, five days a week, Monday through Friday.Michael Jamin:So that's interesting.Michael Burger:We got to know each other. Got to learn the whole thing.Michael Jamin:I didn't know that was the origin of, because they're basically saying, okay, we're selling a morning TV show. We don't know who's in it yet, but if you like the idea of a morning TV show, we're going to audition this.Michael Burger:Back in the day, they were handing out these, they were handing these talk shows out pretty regularly. It was kind of the thing fairly inexpensive to produce, I guess. Although we had quite a budget. This was Morning Network. This was a big official show that we traveled and there was a nice budget for a big beautiful set. And everybody got what they needed to pull this off. And then celebrities would catch on and come on. And we had our favorites. And you got to sit down there with your idols. And yeah, there was a little pushback. The fact, I want to talk to you about this, because A, B, C was adamant that this show was not a comedy show in the morning. That you're taking people's time away from them and you got to give them something. They got to feel they haven't wasted their morning. So there's always a recipe, there's always something to learn from. And I came in kind of hot with this idea of comedy and they're going, no, people don't want to laugh in the morning. And I went, well, I got to disagree with you there, but Max Mutchnick and Max and who? Max and Dave, right?Michael Jamin:David Colleen, yeah.Michael Burger:Who created a little show calledMichael Jamin:Will and Grace.Michael Burger:So they were the first writers on Mike and Mad. And it was just overkill. We didn't need that much horsepower from them. They were so talented. They went on and did what they did. But I think because they brought me on, they certainly liked my sense of humor and thought this would be a nice way to wake up in the morning. So eventually they embraced the humor as long as he balanced it with information.Michael Jamin:And that show, it was Tamara Raw, Tamara, she was the producerMichael Burger:Started it.Michael Jamin:She started it. And I guess her vision was Letterman in the morning. But Letterman had a show in the morning. And so that's whereMichael Burger:You don't want to go down that path. And that kind of scared so, and part of this was wise that you, let's not waste people's time in the morning. Let's find that balance of being entertaining and give them a takeaway. And we realized that, I certainly found that balance. Maddie and I started to feel our own beats there on where we could jump in and we each got our own segments where we could shine. Yeah. Maddie was the greatest at locking in on a guest. And Carol Burnett came on and Maddie just started crying. That was, that's how she started the interview. It's because Maddie learned English having come from Cuba on one of the last Freedom Flights out. And now the show that she watched to learn English by the Carol Burnett Show. She's sitting there and she starts crying. Well, that's a great host showing her emotion, being interested. So yeah, I love working withMichael Jamin:Her. Yeah, she's delightful. Yeah, I remember, I remember taking, going to your dressing room with index cards versus jokes here, what about this?Michael Burger:And I wanted that so much to me that felt like Letterman and that felt like The Tonight Show. I was aching for that. I don't remember the conversation we had or what I fought for. I wanted Jonathan Winters on the show, and I had done warmup on his sitcom and they said, no, that's not our audience. And I went, what's not our audience? Funny. So I pushed, six months later, Jonathan came on and I got to sit with him and I got to do what Johnny Carson did with him, which was give him a hat and then do a character. And I thought, this is, I'm in heaven.Michael Jamin:ThisMichael Burger:Is as good as it gets. But it took some pushing because they thought, who wants Johnny in the morning? Yeah. So wait a minute.Michael Jamin:WhoMichael Burger:Doesn't want to laugh in the morningMichael Jamin:And be, but before that, you were still also doing warm before warm up. And then how did, so just so people know, so when you shoot a multi-camera sitcom, the audience, they bring in an audience and it could take, I dunno, it could easily take five hours to shoot a half hour of television.Michael Burger:22, 2 minutes, five and a half. Five hours to shoot 22.Michael Jamin:And so what's the audience doing while they're resetting the scenes or the actors are changing?Michael Burger:Well, I've got a lot of stories. Some had a guy die once. What? And I just thought he was taking a nap. Yeah. I kept looking up going, God, I, a comic wants everybodyMichael Jamin:Engaged.Michael Burger:And he's just, and at the end, he's not leaving every, the bus is gone and they car him out and he died on the way to the hospital. I guess they revived him, then he died. WhatMichael Jamin:Show was this?Michael Burger:Women in Prison?Michael Jamin:I don't remember. Don't remember. Women in Prison. Sure,Michael Burger:Sure you do. It was a sitcom with Wendy, Joe Sperber and Peggy Cass, an all star lineup. Blake Clark played the Warden and it was a sitcom about women in prison. I know. And I was the warmup. And then I did all of those types of sit. I mean, I did big ones, I did shows, you'd know. Yeah. Gosh, Mr. Belvedere is where I started.Michael Jamin:Remember one. AndMichael Burger:That's really where you learn, I don't know a comic that's got five hours, unless you're talking maybe Leno, but you know, do your act. But then you have to figure something else out. And that's where these hosting chops came in and yeah, you're like a surgeon on call. The moment the bell stops, then I start talking to the audience and then they're ready to go again. Could be right in the middle of a joke, you're telling, it doesn't matter, I'm here to serve. And they would do, again, for those uninitiated, maybe 15 scenes in a sitcom of 50 pages, 60 pages. They'll do each scene two or three or four times. The actors want another shot at the scene. Maybe they've got another joke laid in, or maybe they want another angle. And each time they do it, that audience has to be geared up, not only reminded, Hey, where were we? Right. And sometimes literally reminded because a lens went down and we have a 30 minute stop between scenes seven and eight. Yeah, that's happened. So you keep them entertained. And it's actually, I think that was the greatest training for me anyway.Michael Jamin:It must've actually a really important job because as a TV writer, we want the audience to have, they need the energy. They got to keep giving it to the audience. And it's the warmups job to keep them engaged and not wanting to leave and get bored and zoned out. Well, I'mMichael Burger:Glad you said that becauseMichael Jamin:Oh, very important.Michael Burger:The writers will come to me and say, how's the audience tonight? Or if the show's not going well, they'll going, Hey, can't you do anything your fault? I'll certainly try sometimes it just wasn't that funny. Or the reverse is true. Right. I have a Dick Van Dyke story that is painful. He did a sitcom with his son called Van Dyken Company. And Walter Barnett produced and they brought me in. I had a nice reputation of being the warmup guy. So I came in and did the pilot and it's like taking candy from baby, I'm killing. And Walter Barnett walks up to the rail about three feet up audience, and without stopping, he says, just pull it back a little bit and then keeps walking. And a couple scenes later, more laughs, he goes Less. Just less. Okay. Now we're like five seeds in. And he pulls me up and he goes, stop telling jokes.I'll tell you why. Later. I went, oh my God. So now I'm just talking to the audience and I happen to get one guy in the audience that was a mortician. I go, what do you do for a living? Mortician big laugh. He looks at me, what are you doing? People are dying to get in. I go, well, it's not, he's doing it. At the end of the show. He goes, I got to let you go. Dick is not happy. Dick, Dick van Dyke's not happy. Yeah. Yeah. Show's just not coming together. He had hoped, and there's a lot of laughter when we're not shooting, so I'll keep you posted. So the next week they bring somebody else in and it's awful. So they bring me back. But he said, okay, you can come back, but you can't do the puppet bit and you can't do these three jokes. I had some killer bits that I know I could rely on. So I finished the six episodes I did when I did five of them. ButMichael Jamin:It, it's, it's actually, warmup is a pretty high paying job. It's a pretty desirable job.Michael Burger:It was crazy. I'd never seen that kind of money for one night. I'm not doing the clubs. I'm not on tour, and I'm not only in town. I'm getting union money. So now I'm getting my sag guard and I, but that's a union job. Then they tried try to take it away from usMichael Jamin:That that's a union. That's a union chop. IMichael Burger:Didn't know that. It was after I fought for it, it was then a bunch of us got together and went to the union and said, Hey, we're a pretty important part of this production. They agreed, actors stood up for us and spoke on our behalf, and we wound up getting union money, which is how I got vested. But I mean, don't think I'm speaking out of school. Warmups could range. Back in the day was 800 for the night and five or 6,000 a night was not uncommon at the end. Yeah,Michael Jamin:I know that for sure. And then,Michael Burger:So you knock out a couple of those a week and all of a sudden you're going, IMichael Jamin:I'm rich ShowMichael Burger:Business. Well, show business is great, but you're also not on camera. And you're thinking, I remember having shows on the air and then going back and doing warmup and candidly thinking kind of a step back. And a producer said to me, I wouldn't look at it that way. He said, do you like doing it? And I said, I love doing it. He goes, you're good at it. I said, well, okay. And he said, that carries a lot of weight. If people are going to see you work 'em, see you doing what you do. Well. And I kind of reframed that and got back into the warmup and wound up doing a little show with people that you probably, or one actress that was probably everyone's favorite or has been. And that was Betty White. Yeah, sure. And I came back and did Hot in Cleveland and did 135 episodes. I spent 135 Friday nights with Betty White.Michael Jamin:Yeah, she's lovely. Yeah. I worked with her on an animated show. She couldn't be, she was so lovely.Michael Burger:Sweet. Right? Yeah. And gives you everything you'd hope.Michael Jamin:Oh, for such a pro. I remember I've told this story, I was doing an animated show. So I was directing her and she was, I don't know, maybe 15 feet in front of me. I'm at a table, I got my script. I'm giving her notes and she's delivering. She's great. But after a take, I'd give her a note, can you try like this? Like that? And she was very pleasant. But after a few sec or a minutes, she stops and she goes, I'm sorry, dear, but you're going to have to yell. My hearing isn't as good as it used to be. And I said, if you think I'm yelling at Betty White, you're out of your fucking mind. And she just lost it. She loved that. She was so far, I mean, she's like, she was so sweet whenMichael Burger:You would see her on the set, the room changed. Everybody was aware. It was like the Pope walked in and the little ad libs that she would throw off to the side, which having done 135 of 'em, I realized she had a lot to go to. But the first time I heard a couple of these, for instance, cameras rolling, awkward pause. Betty looks up and goes, if no one's saying anything, it's probably my turn. Yeah, that kills. Director goes, we have to go back. Betty goes, how far the pilot? So she got about 50 of these ready to go. And there was a scene where they, once a season, they would pair the girls up, Wendy Mallick, Jane leaves, Valerie Tonelli. They're all single as Betty was. So they would have a date show where all the women got paired up and the girls paired each other up with dates. So they picked Carl Reiner as Betty's love interest. And there's a scene where she and Carl KissAnd crowd goes Nuts. And then we stop. And Carl's 15 feet from me. And I had worked, interviewed Carl on Mike and Maddie. In fact, I, Carl, I let had him cut my tie, which is an old Johnny Carson thing I'll get back to in a minute. But I said, Hey Carl, you just kissed Betty. What was that like? And he goes, without missing a beat. Oh, it was unbelievable. She has her original teeth and all and her, she goes all of her own teeth and her original tongue recess. That right at 90 without missing a beat. And you saw these two connecting, right? As the old guards of the business,Michael Jamin:Some legends. But how did you get that first warmup job? I mean, walking into that is not, is hard.Michael Burger:It was. Or even gettingMichael Jamin:The opportunity to do it as hard.Michael Burger:Yeah, I go back to the cruise ship. I was doing warmup on the ship and a producer for Jeopardy was on who worked for Merck Griffin, and they were doing this dance show. And she goes, can you get me a tape? Then by that time I had, and so the very first warmup I did was Dance Fever. And one of the celebrity judges, it was Christopher Hewitt, who said to me on a break, oh dear Ladd, you should come do our show. And I did, did that show for seven years.Michael Jamin:Wow.Michael Burger:And then that kind of mushroomed into other warmupsMichael Jamin:Because you've had a really unconventional path into Hollywood, I would think.Michael Burger:Yeah, yeah. But my sights were set early on. I saw that Carson did a game show and then a talk show. And I went, well, that works for me. So lemme see if I can get a game show. Let's see if I can get a talk show. And I've accomplished those. IMichael Jamin:Certainly, but you were never a weatherman.Michael Burger:No, I never, I never, what happened? Do I look the part,Michael Jamin:Was that a slam? It's a quietMichael Burger:Slam.Michael Jamin:Letterman was a Well, weather. He was, yeah. I mean, seems like that's another, as long as you're in front of the camera, I'd think. Well,Michael Burger:In the LA market, you couldn't get past Fritz Coleman.Michael Jamin:Yeah,Michael Burger:Right. Did that for 40 years who also did standup. And I never wanted to do that. And the opportunity to act had come up a number of times. And with all humility, I just said, no, I don't think I would be good enough. I knew what I liked. I knew I liked talking to people, basically.Michael Jamin:But you've done some actingMichael Burger:And I figured I'd just stay in my lane.Michael Jamin:But you've done acting. I know you have, in an episode that I wrote, you're an episode, episode of Lowes and Clark.Michael Burger:Yeah. I don't, that's not on the resume. I just don't, those got handed to you because you were on the air doing something else. Right. I got to present at the Emmy's because we were on the air, and Maddy and I handed Oprah, her Emmy award, and we're going down the elevator with Oprah, and she's singing our theme song. And turns out she was a fan of the show, kind of, yeah. Was our godmother. Because when Mike and Maddie went across the country, we aired in Chicago after her. So she was on at nine, we were on at 10:00 AM and we were an instant hit because we followed Oprah. And so much so that Oprah became a fan of the show and invited us to everything. I went to the Oscars with Oprah. I sat at dinner at Spago with Oprah. I mean, she, now, were there any call guests? No, she does not call now.Michael Jamin:Were there any, because you had a lot of great guests on Mike and Matt there. Anything that you in touch with that you kind of became friends with?Michael Burger:Yeah, George Hamilton, Robert Wagner. Robert Wagner is about as cool as anybody gets. Yeah. And he asked me to mc the charity event that he was doing. It was a Jimmy Stewart Relay race. It was a celebrity race in Griffith Park. I said, I'd be happy to. And he goes, do you want to play golf? And I went, well, I don't. I can play hack around, but he's like a member at Bel Air. And I said, well, yeah, maybe that would be nice. And I'm just pushing him off. I didn't want to embarrass myself. So the next year I do the event again. And he goes, are you still playing golf? And I went, yeah. And he goes, are we going to play? And I went, he goes, do I have to send a car for you? And I went, no. RJ is what he wanted to be called. I said, I just didn't feel like I could play right when I first met him, this is So Robert Wagner, I, I'm standing there with a buddy of mine and I see him coming, and we have to go to the stage and he comes up and he takes his arm and he puts it through mine and goes, Michael, walk with me. I mean, so old school, right, Michael?Michael Jamin:Right,Michael Burger:Gloria, my friend. I'm good. Thank you. Rj. Yeah. They were idols. I got a chance to meet. God, I met President Carter, had retired, but I got to do Habitat humanity with him and sit down and build a house and talk to him about life. And every musician you ever heard of. How about the artist? Jewel made her first appearance on Mike and Mad. We put her on there. I did notMichael Jamin:Know that. I remember James Brown. I remember walking past James Brown.Michael Burger:James the Sure. Leanne Rime made her first appearance with us.Michael Jamin:Really? Well, I mean, I wasn't there for that, or I don't know. Yeah. That's so funny. Wow. So that's amazing.Michael Burger:Yeah. James Brown do. So you were there for James?Michael Jamin:Yeah. Yeah.Michael Burger:And he sat down and he said something, and that wound up on entertainment tonight. That night he said, the music is funded by drug money.Michael Jamin:EverybodyMichael Burger:Went, did he just say that? And all of a sudden, now we're hard news reporters. We felt like, I don't know. I don't Charlie Rose or something. We got a scoop.Michael Jamin:I don't remember that. WeMichael Burger:Just stumbledMichael Jamin:Into it. And then what was it like? Just rolling? I mean, I know you had must have talking points on when you're interviewing guests, butMichael Burger:Oh boy, you, you're so right. A celebrity gets interviewed the night before, and then they have bullet points. And the next day you kind of spit out those questions so they could comment on what they were pre-interviewed about. But in conversation, sometimes things go another way. But as you know, the producer's job is to keep you the host on track. And we had God bless her, Kathy Paulino, Kathy, I think her name was.Michael Jamin:Yes. Yes. Is that her name?Michael Burger:IMichael Jamin:Don't remember. I Kathy interview. Yeah.Michael Burger:She, I interviewed Robert Gole the night before, and she had this list of questions, and she's just behind camera with this, and she's doing this, and I see her, and I'm ignoring her because something better is happening. And we get to the, and she goes, Michael, you did not ask any of those questions. What happened? What's wrong? And I said, did you hear what Robert Gullet was saying? She goes, no. Well, I said, the interview took a path down a different road. He had mentioned his father, and I noticed he'd paused almost if he was going to tear up. And I thought, there's something more to explore there. And I said, what about your dad? And he said, on his deathbed, his dad said, Robert, come here. And Robert comes in, and he goes, son, you're meant to sing. Go do that. Well, I mean, I got chill.I got tills hearing that. Now, that was not on the cards. It was following the arc of a conversation. And sometimes these producers feel, maybe they're not doing their job. We didn't ask those questions, but interviewing people is really about a conversation. So we had those moments where we went off the card and I think made some friends there, had some great, some great interviews. I'm very proud of. Patty LaBelle sat down with us and admitted that her three sisters had all died of cancer. And she wasn't sure she was going to see 50. And she starts to tear up and we're going, she goes, I must like you guys, we're six minutes in. Yeah. Talk shows. You get six minutes, seven minutes, maybe two segments, maybe 15 minutes. And I think we did some nice work and met some people in a very finite amount of time.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you, and it's absolutely free. Just go to michaeljammin.com/watchlist.I remember those morning meetings. We talk about the show, and I remember sitting in the back, because I'm young, it's my first real writing job, and they call me a producer because that way they wouldn't have to pay me writer's skill. So they said, you're a producer. But I'm like, I'm not a producer. I can write stuff. But I remember thinking, how does everyone here know what to do? I really had no idea was I was in awe of the whole thing. How does everyone here know what to do?Michael Burger:But as the more you hung around, it kind of demystifies itself after a while, right?Michael Jamin:Yeah. But there was also, and to some degree, yes, but it was also like you only get one shot. It wasn't like you get to rehearse. It was like, you better get this right. We're on live tv. We're not live, but we're on TV and live detect. Yeah. We're not doing again. We're not doing it again. SoMichael Burger:Yeah, that was, if you concentrated on that, it would paralyze you. What I found starting to do this was that how in the world can we talk to somebody for six minutes and get anything out of it that seems too short? Yes. And you learn to ask. There's a great quote by Blaze Pascal, he's a French philosopher, and the quote is, if I had more time, I would've written a shorter letter.Michael Jamin:Right?Michael Burger:And it talks about the science of the art of being brief. Then you learn that in the talk show world where you need to be concise and you take away all the stuff in the same way. Jerry Seinfeld would take out a word that doesn't work in a joke. A good interview is become very, there's no Sophie's choice there. You know, start cutting things away, not going to make it. And you stick with what works at that moment. So you be, become careful, you be good editors of yourself as you interview. But I found how it was so, it was so phe and so I compared it to cotton candy. You would do it, and it was gone. And then the next day we had to do it all over again. Yes.Michael Jamin:Right, right. Yeah.Michael Burger:The sheer volume Yes. Of cranking out an hour a day for two years was mind boggling to me. But yeah, I didn't have to do it myself. I had help.Michael Jamin:Yeah. And IMichael Burger:Had to show up refreshed,Michael Jamin:The minute recorded. I remember thinking all the producers, well, you're screwed. You got to do this. You're done. All that work you did is over now, and you have to do more. I mean, yeah, it doesn't end.Michael Burger:And we went live to tape. We wouldn't stop unless there was something drastic happening. And once in a while, we would tape two shows on a Thursday so we could travel on a Friday to go to another town and maybe do something live there. Unlike the show I did with Christina Ferrari, which was two hour, two hours live a day there. There's no stopping. I mean, what goes wrong? You see? Which was a whole nother level of fun because,Michael Jamin:But there's aMichael Burger:Too late,Michael Jamin:There's an art though, to getting people to be vulnerable. Like you're saying on television right now, you have six minutes, and then sometimes you'll see it where an interviewer, just like they're reading the questions, they're just waiting to get the next question. They're not really in it.Michael Burger:True. Were you there for Charlie Shaneen?Michael Jamin:I probably would'veMichael Burger:Remembered. Charlie comes on and he's nervous, and he's sitting there and he's looking around. I go, what's wrong, Charlie? Because I don't know, no one's given me anything to say. So what do you need? A cup of coffee would be nice. So I went over, we had a big set. We had a working kitchen. So I got him a cup of coffee, and we sat down and go, anything else? He goes, well, cream would be nice. I went back and got him.Michael Jamin:Great.Michael Burger:That was such a fun interview because he really was authentic and he really was nervous. And we just played it where you had some other guests that were, shall we say, just a little more controlled and didn't want to open up. And they were there to promote something. That's what a talk show does, is we promote you doing whatever you're doing.Michael Jamin:And what were you thinking when you're like, oh, I'm just tanking here. This isMichael Burger:Going with No, the opposite. Oh no, I'm thinking, let's do more of this now. I felt, oh, now we're doing Letterman. Now we're doing a talk show where things are off the rails and there's nothing, and the big camera has to whip out of the way. No one had planned that. I lived those moments where something went wrong, butMichael Jamin:When someone wasn't comfortable on care. What about that? Well, whereMichael Burger:It wasn't scripted, heavily scripted, where you would get something that wasn't planned. No, that'sMichael Jamin:Fine. I mean, when a guest is clearly not engaging, they're just, they're struggling.Michael Burger:Well, you'd see the producer going, let's jump ahead. JumpMichael Jamin:Ahead to, what do IMichael Burger:Jump to? Well, we could tighten it up and then the next guest can go longer. We had a little bit of an accordion, you know, find a way a to get in there somehow, some way. But they're not all, some are better talk show guests than others.Michael Jamin:AndMichael Burger:Some come in, we had, comedians had Richard Jenny on who I went to his dressing room and I go, what do you need? And he gave me five setups, hotdog, car, couch, whatever it was. So he knew all the jokes he'd go to when you just laid 'em in there.Michael Jamin:Would you write those down or on a card, or you just No,Michael Burger:That kind of stuff was just, yeah, they certainly had 'em on a card. But when we got a comic on, I really felt, oh my God, I got to kick up my game here because this is really what I want to be. I mean, this is, I idolize you, you men and women that had come on.Michael Jamin:There really is. SoMichael Burger:Carl Reiner comes on, and there's a very famous episode of The Tonight Show where Carl Reiner comes on and says to Johnny, I never make the best of the Tonight Show. I never make it. And he goes, I, I'd like to be part of those eclipse at the end of the year. And cars going like, okay. And he goes, you're a great dresser. Johnny goes, oh, thank you. And he goes, stand up if you don't mind. And he goes, okay. So Carson's standing up and he's looking at his tie, and he goes, the tie's not right, however, and he pulls out a pair of scissors and he cuts off Johnny's tie. Right. Johnny didn't know it. Fred Decoda had said to Johnny, Hey, just don't wear your best clothes tonight. That's all I'm missing. SayMichael Jamin:God.Michael Burger:So he cuts the tie rightAt the end of our interview with Carl, I said, Hey, there's a moment you had with Carson and I would just be thrilled if we could recreate this. And he doesn't know where I'm, he doesn't know where I'm going with this. I said, there was a moment where you cut Johnny's tie. And he goes, yes, I remember that. And I said, can I? And he goes, oh, no, no, no. My wife gave me. And I went, no, no, I don't want to cut your tie. Right. Would you cut my, he goes, I'd love to cut your tie. And he stands up and makes a production and cuts my tie. Right. And I have that tie cut with an autograph framed in my office. Wow. Wow. It was my moment of, I mean, those are the big moments, right. Meeting your idols. Yeah. Like Jonathan Winters, I assume people listening know Johnny. Remember Johnny the greatest improv artist ever? And Robin Williams was a fan of his. Yep. So I get to do warmup on a sitcom called Davis Rules. Remember that? With Bonnie Hunt? No. Yeah. How do he won an Emmy for that? Okay. Jonathan Winters did. So Jonathan Winters, Bonnie Hunt, the kid Giovanni.Michael Jamin:Yep. Wow.Michael Burger:So they would have a script, John enters kitchen.dot pop on couch because he, yeah. Whatcha going to do with this maniac? So he would start, he'd go off roars of laughter, but he, Jonathan loved audience. So he comes up to me, maybe we're a half hour in, I'd never met Jonathan Winters. And he walks by the rail and without stopping, says to me, Bing, how's your golf swing? And he keeps going. And as he's about eight feet away, I go, Bing, how's your golf swing? And he goes, whoa, whoa, whoa. And he does Bing Crosby. Well, at the end of the show, I go up and say, Hey, I can't believe you're even here, and I can't believe I got to meet you. And he goes, Hey. He goes, that was fun. He goes, I love doing that kind of stuff. He goes, anytime you want to throw me something, let's do it.So this is taking a pitch from Kershaw. This is the best of the best, the best. So the next week it's a sitcom, the format, it's going to be a four hour night, it's going to be stops and starts. And Jonathan is just sitting there like a little kid waiting to play. He does it, the acting he can do in his sleep, but it's the improv that he loves. So I'd catch his eye and go, excuse me. Yeah. Did you not invent lettuce? Is that you? Yes. I invented lettuce. God, for 10 minutes. That happened for a year and a half. So I got to play with him for, I don't know what it was, 52 episodes.Michael Jamin:Wow.Michael Burger:That's meeting your idols and being even more impressed than you could possibly imagine.Michael Jamin:Yeah. But how gracious of him, I mean, that's veryMichael Burger:Much fun. But that's him, him, he loved the audience. And Bonnie Hunt was so great at navigating him back to the script without even seeing it. But the show was funniest when it was off the rails because Jonathan Giovanni eei, the actor would look at him and he had a line, and then there'd be this pause and they'd going, Giovanni, that's your line. He goes, where? What's my line? Because it's so far past what was written in the script. What'sMichael Jamin:My line?Michael Burger:Yeah. Because Johnny had taken it out to the parking lot and then made a left down Ventura. Yeah.Michael Jamin:That's so funny. SoMichael Burger:Those warmup days I loved. And when I got out of it and then got a chance to come back into it, my ego aside that I'm not on the camera, I'm behind it. Well,Michael Jamin:Let's talk. I end up working that though. I mean about that must have been difficult for you, but I don't know. You did it anyway.Michael Burger:Well, it, yeah, it took about 10 minutes to get over myself, and then I'm standing in front of an audience, getting a laugh, and I went, wow, this is pretty cool. Right.Michael Jamin:But did it, I mean, that'sMichael Burger:Felt right back in the mix. That'sMichael Jamin:The Hollywood rollercoaster. I mean, you're up, you're down. You're up and down. I mean,Michael Burger:Yeah, I naively thought one pilot, I'm on my way. I've got a TV show. That very first thing I did for N B C didn't get picked up. And I went, oh, that, that's show bz. Yeah. I, that's the up and low. That's you thought. Right. So you learn to discipline yourself and be grateful for what comes your way, which I think I've done. And I also wound up with some side hustles along the way, flipping homes. And I got my real estate license and did that stuff on the side. Right. Not thinking I'd ever want to, boy, here's something revealing.Michael Jamin:Yeah,Michael Burger:It's probably five years ago, Catholic church. Sunday morning, I'm sitting there and there's a woman in front of me with her husband. The husband looked like he had been beaten down. What's the old joke? Where they've taken the spine out? He's just been beaten so many years by being to this woman. She's eight o'clock black dress Pearls, Mrs. Kravitz from Bewi. Does that help you? This is who I'm dealing with and looking around. And she owns the room and it's church. So the priest says, halfway through, turn to the person next to you or behind you and say, peace be with you. So I'm right behind her. So she turns and goes, what happened to you? And turns around, excuse me, what happened to you? Yeah. You used to be on tv, turn around. This is mess. Listen to Padre there. She couldn't fathom the fact that I wasn't on the air and wanted to know how my life not seeing me on Mike and Maddie anymore. And I said, no, I, I'm, I'm fine. Okay. Things are good. Just turn around. But she needed, I didn't have the time to deep dive into the complexities and the ups and downs of this business inMichael Jamin:Church. But did it hurt though when she said that?Michael Burger:No, I actually thought it was wildly funny because I've told this story now for 20 years or five years. Yeah. But yeah, no, I loved being on the air and certainly miss it. The skillset set is still there. I think it's gotten better. You learn, hosting is cumulative. Everything you do adds one more layer. But I've certainly made peace with it and understand the business that, I mean, I've got a wonderful life because of all the ups and downs. Right?Michael Jamin:Yeah. One of the things that people say to me, because I post a lot on social media, and they go, well, you seem so humble. I'm like, because I've been in the business for 25 years. That's why, I mean, do you not, you're every step of the way you're getting humbled. IMichael Burger:Mean, how about, is there any bitterness in your journey?Michael Jamin:Not really, because I never really thought I was going to get this far.Michael Burger:Oh, that's interesting.Michael Jamin:I thought it was never my goal to my, it never my goal to have my own show and my own Norman Lee Empire. I just wanted to be as aMichael Burger:Writer, showrunner producer, you mean?Michael Jamin:Yeah. No, I just wanted to write on TV show. I wanted to write on cheers, to be honest. AndMichael Burger:OhMichael Jamin:Wow. But when I broke into the business, cheers. It was already well done. But I wound up writing with many writers from who wrote on Cheers. And I wound up shooting a show that was shot on the cheer sound stage. And so in my mind, I made it like it. But certainly,Michael Burger:Well, what demons do you have as a writer? Or what holds you back as a writer, whether you're working or not, and is it amplified when you're not working?Michael Jamin:It's easy to look at other people. Here's what it is. I had a friend I was writing on King of the Hill and one of the other writers signed a big deal or something, and I was very jealous. And my brother friend, he was older on King of the Hill, and he said, he gave me a great piece of advice. He said, there will always be someone younger than you, less talented than you, making more money than you. Oh. I go, well, there it is. That, there it is. And that really, I hung onto that for a long time. I feel like. Okay, so it's easy to compare your career to somebody else, but to honest. I'm so far, I'm so lucky that I have what I have. So I'm not bitter at, because youMichael Burger:Got this far, but I don't want to put words in your mouth. But it hasn't taken away the desire to do this again and work more, or be where someone else is at this moment?Michael Jamin:No, I'm happy. As long as I get to keep working, I'm happy. I really am. Yeah, and it's really, it's funny when you're talking about doing warmup for these multi-camera shows, there are no multi-camera shows anymore. It's true. If you wanted that job today, good luck getting it. There are no shows. So how do you get that?Michael Burger:Good luck in a couple of ways. I have a friend of mine, you probably know Ron Pearson.Michael Jamin:Yeah, Ron, what about him? Ron'sMichael Burger:One of the best out there, hands down, a great comic and a great warmup. But he said the stuff he was doing 3, 4, 5 years ago in front of an audience, he couldn't do nowMichael Jamin:ReallyMichael Burger:The sensitivities of what you can and cannot say. BecauseMichael Jamin:He was prettyMichael Burger:In front of a crowd.Michael Jamin:He was pretty wholesome. I remember I worked with him.Michael Burger:Very wholesome. It's just some things you can't say. I got another buddy of mine, Ross Schaeffer, who was a corporate keynote speaker who says, even in the corporate world, there's some things you can't say. There was some reference to women speak more than men on a daily basis. They, there's more of verbose. Right. Because I was told by the person hiring me, well, I wouldn't say that he was using it as a way women really control the marketplace. A woman will decide what you're ultimately going to buy that flat screen TV you got in your house. Yeah. You got that because your wife said it's okay. Right. But that's actually sensitive to say now.Michael Jamin:Yeah.Michael Burger:Well, didn't even occur to me.Michael Jamin:Yeah.Michael Burger:Here's what some show is up for me. And this happened here in Long Beach, a great little restaurant in Belmont Shore on Thursday nights. They had a jazz piano player. It's this little French cafe and then go in for a bite to eat, and this guy's playing in the corner and there's maybe in a restaurant that seats 80, there's probably seven. And he would play and it'd be nothing. So I'd give him a little something, something, right. We're all performers and you're feeling for this guy, and I know when a song ends. So I gave him a little more and he takes this break and he comes over and sits next to me and he goes, Hey, thanks for trying to make that happen. I said, of course. He said, buy you a drink. Sure. And we get to talk and he goes, lemme tell you my favorite story about supporting another actor or performer. He goes, I'm working a club down in LA and it's the same thing. Nobody's there. It's quiet. And I finish, I don't know, I'm 30, 40 minutes in and I finish a song and I hear, and he looks up to finally thank this one person that's acknowledging his talent. And it was a woman taking a cigarette out of a pack.Michael Jamin:Oh my God. Oh myMichael Burger:God. Try to get the the tobacco into the filter. Yeah. He goes, boy, that if that isn't showbiz rightMichael Jamin:There. Yeah. That is Show biz, just what youMichael Burger:Think. You made it at any level, you're going to get humbled one moreMichael Jamin:Time. Time you're going to get humbled. Right.Michael Burger:Yeah. Yeah. I think it's a humility is a great trait anyway, I think. Yeah.Michael Jamin:Yeah.Michael Burger:As an interviewer, as a host, as anything, anybody in the business, gratitude and humility will serve you a long way, I think. Yeah,Michael Jamin:Right. Yeah. You got to enjoy the ride. And I was told that over and over, enjoy the ride. I didn't really quite what it meant. Yeah. But then whenMichael Burger:We did Match game, match game 98, and we shot at CCB ss, we shot on the same set that they do. The price is right. They just turned it around for us. And I would go in early and I'd leave late and I'd drive in and I'd see that c b s sign lit up and I said, I don't want to leave, and I know this is going to be over. I know it's over because we're airing against Oprah at 3:00 PM on C B Ss. That's why I know it's over. And we did our 135 and it went away. But I never for a moment, took that for granted. I loved every second of that knowing, Hey, you know what? You could worry about it being over, but ultimately, hey, like you said, just enjoy this ride. I had my best friend did the warmup on it. It was the announcer in the warmup, and we laughed ourselves silly, and we shot seven a day. Game shows you shoot a bunch. So we would shoot four, take a lunch break and do three, did 135 episodes.Michael Jamin:Have you seen that movie Babylon yet with Brad Pitt?Michael Burger:I couldn't get through it.Michael Jamin:Oh really? OhMichael Burger:Yeah, about 20 minutes down. I went, yeah, no.Michael Jamin:Oh, you might want to revisit it. I love it. Oh yeah, it was about that. It was about knowing when your time is over and it was so, it was so crushing. I thought it was beautiful. But yeah, I could see, yeah, you need to stick with it a little bit, but I love that.Michael Burger:Where do you think you are in the arc of your career?Michael Jamin:I think, well, I mean, think all of us. I think you hit a certain age in Hollywood, and if I haven't already approached it, I'm getting very close.Michael Burger:It's funny, when you leave your demo, you have a birthday and you leave your demo.Michael Jamin:There was an article, this is a couple, this is many years ago, probably 10 or 15 years ago, and I was my partner and we were taking over for a show. We're running a show. It was Michael Eisner's show, and there's an article in the trades and in a variety, whatever, and it said veteran TV writers, Michael Jamon, Steve Clare, and it was an article about us. And then I go, wow, I become a veteran. And then, oh wow. One of the writers sitting next to me, he goes, that's not a good sign. It means your career's coming toMichael Burger:An edge. Yeah. Veteran was not a compliment. He'sMichael Jamin:Not a compliment.Michael Burger:I remember sitting, I had just turned 40 and I was sitting in an office with an executive at Tele Pictures, I believe it was, and I was sitting there with my agent, Richard Lawrence, who has since retired. I've outlasted my agent. That's not good. And this woman who's in charge of production says, look, Michael, I know who you are and we're fans, but here's the thing. Oh boy. She goes, we're going to hire the person that looks like the person we want watching us. Yeah. I went, well, okay, that can be a lot of things, but I can't be an 18 year old woman. Right. Yeah. Whatever the demo was, they were searching. So that stuck with me that there are things, there are times things you just can't change. I fit a certain demo and a seasoned host would be the category. And if that comes back then great. There's a show coming up this fall where they're bringing back the Bachelor, but it's called the Golden Bachelor. Have you heard about this? No. So it's the Bachelor produced by the same people, but it's for 60 and up. So the contestants will be 60 and up,Michael Jamin:Right.Michael Burger:Called the Golden Bachelor. Right Now the thought is, well, maybe people will value a more seasoned looking picture there, and maybe the host will come along with that. I don't know.Michael Jamin:So what do you know? Probably not. It's going to be hosted by a 20 year old.Michael Burger:It's going to, no, it's going to be hosted by the same guy that's doing the younger version. So I think they're getting it both ways. Right. They're going to get a younger host and an older demo. That's fine. You know, Saja stepping down with Wheel of Fortune that there's a lot of talk about who might slip in there. And that ranges from his daughter. Pat Sajak has a daughter that could certainly do it. Vanna could do it. Ryan Seacrest is, there's talk. Yeah, Whoopi said she wants it. Oh wow. Tom Bergson's name has been tossed around. Right. Mine's been tossed around, but it's tossing it. I'm tossing the name around.Michael Jamin:Yeah. Right. Hey, what about this guy?Michael Burger:I did Wheel of Fortune in Vegas. Harry Friedman, who produced it, right, came up with a live version of Wheel of Fortune. So back in 2000, we went to the M G M, they took over the lounge, which used to be Catch a Rising Star renamed at the Wheel of Fortune lounge, and you got a chance to come in. Oh wow. And play Wheel of Fortune and win prizes. Catch and prizes. So it was just like the TV show, but it was not airing, but it was live. Right. What made the show so fun is that unlike the TV show where you're screened for intelligence and the ability to play the game, this is a bingo ball that's pulled, and now you're on stage. So we have three contestants that could be, well, you name it. In this case, it was a woman who'd had a little bit, a guy who didn't speak the language, and it was as wild and as funny as you'd hoped it would be, because they didn't understand the concept and the letters, and some did didn't. We had this poor gal had the puzzle almost revealed, and the answer was cassette deck. And every letter was turned. Everything was revealed except the C. And she's staring at it and she goes a set deck. And the woman next to her goes cassette deck, you idiot turned her.Which you'd never see on tv, right?Michael Jamin:No.Michael Burger:Oh my God. Gosh, that was fun. We did a half a year of that right now. We did three shows a day for six months.Michael Jamin:And so it's the, it's interesting. Yeah. So it's about, I don't know. Ye

Have any of you tried it? #Patty LaBelle # Sweet Potato Pie # Walmart --- Send in a voice message: https://podcasters.spotify.com/pod/show/Tammy English /message

In this episode, Montez Miller, veteran super producer, shares her incredible 30-year journey, working with big names like Janet Jackson, Patty LaBelle, and New Edition. Continue Reading

In this episode, Montez Miller, veteran super producer, shares her incredible 30-year journey, working with big names like Janet Jackson, Patty LaBelle, and New Edition. Continue Reading

Hailing from Chicago, Paulette became the lead singer with Ask Rufus and was solely responsible for introducing the group to her dearest friend, Chaka Khan. Paulette and Chaka shared the lead in Ask Rufus for some time before Paulette left the band.  “I was so upset about leaving my daughter to tour with Rufus for long periods. I decided that the jingles were so lucrative that the best thing for me was to leave the group.”​Moving from gig to gig, Paulette worked feverishly, and then, thanks to a recording produced by Donny Hathaway and Phil Upchurch, she was “introduced” to Quincy Jones. Upchurch, the world-famous jazz guitarist, sent a studio recording to Quincy. Shortly after that, Paulette became solo/lead singer with Quincy during his “Body Heat” tour, and he featured her on his Mellow Madness album – the title song co-written by Paulette. Next, they toured Japan, where one of Paulette's dreams came true: singing a duet live with the legendary Sarah Vaughan while Quincy conducted the orchestra. After moving to New York City, Paulette also toured and sang live with Luther Vandross and recorded with Luther on every album he recorded from Forever For Always For Love. Paulette and Luther met when she was a Harlette with Bette Midler and became fast friends because Luther loved Paulette's voice and said she and he had the most incredible blend. Paulette performed all of the Tammi Terrell duets with Marvin Gaye on his last tour, which was recorded live.  “I felt like I was Marvin Gaye's kid sister. He always made me feel comfortable on stage singing with him." As one of the most in-demand background vocalists in the industry, Paulette worked with some of the best artists, performers, and producers, such as Quincy Jones, Luther Vandross, Bette Midler, Dolly Parton, Diana Ross, Joan Osborne, Billy Idol, David Bowie, Keith Emerson, The Brecker Brothers, Aretha Franklin, Marvin Gaye, Mary J. Blige, Jennifer Lopez, Lauryn Hill, Celine Dion, Whitney Houston, Jennifer Lopez, Patty LaBelle, Deborah Cox, Michael Jackson, Johnny “Guitar” Watson, Herbie Hancock, Anastacia, Teri Lynne Carrington. She also recorded duets with Johnny Mathis and sang a solo on Noel Pointer's last CD, arranged the background vocals, and sang on them for Noel Pointer. Paulette has performed at jazz festivals /clubs, including the International Jazz Festival in The Netherlands and Thailand, Japan, Monterey, Indonesia, China, Trinidad, Milan, Amsterdam, Moscow, and Bern, Switzerland, including Ronnie Scotts in London and the Blue Note in Milan and Tokyo. Recently at the Blue Note in Beijing, China asked back for the second time.It is also essential to note that Paulette has sung solo/ group on numerous TV commercials such as for Folgers Coffee, Kellogg, McDonald's, Coca-Cola, Diet Pepsi (with Britney Spears), Cadillac, Cover Girl, American Express, Celebrex, MasterCard, United Airlines, Budweiser Beer, Coors, eBay, and Mercedes.  “I sang so many national commercials that I can't even name them. I did 600, at least."​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.”

Jahdira Atkins, professionally known as Billy B, was born in the Cypress Hill project of East New York Brooklyn. As a child, Billy sought music as a comfort from the mayhem surrounding her. She fell in love with Missy Elliot's swagger, Nicki Minaj's lyrical expertise, Patty Labelle's soul, and Aretha Franklin's range. However, Billy didn't begin pursuing music until 2015. Over the next few years Billy B collaborated with various artists and producers; 808 Mafia, June The Jenius, Dizzy Banko, Nico Demi, Synesthetic Nation, Sukihana , Fetty Luciano  Connie Diiamond , and Skeme. But it was her breakout feature with fellow raptress Lola Brooke on the hit-song "Don't play with it” that recently cracked Billboard's R&B/Hip-Hop Airplay chart that showed the world that the women in hip hop is definitely taking over. In this interview we discuss her upbringing, her musical influences, camaraderie amongst female rappers, sexism and misogyny in hip hop, raising a son, her family and men in her dm's plus more! Make sure to watch the podcast on youtube.com/jazziebelletv and Follow us on social media: @thcBillyB @jazziebelletv @womeninhiphop Women in Hip Hop is a partner of the Double Elvis podcast network. For more of the best music storytelling follow @DoubleElvis on Instagram or search Double Elvis in your podcast app.   

*I posted 215 twice. This is actually 216 pt 1   In this part we talk word of the year being Goblin Mode, GA runoff election is FINALLY over, Patty Labelle rushed off stage over bomb threat, Kanye and R Kelly new music, Brittany Grinier home after prisoner swap, Olive Garden manager fired over dumbass comments, woman tattoos eyeballs and now she is going blind, and much more! Check us out Facebook here: https://www.facebook.com/TokyoBlackHour/   Check out the Youtube Channel here: https://www.youtube.com/channel/UCX_C1Txvh93PHEsnA-qOp6g?view_as=subscriber Follow us on Twitter @TokyoBlackPod Get your apparel at https://tkbpandashop.com/  You can also catch us Apple Podcasts, Google Play, and Spotify Check out Every Saturday Morning here https://www.everysaturdaymorning.fun Check out The Basic Caucasian Podcast here https://www.youtube.com/user/dgriffin156 The Kamen Ride With Me podcast here https://open.spotify.com/show/6AnU7AMegB3Lt6qJkFE

*see above*   In this part we talk word of the year being Goblin Mode, GA runoff election is FINALLY over, Patty Labelle rushed off stage over bomb threat, Kanye and R Kelly new music, Brittany Grinier home after prisoner swap, Olive Garden manager fired over dumbass comments, woman tattoos eyeballs and now she is going blind, and much more! Check us out Facebook here: https://www.facebook.com/TokyoBlackHour/   Check out the Youtube Channel here: https://www.youtube.com/channel/UCX_C1Txvh93PHEsnA-qOp6g?view_as=subscriber Follow us on Twitter @TokyoBlackPod Get your apparel at https://tkbpandashop.com/  You can also catch us Apple Podcasts, Google Play, and Spotify Check out Every Saturday Morning here https://www.everysaturdaymorning.fun Check out The Basic Caucasian Podcast here https://www.youtube.com/user/dgriffin156 The Kamen Ride With Me podcast here https://open.spotify.com/show/6AnU7AMegB3Lt6qJkFE

You probably think this podcast is about YOU. This week, Alyssa and Micah return to talk about VANITY... the vice du jour of our beautiful Social Media Age. Topics include Denise Katrina Mathews, Vanity Fair, Vanity Plates, Bonfire of the Vanities and more. Plus, we play Fuck Marry Kill and I See What You Did There. Please get vaccinated, boosted, and heed Covid precautions, if not for you, then for the overworked, exhausted healthcare workers, and folks who are vulnerable.Alyssa is accepting Sugar Daddy Applications... Tweet @avagueideapod to submit yours.Check out our other podcasts, including Roll For Blank STREETS OF MAGE!

Greg Papania is a music producer, songwriter, multi-instrumentalist, and mixer. He started in the music industry in the early 2000s as an intern at Sony Music New York.Greg worked on numerous TV shows and feature films and has written many hours of music. Through honing his skills, he eventually took on the role of mixer and producer. He became a recording engineer for many industry acts such as Snoop Dogg, Patty LaBelle, Amy Winehouse, and dozens of other Grammy Award-winning artists.Greg consistently tests how music positively affects him and others. It led him to build SINES, a company dedicated to bringing meditation and wellness music to the world. He wants to share that music can balance our mind, body, and spirit throughout our daily lives. Hosted on Acast. See acast.com/privacy for more information.

Julia Random Thoughts! We have a big change at TCF bank Stadium. Who caused the biggest crash ever at the Tour De France! Lionel Richie - Hello cologne. We go through all the best songs of the summer for the past 10 years. Patty Labelle does a fun Old Spiece Commercial!

Just like Patty LaBelle, KC and Harley have returned from their hiatus with a new attitude! Their new style is candid and natural, and is virtually un-edited, but still full of stories, music and KC's unique sense of humor.Spotify Play List: https://open.spotify.com/playlist/6yLZMr9kjYwbB7ls0XhCQf?si=Nm_93tYfRFiLzb42GsweaA www.EnormousPodcast.comEnormousPodcast@gmail.comVoice mail: (303) 351-2880Twitter: @enormouspod

So much has happened since but please accept into your ears this super-delayed podcast release - you can thank our editor, Cherry. We address our lack of content and apologize for how slow our producers work while discussing our chaotic blocks, much needed vacations, dead fowl symbolism, necromancy, AHS: Coven, meal plan services, being robbed, dealing with diarrhea at work, the wicked witch being booted from office, avoiding food poisoning, dealing with foreheads hickeys, new vehicles, hellish winters, big thigh saviours, cellphones v. toilets 2020, choking live on the podcast, passing out while singing, what to buy if you can't get kombucha, a thwarted teaching moment, polygamy, yet another drag race season in the works and my annual Patty LaBelle aural tradition. Episode recorded Nov 14, 2020. Submit your questions to teaandtoastpodcast@gmail.com Outro music by audionautix.com

Zach & Zo discuss one of the most dramatic, and, at the same time, one of the most universally beloved movies of the 1980's: A Soldier's Story starring Howard E. Rollins, Jr., Adolph Caesar, David Allen Grier, and a young Denzel Washington with a special appearance by Patty Labelle.www.backlookcinema.comEmail: backlookcinema@gmail.com Twitter: @backlookcinemaFacebook: The Back Look Cinema Podcast Instagram: backlookcinemapodcast

Cancer causing heart medicine?! Police bombing black neighborhoods?! Patty LaBelle's nephew a black, gay republican prop?! WTF?! Khadijah and Dav discuss these "WTF" topics, plus they discuss Thee Blue Ivy Carter and they list 5 of their favorite albums of all time. This and more on episode 014 of the Twenty Hours From Home podcast.

The crew starts this episode with the Check-In and Rick talks homeschooling toddlers via remote learning, Vin decides to get a brand new puppy aka his third dog in the last 10 years, L.O. is on the last episode of This Ghetto House, and  Mack is finding his zen with a therapist and a life coach. This week we welcome Muta'Ali Muhammad, an award-winning film director from Westchester County, NY.  His latest feature documentary “Yusuf Hawkins: Storm Over Brooklyn" aired on HBO in August. His past documentary films include the award-winning "Life's Essentials with Ruby Dee”, which featured notable guests including Harry Belafonte, Alan Alda, and Spike Lee. Muta'Ali is determined that his artistic body of work be wholly focussed on what he calls “Love, Art & Activism”. Muta'Ali is also the grandson of Hollywood royalty, Ossie Davis and Ruby Dee. Other topics include the bold vision of Ashley Scott and Rene Walter as they facilitated the purchase of 97 acres in Wilkinson County Georgia; and the Verzuz battle between two of our new favorite aunties: Patty Labelle and Gladys Knight. You'll hear all of this and more on this episode of Decoding 40. You can also support the campaign to fight for Breonna by signing the petition on the Fight for Breonna website. If you haven't already registered to vote, please do so by visiting www.vote.org. Don't let all those who dedicated their entire life to fighting for these rights die in vain.  The 2020 Census is more than a population count. It's an opportunity to shape your community's future. Please complete the Census for 2020.  Be sure to catch us every Monday at 11pm EST for Decoding 40 A

The crew starts this episode with the Check-In and Rick talks homeschooling toddlers via remote learning, Vin decides to get a brand new puppy aka his third dog in the last 10 years, L.O. is on the last episode of This Ghetto House, and  Mack is finding his zen with a therapist and a life coach. This week we welcome Muta’Ali Muhammad, an award-winning film director from Westchester County, NY.  His latest feature documentary “Yusuf Hawkins: Storm Over Brooklyn" aired on HBO in August. His past documentary films include the award-winning "Life’s Essentials with Ruby Dee”, which featured notable guests including Harry Belafonte, Alan Alda, and Spike Lee. Muta’Ali is determined that his artistic body of work be wholly focussed on what he calls “Love, Art & Activism”. Muta’Ali is also the grandson of Hollywood royalty, Ossie Davis and Ruby Dee. Other topics include the bold vision of Ashley Scott and Rene Walter as they facilitated the purchase of 97 acres in Wilkinson County Georgia; and the Verzuz battle between two of our new favorite aunties: Patty Labelle and Gladys Knight. You’ll hear all of this and more on this episode of Decoding 40. You can also support the campaign to fight for Breonna by signing the petition on the Fight for Breonna website. If you haven't already registered to vote, please do so by visiting www.vote.org. Don't let all those who dedicated their entire life to fighting for these rights die in vain.  The 2020 Census is more than a population count. It's an opportunity to shape your community's future. Please complete the Census for 2020.  Be sure to catch us every Monday at 11pm EST for Decoding 40 After Dark on FB Live and YouTube. Want to be our Whiskey Warrior of the Week? Or, do you have an event or product that you would like us to attend, sample, and promote? Then, please send us an email to Decoding40@gmail.com to start the discussion.

Music sales. Big Sean. Meg. Torey Lanez. Verzuz. Tekashi 69. Patty LaBelle. Gladys Knight. Travis Scott. Joyner Lucas. Ashanti. Xbox. Black Friday. Fraud. Joshua Bellamy. Iheart radio. Charlamagne. Black Effect Podcast Network. Joe Budden. California wildfires. NFL. NBA playoffs. Giannis. 2k. CONTEST GIVEAWAY!!!Today's PicksAlina Baraz - Gimme the WheelSauce Walka - Send itSupport the show (https://www.paypal.com/biz/fund?id=CCKAJLDATXWPN)

On this episode Maize and Mally open the show. They discuss Big Sean's "Detroit" 2. and whether or not this was one his most lackluster albums . Maize further elaborates on the Detroits star recent album. Travis Scott's McDonalds collaboration has been all the rage. But is it really worth the hype ? Joe Maize thinks so.. 46.30 Special thanks Chef E and Donihendrix of M2O for sliding through for a dope conversation. We discuss M20 Mondays and the importance of building the connection with your listeners. 72.45 By surprise, J Fox shows up the 4th quarter to drop 30 !!! We discuss the upcoming vezuz battle between Patty Labelle and Gladys Knight,  and Mac Miller on the 2 year anniversary of his tragic passing 

hey friends and family i did this podcast today after seeing something on a friends page where they felt Brandy could sing better than Monica and had More soul! CHILLLDDDDD i gagged!!!! i had to do my own poll IMMEDIATLY! i asked my friends over 20 white black young old and NO LIE THEY ALL SAID MONICA except 1 cus she said she dont like neither lmao! pls take a listen and give your opinions im not saying im the king of all music but listn here! if i can tell you in my lifetime i feel some of the BES T Singers and SINGING i ever heard came from Whitney houston,Gladys Knigt,Patty Labelle,Diana Ross,Natalie cole, Teena Marie,Rachelle Farelle,Aretha Franklin,Phyllis Hyman,Regina Belle,CeCE peniston,Jody Watly/Shalamar,Atlantic Starr,Klymaxx,Lionel Richie,luther Vandross,chaka khan, Usher,Bryan McKnight,Jennifer Hudson and Holiday,,,,,,i can go on and on then i think know a lil lil something about GOOD and REAL music pitch tone riff power soul etc! all my life has been about music and NOT these 2 fools who are praising BRANDY can i get an AMEN !!! heller so have fun listen and comment --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/in-the-house-with-jay/message Support this podcast: https://anchor.fm/in-the-house-with-jay/support

Featuring Music Executive; Squeak.   (1:52) We discuss life as an A&R where he talks about the responsibilities of an A&R and what role they play on the artist's. (12:54) We also discuss the "changing of the guards," how people change positions within entertainment, being a gatekeeper, and properly preparing the next generation. (20:52) Following that is an interview with Squeak where he tells us how he goe about finding artists, meeting Patty LaBelle, and his current projects.

About a year ago, I sat down with Gina Starbuck, a former professional dancer/choreographer who left behind a successful career in entertainment, working with artists like Prince and Patty Labelle to pursue a career as an intuit, transformational coach, NLP practitioner and Reiki Master. At the time we spoke she was just beginning her career transition focusing on supporting new moms through coaching and reiki. Since then, she has co-founded Awake & Soulful where she hosts incredible retreats. During our interview, we dive into how her priorities, and insight on the world shifted after having her daughter Jade, and get deep into body image, relationships and the need for more support for post-partum moms – all things that led her to seek something more for herself. Her story is a great example of how despite having success in one field, it doesn’t mean that is all you are capable or destined for. How sometimes in life, goals, dreams and desires shift and change. We talk about how to reconcile the ‘life you once had’ with the one you are living now, and how to be confident in your decision to close one chapter and move on to the next. You […]

Happy Christian Holidays from YGSSG! Join the mandatory Christmas Eve candlelight service for a discussion about Santa, Christmas media (both good and bad), holiday traditions, and Patty Labelle. Try not to burn your fingers or get too existential.

How much do artists promote and get paid for their music? How does Elton John write a song? Matt talks about the music industry from a creative’s POV.Visit www.creativeouthouse.com/podcast for complete shownotes and transcripts of every episode.Hey everyone, this is Rudy Fernandez from Creative Outhouse. And this episode I spoke with Matt Still, a Grammy Award winning engineer and music producer. Matt has worked with people like Elton John, Stevie Wonder, Santana. He's worked with OutKast, Lady Gaga, and the list goes on and on - from legends to new artists. Matt and I have known each other for a long time, and I always enjoy talking with him. We talked about how he got started. We talked about the changes in music and the rights of artists, because Matt also advocates for the rights of performers and artists, which I admire. So I think people who make music have these magic powers that create this miraculous thing that profoundly affects us emotionally, makes us think and affects our lives. We talked about that too. Check it out. Welcome to Marketing Upheaval.TranscriptRudy: Welcome to Marketing Upheaval. My guest is Matt Still, Matt is a Grammy Award winning music producer and engineer. He's a national trustee for the Recording Academy and an artist in residence at Kennesaw State University. In his 25 plus years in the music industry, he's seen a lot of things change, and he's managed to change with them. So we're going to talk about that. Thanks for joining me, Matt.Matt: Thanks for having me.Rudy: So, I'm going to just for the listeners, start with shameless name dropping, if that's okay, because you're pretty modest guy, but I don't think you ought to be. You work with Elton John. Yes, you've worked with OutKast, Fallout Boy, Lady Gaga, Rod Stewart, Santana, Allison In Chains, BB King, Arrested Development, TLC. You've worked with Stevie Wonder and Patty LaBelle. Then it goes on and on and on. So how does a kid who grew up in Georgia and loved music grow up and become a guy who works with all these legends.Matt: Well, I've been in music my entire life. I started playing the piano and taking classical piano lessons at the age of four. So music was always a part of everything I did. And I never really thought about doing anything other than music. Yeah, you know, really, and I wanted to be I wanted to be the performer. I wanted to be the next Elton John. My mom bought me an Elton John songbook, but when I was a teenager. I think it's kind of ironic that I'm actually been working with him for over 26 years now. But I wanted to be the performer. And I remember when I was in bands in high school and in college, and we go into recording studios, and the recordings never came out sounding the way I wanted. Check out the complete transcript and shownotes at https://creativeouthouse.com/2019/11/06/matt-still-grammy-winning-audio-engineer-and-producer/Support the show (http://www.creativeouthouse.com/our-work)

Scaletta: - JOHN LEE HOOKER. Serves me right to suffer...- MAVIS STAPLES. Waiting for my child...- EAGLE EYE CHERRY. Streets of you...- JAMES BROWN. The payback...- MUHAMMAD ALI'. I'm the greatest...- Dr JOHN feat ERIC CLAPTON + ANI DI FRANCO...City that care forgot...- PATTY LABELLE. Lady Marmalade...- ZAP MAMA. Iko-Iko...- HARRY BELAFONTE. Jump the line...- HARRY BELAFONTE. Banana boat...- ETTA JAMES. I'd rather be blind

Scaletta: - JOHN LEE HOOKER. Serves me right to suffer...- MAVIS STAPLES. Waiting for my child...- EAGLE EYE CHERRY. Streets of you...- JAMES BROWN. The payback...- MUHAMMAD ALI'. I'm the greatest...- Dr JOHN feat ERIC CLAPTON + ANI DI FRANCO...City that care forgot...- PATTY LABELLE. Lady Marmalade...- ZAP MAMA. Iko-Iko...- HARRY BELAFONTE. Jump the line...- HARRY BELAFONTE. Banana boat...- ETTA JAMES. I'd rather be blind

In this episode of the Fried Pod Jon & Alan get together with comedian John Wesley Austin. They talk about the first jokes they told on stage and try to figure out who is Steven Eddie? What NOT to do on a cruise ship, will Hickory be the new Branson, Did Jon miss his calling as an Astronomer, is “Allthow" a word, and who did Patty LaBelle buy a Bonneville for? And of course Jon reads your emails and reveals the winners of the "Meme Me" contest.

Comedians Brooklyn Jones, Trey Elliot and Rubyn Warren talk about the Michael Jackson Special, whether or not Anita Baker can sing, Patty Labelle's cream pies and how Brooklyn met and formed a friendship with Janet Jackson.

Petrella’s has had 3 CDs produced by the legendary record producer, author and award winning radio personality Jack Gale. Jack has produced for recording artists for more than 40 years including Tammy Wynette, Waylon Jennings, Tanya Tucker, Crystal Gale, Willie Nelson, Charley Daniels, Johnny Paycheck, Little Jimmie Dickens, George Jones and Tommy and Johnny Cash. Petrella’s latest CD “Shine on Me” was produced by Gale and celebrates 25 years in the country music business as an independent artist. This CD reflects the Country-Soul nature of Petrella’s music by fusing country, Gospel, R&B and rock. Petrella has also recorded with noted producers Anthony Smith (Clay Walker, Neil McCoy and Donna Summer) and Jason Miles (Sting and Suzy Bogguss) Petrella has worked with some of the greatest studio musician in Nashville, including drummer Eddie Bayers (played on 150 gold and platinum albums, received the Academy of Country Music 'Drummer of the Year Award' for eight straight years, and has three times won the Nashville Music Awards 'Drummer of the Year'), fiddle player Rob Hajacos (played on George Strait, Garth Brooks, Brooks & Dunn, Taylor Swift and Kenny Chesney’s albums), slide guitar legend Buddy Emmons (Recorded with The Carpenters, Nancy Sinatra, Ray Charles, George Strait, Ricky Skaggs, The Everly Brothers and Willie Nelson) the renown Kevin Dorsey (Vocal director for Michaels Jackson’s concert tours ,including the Dangerous and History world tours.), and Oren Waters (member of the nation’s most successful backup singing group The Waters, 260 gold and 100 platinum albums). Petrella has performed with Tracy Lawrence, Rhonda Vincent, Gladys Knight, Laythan Armour (WOW Gospel Producer), the LuLu Washington (choreographer for movie Avatar) dancer’s and at the very First FanFest in Anaheim California with Diamond Rio. Patty Labelle has labeled Petrella “The Singer” and Whoppi Goldberg gave her the handle “First Lady of Country Soul”. As an independent artist, Petrella has won the Airplay International Golden Microphone Award and the Producer’s Choice Award. Her first album was nominated for Album of the Year by the Nashville tracker magazine and her single “Blues Stay Away from Me” went to #50 on the charts and was the #1 ranked independent single by Cashbox magazine. Petrella is a member of the Nashville Songwriters Association International (NSAI), The Reunion of Professional Entertainers (ROPE), Country Music Association (CMA), an

On this week's show, Georgia goes wild in all the wrong ways, Patty LaBelle is alive and well, and a school shuts down because there's a transgendered kid here! OMG! What do we do? What do we do? Well, start by listening to the show! www.theFWOTshow.com

In a podcast 2 months in the making, Alison and Alpine grade an extra-long report card. Highlights include Chris Christie held captive by Trump (8:30), albino alligators recording "Formation" covers (13:30), Damn, Daniel with the white Vans! (19:30), Golden Girls Gospel Remix (24:00), Alpine's takedown of OK Go (29:45), the nightmarish Trap Kazoo Kid (36:00), @FemScriptIntros (41:30); B.o.B vs Neil deGrasse Tyson (48:00), and the viral Patty LaBelle sweet potato pie review (54:00).

Destinee Maree, once an Amtrak employees talent search winner, only child act in the Philadelphia International Records Talent search, performed for Philadelphia, PA mayor and PA governor Ed Rendell, asked to sing for President Clinton of the United States, opening act for WPVI TV channel 6 Millennium Morning 2000 live. The Mirage in New York City, a live demo at a recording studio in California, Zanzibar Blue, Warm Daddy's, Chez Labelle, Hard Rock Café, Blue Moon Café, the Adams Mark Hotel, a Budweiser affair, W.D.A.S. radio Unity Day celebration, Penn Memorial celebration for Reverend Jesse Jackson, sang the National Anthem for the pre-season opening and regular games for the Philadelphia 76er's basketball team, boxing matches at the Adams Mark Hotel, the Stadium Holiday Inn and the Legendary Blue Horizon auditorium Philadelphia, PA and for world champion Bernard Hopkins. Wilkes Productions promoted a solo show titled “An Evening With Destinee” she was the featured entertainer/main event act with her band “Black Diamond” She performed six consecutive years at the Caesar's Casino and Hotel, Showboat, Taj Mahal and the Trump Plaza in Atlantic City, NJ for the National United Affiliated Beverage Association,was in a Leading role in the Dinah Washington Story in a theatre in Philadelphia, PA., has The late Grover Washington, George Benson, Billy Paul, John Legend, Patty LaBelle and host others.

When most kids are barely able to speak, little Margo Thunder was singing back to any song she heard on the radio.... Hailing from Boston, MA, one of nine children and raised by a single mom, Mother Margaret believed in her little girl so much so that she ‘tricked' her into entering a talent contest when she was nine years old. After three wins, Margo qualified to perform at the world-famous Apollo Theater in Harlem, New York. Margo won 1st place singing “Bridge Over Troubled Water” and was overwhelmed when her idol, the Queen of Soul, Aretha Franklin also performing on the show, personally gave her words of approval.At the age of 13, Margo began her recording career with Capital Records as a solo artist working with Lambert & Potter who also produced the Four Tops and Tavares. Margo's solo debut album, “Soul of a Woman” earned her two international hits, “Expressway To Your Heart” and “Soul of a Woman”, with then-unknown crooner Luther Vandross singing background on the album. Margo has shared the stage with such legends as Aretha Franklin, Patty Labelle, the Whispers, Peabo Bryson, Eric Benet, The BarKays, to name a few. 2021 single is happening now in 2022 for Margo Thunder's New releases on Bigg Soul Records Paper or Plastic. And A  New Single What Do You Do (When Love Don't Love You)Support this podcast at — https://redcircle.com/ladydiva-live-radio/exclusive-content