Podcasts about recording arts

Guest: Allan Reid, President, CEO, The Canadian Academy of Recording Arts and Sciences/The JUNO Awards and MusiCounts.

Gregory Scott is an audio engineer, mixer, and record producer from Los Angeles, California. Immersed in music from the age of 4, he has grown up with a deep passion for crafting sound. In 2020, he co-founded Off-Center Records with fellow engineer-producer Aaron Moxness to bridge the gap between indie artists and the technical, creative, and promotional resources available in the Los Angeles music scene.Gregory's technical expertise is grounded in a Bachelor's in Recording Arts from Loyola Marymount University. During and after his college years, he refined his craft at prestigious studios like Morning View and Westlake Recording Studios. At Westlake, he contributed to Grammy-winning projects such as Tyler, the Creator's Call Me If You Get Lost and collaborated with major talents like SZA, Dominic Fike, and Benny Blanco, among countless others.As a producer, Gregory partners with artists to discover and fine-tune their unique sound, helping them create cohesive and authentic bodies of work. His extensive industry knowledge and versatile skill set allow him to support artists at every stage of their journey, enabling them to focus on creating. This has led him to work on the latest releases of artists like JMSN, Snakehips, Riz la Vie, and Mad Keys, and help launch fresh-faced artists like Cam Okoro, Eli Feier, and MAMA, I'M into the next phase of their career.IN THIS EPISODE YOU'LL LEARN:The differences between small and big studiosUsing the same approaches when working between various genresFinding time to practice your audio skillsDeveloping the sound of an artistDo track lengths matter?Writing for TikTokFocusing on the musical hierarchy in a mixWhy you should layer reverbsPicking complementary reverbsWorking with reverb timesNavigating the idea of “perfect” vs “done”How to determine when an imperfection is ok to leave in a mixUsing tools to help with achieving the overall frequency balance of the mixWhy tools like Tonal Balance Control can be problematicTo learn more about Gregory Scott, visit: https://www.gregsoundsgood.com/Looking for 1-on-1 feedback and training to help you create pro-quality mixes?Check out my coaching program Amplitude and apply to join:https://masteryourmix.com/amplitude/ Want additional help with your music productions?For tips on how to improve your mixes, visit: https://masteryourmix.com/ Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of my Amazon #1 bestselling books:The Recording Mindset: A Step-By-Step Guide to Creating Pro Recordings From Your Home Studio: https://therecordingmindset.com The Mixing Mindset: The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Check out our Sponsors:Want more Mixing or Mastering clients? Communicate your true value with MixFlip: https://mixflip.io/?affiliate=mym Download Waves Plugins here: https://waves.alzt.net/EK3G2K...

Making a return for his third appearance on StoryBeat is the great jazz and world flutist, Michael Mason.  Michael's been a professional musician and composer for forty years, while simultaneously working in the fire service of the Downers Grove, Illinois Fire Department, recently retiring at the rank of Lieutenant. Michael is one of the first responders from the Chicago area who flew to New York City just days after the destruction of the World Trade Center. He helped the New York City Fire Department and Port Authority for many weeks. In 2024, Michael released his latest album called “Luminosity,” which follows up 2023's, “Impermanence,” “Transcendence” in 2022, and “Human Revolution” in 2021. All are original jazz and world music compositions which received approval for voting from the National Academy of Recording Arts and Sciences for Grammy Award consideration.Michael's musical influences come from James Newton, Ian Anderson, Miles Davis, John Coltrane, Eric Dolphy, Sun Ra, Yusef Lateef, and James Galway.I've listened multiple times to each of his excellent records and can tell you Michael's impressive work will instantly soothe your soul with warm, beautiful melodies, gorgeous arrangements, and Michael's brilliance on the flute.  I highly recommend you check out his wonderful recordings and music.Michael's currently in the studio mixing 8 new songs for release in 2025 on the AVG Records label, so be sure to look out for that.Michael's been gracious enough to lend us his radiant composition, Moments from Luminosity. Please be sure to stick around at the end of the show to give it a listen. 

Send us a textCarlos Castro is an award-winning music mixing and recording engineer/producer based in Los Angeles, California, with a remarkable 30-year career in the music industry. His expertise has earned him 13 Latin Grammy nominations, two BASF awards, and numerous platinum and gold records, cementing his reputation as a leading force in sound engineering. With a passion for high-fidelity sound recording, Carlos is the owner and operator of Watersound Studios in Studio City, California, where he continues to create groundbreaking music projects.Carlos's journey in music began at a young age. Born in Mexico City into a family of writers and opera singers, he became fascinated with sound recording at the age of nine, when a portable cassette recorder ignited his curiosity. That curiosity led to a brief but memorable incident in which he recorded the sound of a microwave oven, sparking a lifelong love for music and audio. As a teenager, Carlos worked as a DJ in Mexico, later becoming a finalist in a national DJ competition. His passion for sound grew as he studied piano and began exploring music production.Carlos's professional career took flight after he worked at B&K Studios in Mexico City, where he honed his engineering skills. Inspired by albums like Michael Jackson's Thriller and George Benson's Give Me the Night, both of which were engineered by the legendary Bruce Swedien, Carlos sought out opportunities to work with the best in the business. At the age of 19, he attended Full Sail Center for the Recording Arts in Florida, and soon after, he impressed Swedien with his innovative spirit and was invited to work at West Viking Recorders in California.During his three years with Swedien, Carlos contributed to major projects such as the Free Willy soundtrack and Michael Jackson's Super Bowl halftime show. After the Northridge earthquake, he continued to develop his career by working at several major Los Angeles studios before moving on to engineer for iconic Latin music artists like Luis Miguel, Shaila Dúrcal, and Alicia Villarreal. His first major project, Amarte Es Un Placer by Luis Miguel, was a turning point in his career.Carlos's journey culminated in the creation of Watersound Studios, which took three years to build from the ground up. The studio reflects Carlos's engineering soul, with state-of-the-art equipment and a commitment to producing exceptional sound. His career has seen him collaborate with some of the biggest names in music, including Shawn Colvin, Selena Gómez, Demi Lovato, Luis Miguel, Molotov, and many more. His work has been featured in numerous film and television projects, including Desperate Housewives, Hellcats, and the films High Chicago, Perfect Wave, and Alleged.Fluent in both English and Spanish, Carlos has worked on projects across cultures and continents, bringing his versatile expertise to both analog tape and digital workstation recording. Whether collaborating with major artists or working on a film score, Carlos continues to push the boundaries of sound, leaving his mark on the global music industry.___________________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

B.C. Premier David Eby speaks live at the Parliament Buildings in Victoria about the province's response to U.S. tariffs, and news breaks that President Donald Trump will be now pausing all tariffs from Canada (along side with Mexico) under the CUSMA agreement until April 2nd.As we gear up for this year's Juno Awards returning to Vancouver, the Canadian Academy of Recording Arts and Sciences — through its MusiCounts charity — is working to ensure kids have access to music education. Ruby Ba, a music teacher at John Norquay Elementary School in Vancouver, joins the show with her students to talk about its importance and to demonstrate some instruments!

Since 1960, the National Academy of Recording Arts and Sciences has presented the Best New Artist Grammy to celebrate up-and-coming performers with a bright future in the music industry. Over the intervening 64 years, many of those winners have indeed become superstars in their own right, and on occasion, the award has gone to never-weres, has-beens, and in one notable instance, a pair of total frauds. Crank up the gramophone as the Great Pop Culture Debate seeks to determine the best Best New Artist Grammy Winner of all time. Artists discussed: The Beatles, Olivia Rodrigo, The Carpenters, Sheryl Crow, Cyndi Lauper, Christina Aguilera, Tracy Chapman, Amy Winehouse, Mariah Carey, Megan Thee Stallion, Carly Simon, John Legend, Adele, Alicia Keys, Bette Midler, Billie Eilish. Join host Eric Rezsnyak and GPCD panelists Andrea Guerrero, Gary Jackson, and Kevin Dillon as they discuss 16 of the most iconic Best New Artists of all time. For more exclusive content, including warm-up in which we discuss the Best New Artist winners we were bummed didn't make the bracket, become a Patreon supporter of the podcast today. Want to play along at home? Download the Listener Bracket and see if your picks match up with ours! Sign up for our weekly newsletter! Subscribe to find out what's new in pop culture each week right in your inbox! Vote in more pop culture polls! Check out our Open Polls. Your votes determine our future debates! Then, vote in our Future Topic Polls to have a say in what episodes we tackle next. Episode Credits Host: Eric Rezsnyak Panel: Andrea Guerrero, Gary Jackson, Kevin Dillon Producer: Curtis Creekmore Editor: Eric Rezsnyak Theme Music: “Dance to My Tune” by Marc Torch Learn more about your ad choices. Visit megaphone.fm/adchoices

This time we get to hear from Paige Lewis, a clearly unstoppable leader and executive coach. Paige grew up in the Phoenix area until she went to college at the University of Texas where she learned about advertising and business. After college she spent a year in Japan selling products for Estee Lauder after which she returned to the U.S. Through an introduction from a friend she secured a position at Disney in Home Entertainment. Later she moved to DreamWorks and then to Universal where again she specialized in Home Entertainment. At Universal she rose to the position of Senior Vice President.   Paige thought she had reached the “pinnacle of her career”, but over a short time she became seriously ill and was hospitalized for a week. As she describes that time now, she experienced serious burnout. She quit her position at Universal and began an analysis of her life which lead her to realize that she truly enjoyed mentoring people. She became a certified coach and has spent the past six years with her own business coaching and helping mainly senior level women to not “make the same mistakes she made”.   I think you are going to hear some good observations from Paige. She has wonderful life advice we all can use. I hope very much you enjoy what she has to say.     About the Guest:   Paige Lewis is a leadership coach who spent over two decades as a highly regarded leader in marketing, building some of the world's most iconic entertainment brands for Disney, DreamWorks and Universal Pictures.  After being promoted to Senior Vice President of Marketing at Universal Pictures, Paige had reached what she thought was the pinnacle of her career.  But she ended up in the hospital with a deadly infection brought on by extreme burnout.    Soon after, she left the corporate world to heal her body and figure out why she had reached a breaking point without realizing what was happening along the way. She has turned her experience into her mission: turning executive burnout into career success. With a unique ability to transform complex challenges into actionable insights and the real-world business experience as a former executive, Paige is a trusted guide for leaders seeking to excel without compromising well-being. She is dedicated to helping organizations and people realize their greatest purpose and impact without sacrificing their productivity, health, values and most meaningful relationships.     Paige is one of the elite Founding Los Angeles coaches at CHIEF, a network recognized by Fast Company's Most Innovative Companies list, created to drive more women into positions of power and keep them there. She has coached over 200 individuals and groups across Fortune 100 companies, nonprofits, media and marketing agencies, and start ups. She holds an MBA from the Thunderbird School of Global Management and a Bachelor of Science in Advertising from the University of Texas at Austin. ** ** Ways to connect with Paige:   Website: ** https://paigeonecoaching.com; PaigeOneCoaching.com LinkedIn: https://www.linkedin.com/in/paige-lewis/;  Paige Lewis Sandford | LinkedIn     About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/   https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe in your favorite podcast app.   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.     Transcription Notes:** Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:21 Well, hi, and we want to welcome you to unstoppable mindset. This is our latest episode, needless to say, and we're really glad that you're here with us today we get to chat with Paige Lewis Sanford and I'm sure you're all familiar with Paige. Oh, you're not? Well, you will be by the time we're done here. Paige is a fascinating individual. She's worked to help improve and greatly increase the brands of organizations such as Disney and DreamWorks universal and my gosh, I don't know what all and hopefully, her influence will rub off and help unstoppable mindset but we're gonna see about that. So Paige, welcome to unstoppable mindset. And whatever happens, we're glad you're here.   Paige Lewis ** 02:07 Thank you for having me. I'm excited to be here. Well,   Michael Hingson ** 02:11 it'll be a lot of fun. And we'll, we'll make it useful and fun in some way or another. And as I told you earlier, one of the rules of the podcast is we got to have fun. So that's as good as it gets. Well tell me a little about kind of the early page growing up and all that sort of stuff.   Paige Lewis ** 02:28 Well, I am a Phoenician, I grew up in Phoenix, Arizona. So I am a lover of the sun to this day, and had a really a really lovely childhood. I have a younger brother. He's 14 months younger, we were very close. And we spent a lot of our days inventing things and laughing a lot. My parents instilled a lot of curiosity in us. I'm grateful they exposed us to a lot of things. So whatever we wanted to try. We got to try even gymnastics, which I failed at. I was terrible. But thanks to my parents, I have a strong love of music. I have a lot of curiosity. And yeah, I am they made me who I am today.   Michael Hingson ** 03:15 So you grew up in in Phoenix in Arizona who have been there a number of times we've spent part of our honeymoon my wife and I a long time ago, at the point Tampa to hotel.   Paige Lewis ** 03:29 Oh, yes, I think I had a prom there.   Michael Hingson ** 03:35 Well, and our last night of the honeymoon, we went to the restaurant. At the point HEPA to which was up on the top of a mountain. And I think one way you look in there you see Phoenix and the other way, I think a Scottsdale if I recall,   Paige Lewis ** 03:50 a Scottsdale or Paradise Valley. Yes.   Michael Hingson ** 03:53 And I think it was a restaurant called a different point of view, which was cute.   03:58 Yes, yeah,   Michael Hingson ** 04:00 I've been there. My wife bought a lobster and she thought it would just kind of be a typical. So it ended up being a three pound lobster. And she didn't know what to do with it all.   Paige Lewis ** 04:10 Oh, my goodness. That's a lot of lobster was   Michael Hingson ** 04:12 a lot of lobster. But it was our honeymoon. So it was worth it. And the other thing is that that was when they made Caesar salad right at your table and actually created the dressing right at the table using rye eggs and everything's still the best dressing I've ever had.   Paige Lewis ** 04:27 Amazing, amazing. Well, I hope you were not there in the summer, because that can be brutal.   Michael Hingson ** 04:33 It was no Well, we got married on November 27 1982. So it would have been we'll see that was a Saturday. And so it would have been probably the well the third or the fourth that we went so of December so No it wasn't. It wasn't in the hot part or the hottest part.   Paige Lewis ** 04:57 That's good. That's actually a person Big time of year to beat. Yeah. Yeah, it   Michael Hingson ** 05:01 was great. We very much enjoyed our time there. So. So did you go to college in Arizona? Or did you go to college or what? I   Paige Lewis ** 05:10 did not stay in Arizona. I was 17 when I graduated high school, and I really, really, really wanted to leave Arizona. And I was very interested in getting a degree in advertising. And I'll tell you why. And it sounds silly now. But I was very determined and stubborn at that age. I always know. I know. I know, ask my mother she uses could not change my mind. So I was fascinated with how people described products. So if you looked at a box of cereal or a bottle of suntan lotion, how did they come up with the coffee? I was fascinated by how they would construct that, which seems very simple, but so I was really determined to find a good school and advertising. And one of them was the University of Texas at Austin. I also wanted a very traditional college college experience. I wanted the football I wanted to, you know, big Grecian looking buildings and grassy lawns and never thought I would like Texas, but fell in love fell in love with the campus. And so that is what I what I chose. In retrospect, it was way too big for me was 49,000. undergrad. I knew nobody. This is a this is a theme in my life is I put myself in situations where I don't know any anyone. It's uncomfortable. But I loved it. I did. I did enjoy it. I learned a lot. I had a minor in Japanese at that point, too. And after I graduated, I wanted to become conversationally fluent in Japanese. And surprisingly, in college, we didn't do a lot of speaking Japanese. It was a lot of fun and writing. Yeah. So I had an opportunity to go to Tokyo and work for one of the divisions of Estee Lauder, so cosmetics company. And some of you may remember the line prescriptives. Michael, I would not assume you would know this line. They had just opened in Japan. And so I got a job working in a department store selling makeup in Japanese. My Japanese was not very good. So it was trial by fire. Well,   Michael Hingson ** 07:37 my wife loved white linen. And when I worked in the World Trade Center, I discovered that there was an Estee Lauder second store in the tower one on the 46th floor. I think it was so little bit familiar with Estee Lauder and invaded the store often. Okay,   Paige Lewis ** 08:02 yes. So. So yeah, so I did that I knew nobody. And this was before the time of cell phones or even relatively affordable international phone plans. So I took two giant duffel bags, and my parents put me on a plane. And I showed up and they arranged for someone to meet me, a friend of a friend of a friend and I spent a year in Japan.   Michael Hingson ** 08:30 So why Japanese in the first place? Well, when I was   Paige Lewis ** 08:34 think I was a senior in high school, my high school turned into an international magnet program. And they offered what they thought were going to be the emerging important business languages of the world, which were Japanese, and Russian, in addition to what they already had French and Spanish. So I decided to Japanese my brother took Russian, I thought it would be handy no matter what I ended up doing. So that's why I went with it.   Michael Hingson ** 09:03 I took a year of Japanese in college as well. I did it was in graduate school. It was one year and we talked some but you're right. It was a lot of reading and writing. And I actually learned Japanese Braille, which was was kind of fun. I don't remember a lot of that now. But still, it was fascinating to you know, to take and people said it was simpler than Chinese and given everything I've learned I think that's probably very true. But I've spent time since in Japan when thunder dog our book was published. I was also published in Japanese. So in 2012 I went and spent two weeks over there and literally with the publisher of the book in Japan we traveled all around Japan took the bullet train from Tokyo to Hiroshima and all sorts of places in between which is a lot of fun.   Paige Lewis ** 09:53 Did you use any of your Japanese while you were there?   Michael Hingson ** 09:56 No, I didn't remember enough. It had been way too long. So, so I didn't didn't practice up enough to keep it going all that well.   Paige Lewis ** 10:06 I understand that 100% Yeah, but that's okay.   Michael Hingson ** 10:11 But I understood a lot about the customs and the people. And that was a big help as well.   Paige Lewis ** 10:16 Yes, absolutely.   Michael Hingson ** 10:18 So what did you do after a year in Japan?   Paige Lewis ** 10:23 Well, I came back. Yeah, it was a, it was a great growing experience. But it was challenging. And I missed, I missed America. So I came back. And I worked for a promotions company. And while I was there, the CEO introduced me one to Disney and to to his graduate school, which was an internationally focused MBA program. So I ended up going to Thunderbird. Some of you may have heard of it. It's the International Business School of International Management. It's now part of ASU and finished my International MBA studied more Japanese. And then at the end, when I was interviewing for jobs, there was a job at Disney. And I really thought I was going to do international business and work with Japanese companies. And you know, maybe Toyota or something like that. But this job at Disney came up. And I was fascinated by it. So luckily, I ended up getting it. It was in the home entertainment division of Disney, which was back then it was VHS tapes. You gotta remember those VHS? I do? Yes. The very, very beginning of DVD. So I took the job and I moved to LA and again, didn't didn't know anyone that my brother was there, but really didn't know anyone   Michael Hingson ** 12:01 and VHS and not beta. Yeah, that VHS had won   Paige Lewis ** 12:05 the war. So beta was gone. Yes. It was VHS. Yes. Thank you for remembering that   Michael Hingson ** 12:11 show. Your brother was in LA. He was in LA. Yes, it was he.   Paige Lewis ** 12:18 He went to school at Loyola Marymount to study Recording Arts. So he's a composer and he writes music for commercials. Okay. Yeah, he has a very cool job. Very successful.   Michael Hingson ** 12:33 So what did you do in home entertainment at Disney.   Paige Lewis ** 12:37 I started out in retail marketing, which means I was helping selling movies to the big brick and mortar retailers. So Walmart, Toys R Us, target all of those. And I did that for a few years. And then I moved into brand management, and was actually working on the strategy for selling some of the new releases. And I was there a couple of years and then a few of the Disney people moved over to DreamWorks. Everyone remembers DreamWorks. When DreamWorks started, Jeffrey Katzenberg went over there. And then a couple of people I knew from Disney, and they recruited me to come over to their home entertainment division, which was very small, very entrepreneurial, but a very exciting time to be there. As they were building the business and figuring out I got to work on track and the prince of Egypt and Gladiator Saving Private Ryan, a lot of those really great fun movies.   Michael Hingson ** 13:39 So that that kept you busy for a while.   Paige Lewis ** 13:44 And then I moved over to universal and spent 16 years at Universal Pictures and home entertainment. et   Michael Hingson ** 13:53 phone home.   Paige Lewis ** 13:56 Yes, exactly. Exactly. I didn't get to work on that movie. But I mainly worked on the family movies, so a lot of animated movies. Shrek continue with Shrek and Despicable Me. I actually worked on a lot of the Barbie movies, which was which was really fun. And I eventually worked my way up into to senior vice president which was my pinnacle, which was what I really wanted to achieve in my career. But then, as we talked about a little bit, some bad things happened at that point in my career,   Michael Hingson ** 14:34 what kinds of things happened that you want to talk about? Well,   Paige Lewis ** 14:40 I ended up in a very dangerous burnout situation. So I had been promoted to senior vice president. And soon after that a couple of major things happened in my life. My father died and then a couple of very close friends passed away So that sort of shifted how I approach life and what I thought about my priorities. At the same time, universal was having its biggest year ever. So it was the year of Jurassic World and the latest Fast and Furious movie. I think another Despicable Me It was, it was just a very, very busy year. And I noticed I started having these symptoms, so I was getting sick a lot. I was really irritable and cranky. People actually had to come mention to me that I was acting a little out of character. I was getting strange things like I had this rash on my face for no reason. And then, you know, I just ignored all this and kept, kept working because I was an achiever, and I just wanted to get the job done. So then I started having I had this pain, and I'll just say it on my butt on my right, but and it got so painful that I couldn't sit. And I thought, Okay, well, maybe a spider bit me or something. And then at one point, it got so bad that I couldn't I had to work from home, lying down. And at that point, a kind colleague said, you know, Paige, I think you might want to have that looked at. So I was like, alright, and you know, it was getting bigger and more and more painful. And so I went to my dermatologist, she took a look, she called in her colleagues to get a second opinion. And then they said, Alright, we've called the er, at the hospital next door, we need you to go there right now. So what I learned is that I had contracted Mersa, which is, yeah, an anti bot, antibiotic resistant staph infection. And it's so dangerous that if it gets into your bloodstream, it can kill you. So I was admitted to the hospital for a week, they gave me a very heavy duty antibiotic that works on this. It's so strong that it made my veins collapse. So they had to put in a PICC line. And it really, it was, you know, like they say, it was what it was my wake up call.   Michael Hingson ** 17:20 What year was this? That this was 2016. Okay, so that was your wake up call? That was   Paige Lewis ** 17:28 my wake up call. And then I went, and I had to take a month off of disability? Well,   Michael Hingson ** 17:34 certainly, that's understandable, given the severity of it, and so on. And what did you do her think about during that month, and then going forward?   Paige Lewis ** 17:45 Well, I realized, as I you know, wine there in the hospital, that something wasn't working, obviously. And I really, I really didn't understand how this happened. How did I get a staph infection on my butt. And I just, I just figured I really needed to make a change I wanted to live, I did realize that. And I wanted to get healthy. I mean, something was really, really out of whack. So this is what really did it for me. I came back in January. And this was the time when Carrie Fisher and Debbie Reynolds had passed away. And I went into the meeting into a meeting. And this was the first meeting my first day back. And what was brought up was, you know, Debbie Reynolds just died. Do we have any movies we can put out and leverage this. And that just hit me as being so distasteful. And I realized, this is not the business I want to be in anymore. This doesn't fit. So about a week later, I went in, I quit. I quit my job, nothing lined up. No idea what was I was gonna do. But I knew it was the right thing to do. Yeah,   Michael Hingson ** 19:08 that, that just certainly seems like a pretty insensitive thing to say. I understand. Some people do that. But gee, when do you draw the line and recognize maybe it's a time to just let people mourn? I mean, look at Debbie Reynolds for such a long time, and I are going to do is try to promote you in the brand. T does that really make sense?   Paige Lewis ** 19:33 Yeah, it just it just seems a little gross to me. So I quit and then I realized that I needed to figure things out. So the antibiotics I realized, after doing a lot of research had completely wiped out all the good bacteria in my gut. And I learned that you have to have that good bacteria to stay healthy. So and I also was a diet coke addict, big time diet coke addict. And I learned that one Diet Coke can destroy your gut biome. So I quit. I quit Diet Coke, it was not easy. I will tell you. I don't know if you drink it. It's   Michael Hingson ** 20:18 no, I'm more of a water drinker. I got to say, Okay. I've never been that much of a soda drinker.   Paige Lewis ** 20:24 That's a lot better for you. Yeah. So I figured out my health. And then I started trying to figure out why this all happens.   Michael Hingson ** 20:33 Now, I was just gonna ask you what you decided about why it occurred? Well,   Paige Lewis ** 20:38 one, I learned a lot about burnout. And that stress can kill you. And that this staph infection was a literal sign, it was a literal pain in my butt that my work was a pain in my butt. And I needed I needed to find something different and, and after really thinking about things, I realized my values had shifted. So my values were no longer aligned with the work I was doing. And that caused a lot of friction, and disengagement, and stress. And so then I wanted to figure out, okay, all right, I understand that this job. Marketing movies isn't a good fit anymore. But what is, so I let curiosity kind of leaves me and I did some research. I found this great book, I don't know if you've heard of it. It's called What color's your parachute? It's been around forever, I think, in my 20s, forever. And so I picked it up again. And it had me really think about what am I good at doing? How do I use my brain? What really drives me? And I also did some work, figuring out what my new values were. And I realized, I really like the mentoring part of what I do at work. I like solving problems. And I like helping people rise to their full potential. So then I started looking into, well, do I want to become a therapist? I'm not sure I want to go back to school again for that long and spend all that money. So then I started talking to coaches, executive coaches, and I realized, well, they do a lot of what I think I want to do. And they also can give you specific direction, and steps to take. So unlike the therapist model, where it's just a lot of questions, you can actually draw upon your experience and share that to help people. And so So I actually, because every day, what I would do is I would get up and I would read, I would read articles, and I would just sort of follow the breadcrumbs. And I stumbled upon a woman who wrote a really great article, I reached out to her, she was a coach. And she was so motivating in that one conversation, that I ended up writing an article and ended up deciding I wanted to go get my coaching certificate. So this was this was end of 2017 into 2018. So I ended up getting my coaching certificate and started working with women so that they wouldn't end up like, like I was, I really don't don't, there was no reason I needed to hit that level of burnout. Tell   Michael Hingson ** 23:46 me? Well, first of all, a little bit about why do you think you actually contracted versus and why do you think that? Or how do you think that happened? Do you really know?   Paige Lewis ** 23:58 I think my immune system was so beaten down and compromised. That it happened. I don't know how it got there. I honestly don't know. I promise you I'm a clean person. I take showers. I know like wandering around rubbing myself and dirt. I just I just think, you know, there were there were signs leading up to it other smaller illnesses and my body fine was like, Okay, you're done. But I don't know, I don't know the source. Good question. Well, so   Michael Hingson ** 24:31 you went off and you started to study about being a coach and so on. What does it mean to get a coaching certificate? What's the process?   Paige Lewis ** 24:39 Oh, that's a good question. Well, there are lots of different coaching programs and the one I chose is based on human needs psychology and behavior. So I had been through a lot of leadership programs through my my days as a marketing executive. So I knew a lot of the traditional Leadership, procedures, methods, whatever you models, whatever you want to call them. So I really wanted to get into almost kind of going back to why I got into marketing, why people do what they do what's driving them. So I learned all about the six core needs and what motivates people and really had to get into their brains and change behaviors and habits. So it was 100 hours of training. I think I did it pretty quickly. I was motivated, I think I did in about four months, and then was and then was certified. And then there are all different types of coaching programs, some people do mindfulness route, some people just do a very traditional corporate route. So I wanted to kind of balance out what I already knew.   Michael Hingson ** 25:47 Well, so you went ahead and did that. And you got certified, and have been coaching ever since. I have, I've   Paige Lewis ** 25:56 been coaching for about six years, and also doing excuse me marketing consulting, because I like to keep my toe and in that part of the world also.   Michael Hingson ** 26:06 So what Tell me a little bit about the the coaching program or what you do, then how do you help people? And where do you where do you help people all over? Or where does that all come from?   Paige Lewis ** 26:21 Well, luckily, I do everything virtually. So I can help people no matter where they are. My specialty is helping women executives, I want to help them excel in their careers without impacting their well being. Someone once told me, when you become a coach, your message becomes your message. So clearly, yeah, my my story of burnout is something that really drives me and it's a passion, a passion of mine. So I typically work with women executives, who are director level all the way up to C suite. And they come to me one because they aren't loving their job anymore. They don't know why they want a career change. They're in some sort of toxic work environments and don't know how to manage it, they are experiencing signs of burnout, they don't have the tools or skills to deal with it, I help a lot of people who are wanting just to jump jump a level or two in their career. So helping them with executive presence and managing teams, a lot of your traditional leadership development skills. So I love it tremendously. And it fits really nicely with my values.   Michael Hingson ** 27:44 I had a conversation yesterday with two women who also are very heavily involved in leadership and, and coaching. But a lot of corporate leadership training, they have developed a program that they describe basically is, well the company is missing logic. And the program is based on polarity, they talk about the fact that everything is really about polarity, and like breathing is polarity exhaling and inhaling, you got to do them both. And whether you're dealing with work, or life and polarity, again, you've got to really understand that both are part of what your world ought to be. And so many people get stressed out because they don't really look at trying to balance polarity, which is really pretty fascinating. We had a great discussion about it.   Paige Lewis ** 28:42 That's an interesting way to think about it. I have stopped saying work life balance, and I call it work life harmony, because it's never equally balanced.   Michael Hingson ** 28:52 Right. But at the same time, what what Tracy and Michelle would say is that you need both poles. And it's a matter of finding how to, to have a well, I keep saying balance, but to have some sort of that making both poles work to help each other because one or the other isn't going to work.   Paige Lewis ** 29:19 That's that makes a lot of sense. Yeah, I agree with them.   Michael Hingson ** 29:22 It's a lot of very fascinating discussion, but in your case. So you do that and you don't necessarily use those terms, but it sounds like you end up getting to the same place. So you've been doing that now. Six years. Yes,   Paige Lewis ** 29:36 that is true. Six years. It's gone quickly.   Michael Hingson ** 29:40 So you think you have now found a niche that's going to last a while?   Paige Lewis ** 29:46 I think so. We still have a long way to go and getting women to an equal playing field as men. Unfortunately it isn't. It is improving. But there are a lot of things that still Need to improve. So, for example, women experienced burnout much more than men 43% of women or executives experienced burnout men only 31%. And I think it just it has to do with the kind of silence responsibilities a lot of women take on, whether that's Child Care caring for elderly parents, it's taking more on at work, that's sort of outside the your job responsibility or your job description. And women also don't think that corporations are quite there yet. And having good strategies and good programs to have gender equity in the in the workplace. I mean, 92% of women don't believe that companies are kind of walking the talk in that area. So yeah, I think there will be a need for a while it would be my dream, if there isn't a need. For this, that means that women women are equal in the workplace in terms of opportunities and roles and pay. Yeah, that's a good piece of news. I have a good piece of news, though, that I just learned, sorry to interrupt you is that there was there were, you know, people would say for a really long time, and there were stats to back it up that women were afraid to negotiate for salary or promotions, it's actually changed. And women are just as likely, if not more, to negotiate for increased salary or promotion, whatever. So. So that's some good news. And a common belief that is now has now changed. And   Michael Hingson ** 31:42 should, by any standard, we haven't seen a lot of that yet, in the world of persons with disabilities, where we're still even though we're by any definition, the second largest minority, or maybe the largest minority will be the second because there are more women than men, although people keep saying women are the minority, but in physical sense, there are more women than men. So either way, you look at it disabilities as the second largest minority, but the most excluded from any of the conversations or any of the real involvement in the workforce, which is why we continue to face an unemployment rate in the 60 to 70% range among employable persons with disabilities, like, especially with blind people. And the reality is, it's fear, it's a lack of education. And it's not understanding that, just because we may do things in a different way, it doesn't mean that the technology and the tools that we need shouldn't be part of the cost of doing business. But yet, that's what happens. Those   Paige Lewis ** 32:49 are staggering numbers, Michael, but your company is doing a lot to help with that. Well,   Michael Hingson ** 32:54 accessiBe is doing a lot to help with that and is being pretty successful. And the number of people using the technology are are growing, or is growing, and excessive. He's working on some programs to really teach more people about Internet access and website development with access and accessibility. So hopefully, that will continue. And we'll be able to make more strides, but it is a thing that we face on a regular basis.   Paige Lewis ** 33:24 Yes, it is. So for   Michael Hingson ** 33:27 what you're doing and so on. You've talked a little bit about burnout, are there different kinds of burnout? And do you deal with them all the same way? How does that address get addressed?   Paige Lewis ** 33:39 Yeah, that's a great question. I think people generalize the term burnout and and the, you know, when someone is just stressed, they'll say I'm burned out that the actual technical definition of it from the World Health Organization is that burnout is chronic stress in the workplace that hasn't been successfully managed, which puts a lot of onus on on the person, right? If you haven't successfully managed it, the company's not really helping you set up any systems to help you with that you person has to have to deal with it. But   Michael Hingson ** 34:15 which is also I'd seems to be not totally fair either. Right?   Paige Lewis ** 34:19 Right. And there's not a lot of progress in that area. Everyone is going to be burned out at some point in time. Everyone, everyone's going to face it. But there are different types. There's physical burnout, which is you're tired, you're getting sick a lot like I was you're not moving around a lot. You've kind of forgotten to exercise or even stand up from your desk and those those signs can show up like headaches or just different physical things. And then there's emotional, which I also had, that can show up as being you're cranky, you're short tempered, you're impatient. and you're not spending time with the relationships that you know are strong. Yeah, just maybe a little bit of a change in your demeanor. Then there's there's mind, there's mind related burnout, which is, when you're kind of in that fight or flight mode, and you're spending a lot of time putting out fires at work, you're distracted. You can't focus. That's that type. And then the last one is burnout of the Spirit, which often can show up as being bored. So a lot of people get really bored or uninterested in their job or whatever is important to them, and they don't realize that it's burnout. And so that could be you're doing a lot of things at work that just really aren't aligned with what you do. Well, what you like doing. And so you just kind of just kind of check out.   Michael Hingson ** 35:59 Do you find, though, that people that are, that are in that situation? Oftentimes haven't really sat down and analyzed what they really want to do or analyzed? Am I really doing the right thing? And that contributes to that? Yeah, yeah.   Paige Lewis ** 36:17 100%, like, I didn't know, I had no idea. I just kept a lot of people, you know, they're on the treadmill. They just keep going every day. And it's rare that people stop and they reflect and they reassess. It's only when people get into a state of burnout, sadly, that they need to wake up and realize, okay, something isn't working. But there are always signals, they're always signals. And oftentimes, it's more than one one type of burnout that's hitting at the same time.   Michael Hingson ** 36:50 But you just you distinguish between emotional, mind and spiritual, if you will, they're they're all three different even though in one sense, it seems like they're all sort of mental in one way.   Paige Lewis ** 37:03 They are sort of mental in one way, but they come out in different ways. And they the route of them is different. So there are two main ways to, to sort of manage burnout, the traditional way that everyone thinks is how you, you manage burnout, unfortunately, this is what companies kind of latch on to is just go take some time off, go to a spa, get a massage, and that'll cure everything. This self care really only works for the body and the emotional burnout. Because that's you're just exhausted, those two are fall under exhaustion. And with that, you actually do need to take a timeout, and take care of yourself. You only need 15 minutes, but it could be you know, take a walk, walk away from your computer, or your phone, don't take your phone with you on your walk. You know, just leave it alone. Don't let anyone interrupt you. Call call a friend, just do something that's enjoyable for you that is, will reboot your system. For the mind in the spirit burnout, which you know, is you're just distracted and you're or you're bored. Or you're in fight or flight mode, you actually are having cynical detachment. So, okay, yeah, it's different. So you so self care actually does not work. Because when you're in this space, you're focused too much inward, and on yourself, and you've lost perspective. So what you do when you have that type of burnout is you need to clarify things. And it could be clarifying your role. So role clarity, write down the three to four most important things in your job. And then ask yourself are you spending time on the high value activities, because you may not be the other. There are three parts of this. The second one is relational clarity. So you may have lost perspective about other people in your life. So a way to break yourself out of this is write a note of thanks to someone, maybe someone on your team, remind yourself that you are not alone and all this. And then the last one is perspective, clarity. So a lot of people just completely lost perspective. So go do something totally different. Go watch a or listen to a comedy video. Call your mom and ask about you know, bring up an old memory just something that reminds you that work isn't everything because these two types mind and spirit burnout, as these are a lot of the workaholics too, and they keep working, working, working and they've just lost complete perspective about everything else in the world.   Michael Hingson ** 39:55 One of the things that I realized during In the pandemic is that although, on September 11, I escaped and wasn't afraid. And I knew why I wasn't afraid, which is that I prepared and knew what to do in the case of an emergency. And as I now say, that created a mindset. But what I realized is that, the fact is, we can control fear, and we can control a lot of what we do. But we have to be mindful. And we really need to keep things in perspective. And one of the best ways to do that is to be introspective in our lives. And really practice that, until it gets to the point of being a habit, and you develop that whole introspective and self analytical muscle. And I, so we're writing a book about all of that. And we're going to, I'm going to, it'll be out next year, and we're going to talk about how to control fear and not let it as I would say, blind you or paralyze you or overwhelm you, but how do we get people to start to be more introspective in their lives and in what they do, and recognize that that's an extremely valuable thing to do.   Paige Lewis ** 41:08 You make a really, really good point. I think a lot of it like, to your point about habits, a lot of us have, you know, that inner critic, who is just saying, you know, you're not good at this, you shouldn't try to do this. You always done it this way. If you can take yourself out of that, and almost become an observer. And look at your thoughts and what how you talk to yourself as just another person, you can even name it, that kind of helps you take yourself out of it so that you can change your habits. Because a lot of the what we tell ourselves are just habits. They're not even true anymore. They're based on beliefs that you you made up a long, long time ago and had value back then. But they're not even true anymore. So I think we just need to be aware and stop ourselves. And remind ourselves, when we're thinking things, you ask yourself, Is this really true? Or is this just the habit?   Michael Hingson ** 42:14 Good point. And I also learned that along the way, I always used to say, and I still do this, but I record presentations that I give, so I can go back and listen to them. And I always say that, I love to do that. Because I'm my own worst critic, I'm nobody's going to be as hard on me as I am. And I learned, that's the wrong thing to say. And that's the wrong way to approach it. Because in reality, even teachers can't teach me they can present me with information. But ultimately, I have to teach myself. And in fact, it's not that I'm my own. I'm my own worst critic. I'm my own best teacher. And if I turn it around and use that terminology, then it becomes more of a positive process, to look at things and think about them and teach yourself even when something doesn't go well. And even when it does go well. What can I better learn to even make it go better next time. I'm my own best teacher is such a more positive thing to say.   Paige Lewis ** 43:19 I love how you reframe that, that's a great way to look at it. And, and also, you know, we talked ourselves worse than we would talk to our friends. Yeah. Which is just crazy.   Michael Hingson ** 43:32 In reality, we should talk to ourselves and really get better at thinking about things and saying, Okay, well, how do I deal with it? Don't hide from it. And no matter what it is, allow yourself to teach yourself how to deal with it.   Paige Lewis ** 43:50 And it's practice it. And then it will become a habit. Yeah. And just like we talked down to ourselves and criticize ourselves. It's just the habit. Yeah.   Michael Hingson ** 44:05 And it is a habit that we can break.   Paige Lewis ** 44:08 Absolutely. And it's just practice. It's just practice, and it's micro micro steps. You don't have to get it perfect the first time. And we forget, you know, we're not supposed to be perfect beings. We're supposed to be in this world to try new things and learn from them. And we just are so hard on ourselves that we have to be perfect at every single thing we do. And oftentimes, other people aren't even paying attention. And they forget about it   Michael Hingson ** 44:38 much more quickly than we do. And yes, there's a lesson there too.   Paige Lewis ** 44:42 Yes, and I always I always tell my clients like when they're all worked up about something or ruminating and countless something go, Well, this really matter. In two weeks. Will this matter in three months in a year? No. No one will remember you probably won't ever remember To your point, learn from it, and just let it go. It's hard, it's practice, I get it. But just to put things in perspective, it usually is not as important as we think.   Michael Hingson ** 45:12 And if it really affects you, and you're thinking about it a lot, then take a step back, as you said, and think about why is this affecting me so much? It's appropriate to do that. It's appropriate to help to understand you better.   Paige Lewis ** 45:31 Yes. And I'll give you a tip that I give my clients that I actually learned from my dad, for people who ruminate a lot of worry a lot. Actually schedule worry time in your day. And don't do it right before bed? No, no, because then you won't sleep well, but schedule it at a time. Have no distractions, sit there for 20 minutes and worry about everything. And you have to sit there even if you've run out of things to worry make it up like, my my sock is starting to unravel, you know, stupid things. My dog is panting more than usual. Whatever it is,   Michael Hingson ** 46:14 I can't figure out anything to worry about. I'm worried about that. Right? Exactly.   Paige Lewis ** 46:18 I'm worried about that I have to sit here. And Paige said I can't move for 20 minutes. So you do that every day. And what'll end up happening is one, you'll realize you don't really have that much to worry about to you train yourself that you can only worry during a certain period of time. So you're not spending your whole day worrying and ruining your day. And if you start thinking about something out, or you're worried time you say, okay, Paige, no, you're scheduled to worry about that at 10am, from 10am to 1020. And it's remarkable how people improve with the ruminating and the worrying.   Michael Hingson ** 46:56 So what mostly do you coach about what what is your specialty, if you will, overall,   Paige Lewis ** 47:01 my specialty is helping women leaders excel in their careers without impacting their well being. So a lot of that is what we've talked about today, how to handle burnout, how to manage your thoughts, how to improve your leadership skills. You know, I mainly work with pretty senior women who don't have anyone else to talk to, and this is this is a theme that I've come across a lot, and I felt myself is a lot of women leaders don't think that they have people they can talk to at their companies or within their industries.   Michael Hingson ** 47:44 Yeah, that was what I was gonna get to. Is it true that they don't, or they just don't think they do have people to talk to?   Paige Lewis ** 47:54 Well, a lot of times, it's difficult to talk to people, I do work with an amazing organization called chief. And they're a private network for women. But what they've done is they have put together peer based groups, they curate these groups of women at similar points in their career, similar levels, so that they have a safe space of peers from whom they can learn, get different perspectives. Because I, when I was first, you know, talking with Chief about coming on, as one of their first coaches, I said, if this had existed when I was at Universal, and burning out, I would not have burned out, because a lot of a lot of the struggle is feeling like you're the only one and not having the tools and the skills to manage through it.   Michael Hingson ** 48:46 And a lot of times we don't look for people to talk with, because we just feel that we're an island in the middle. And oh, I don't want to talk to people who work for me because that that wouldn't be good. I mean, there are just so many excuses that we can come up with.   Paige Lewis ** 49:05 Yeah, or you're embarrassed and you are you're embarrassed. You know, I'm the only one who's dealing with this, I must be crazy. Imposter Syndrome comes in a lot. So, no, almost everyone is going through the same things. And it's just really reassuring and helpful to know that other people are going through it, and can share some ways that they have managed it. It's these these meetings are so powerful, I can't even tell you they really, really are amazing.   Michael Hingson ** 49:39 What do you say to people who are thinking of a career change or who don't know where to start? You know, because I'm sure that comes up and what you do?   Paige Lewis ** 49:48 It does and it can be really scary. And I think I think people don't give themselves enough credit. What what helps most of my clients and help me is having a having a mindset of curiosity. Because I know for a fact that people have transferable skills, it's just getting curious and following the breadcrumbs to find out what else is out there that aligns with my values that motivates me. And that uses my skill set I can do. So one, one of the exercises I have people do is to think about sample some activity that they're doing. It doesn't have to be related to work where they are completely what you would say in flow, meaning they lose track of time they forget to eat, they know that they're kicking ass and what they're doing. And they are loving it. So it could be for example, gardening. Who knows it could be gardening. And so then what I asked them to do is, okay, really, really dissect what you're doing. What, like, how are you using your brain? Maybe you are researching the different kinds of plants that work in your soil, maybe you are laying out where they go, maybe you are looking at the different seasons? And what works best and what time of year? And then how are you interacting with people? are you collaborating with the you know, the gardener at the nursery? Are you talking with friends who have who've made great gardens? And then what skills are you using, researching, maybe strategizing, maybe organizing, and then what you'll end up seeing, and it's something totally unrelated to your job is here, all the things? And the way here are all the different ways of thinking parallel the skills I use, and here's what I love doing, and you find this intersection. And then you use your curiosity to find out okay, what industries are interesting, and what are the jobs? You reach out to people, it's curiosity. If you lean into curiosity, you cannot go wrong. And   Michael Hingson ** 52:16 all too often, we don't.   Paige Lewis ** 52:21 Correct, we kind of block ourselves. And   Michael Hingson ** 52:24 many times were discouraged from it. I mentioned earlier, the whole concept of if I've been talking to people this morning about people with disabilities, and then somebody said, What can we better do to improve the world for people with disabilities, and my response was, include us in the conversation and so many times, I can be somewhere and when when I went to my wife was live with her, she was in a wheelchair, and people would come with their children, and we'd be in a store, whatever. And a child would ask a question and say, I want to go meet that person, I want to go look at that wheelchair. And the mother would say no, don't do that. They might not like it, or that dog might bite you. And we we we discourage curiosity, especially in children, who are the most curious people of all? Mm hmm.   Paige Lewis ** 53:12 Yes. And wouldn't it be great if we could bottle that curiosity and take it with us? Our whole lives? Yeah.   Michael Hingson ** 53:20 It's important to do that. I think I think you use the term superpower, everybody has a superpower? Or how do you how do you teach people to to find their superpower? What does that mean?   Paige Lewis ** 53:34 Yes, this is this is an important piece of finding a career that works for you. And so if you think about a Venn diagram, I'm a big fan of Venn diagrams, there are three components. So they're, they're your values, you have to get really clear on what your values are, what you are good at doing and what you love doing. So when what you love doing intersects with your values, you have a passion for what you're doing. So let's say your values are adventure, and learn learning and experiencing new cultures, you may be passionate about traveling. So you can kind of see how those work. Now, when your values connect with what you're good at doing, you're going to be engaged. So if you're really connected and aligned with your values at what you're doing for work, you'll be engaged, you'll be interested, you'll be connected, you'll still be excited to go in every day and do your job. And then what you what you love doing and what you're good at doing intersect. And I've mentioned this a little bit for you're in flow. So that's when you just are just completely happy because you're doing what you love and you know you're doing your best at it. So the superpower comes in when those three things connect, when your values, what you're good at doing and what you love doing connect. And I truly believe everyone can figure this out. Once you know that, you can find a career that meets that 80% of the time, if you have that, you will be happy, you'll be happy in what you're doing. So it's a little bit like the Japanese term of ek guy, which is finding your purpose. I don't know if you're familiar with that. Remember that. And that actually has been attributed to longer life. So this idea of IKI guy or finding your superpower, and living to that will make you happier. But it also helps extend your life because you're getting up every day, and you're doing what you love doing and what you're good at doing.   Michael Hingson ** 55:56 And I find that when people are happy, they self motivate themselves. And in general, they have better days. Yes,   Paige Lewis ** 56:06 yes. And the bad days can roll off a little easier. Yeah.   Michael Hingson ** 56:11 You need to learn to live more like dogs, you know, and live in the moment and forget all the other things. And there are so many things we can't control. And we worry about them. Dogs don't   Paige Lewis ** 56:20 write, I would like to come back as a dog. Dogs have the best lives. And I think we we also have this culture of busyness being the new status quo. And we forget that we're human beings and not human doings. And I think that's where people get in trouble.   Michael Hingson ** 56:44 We so greatly overanalyze everything and not necessarily in the right way. And again, as we talked about, we don't step back and really look at it, which is part of the problem.   56:55 Yes, yes.   Michael Hingson ** 56:58 Have you written a book or anything about all of this?   Paige Lewis ** 57:01 I've written some articles. I have not written a book. I have not written a book? Well, if   Michael Hingson ** 57:06 you do, you'll have to let us know.   Paige Lewis ** 57:08 I will, I will do that. Well, if people   Michael Hingson ** 57:11 want to reach out and get in touch with you, maybe explore using your services and skills. How do they do that?   Paige Lewis ** 57:19 Well, you can reach out via my website, which is page one coaching.com. And it's spelled out I'll spell it. It's P a i g e o n e. c o a c h i n g.com. And you can also find me on LinkedIn at Paige Lewis Sanford, my new married name, yeah, you can. Yeah, you can also email me at page at patreon coaching.com.   Michael Hingson ** 57:44 So what is your husband do?   Paige Lewis ** 57:45 He is a naturopathic doctor. Oh, so he focuses on root cause? And getting to you know, the bottom of what is causing your symptoms and, and managing that and addressing that versus just throwing things like antibiotics all the time, which, you know, don't always work out. Not very good for you overall, long term. No.   Michael Hingson ** 58:10 And ultimately, we have to take a little bit more mental control over ourselves. And that's another whole story. Yes,   Paige Lewis ** 58:20 I totally agree with that. Well, gee,   Michael Hingson ** 58:21 maybe we should explore getting him to come on and chat sometime. Oh,   Paige Lewis ** 58:25 I think he would love it.   Michael Hingson ** 58:26 I'll leave that to you to set up. Yeah. I want I want to thank you for being here. And I know, you've given us a lot of really wonderful ideas. And I'm very grateful for you being here. I'm glad we had the opportunity to meet and hopefully we will do more of this anytime you want to come back on. You just need to let us know.   Paige Lewis ** 58:46 Right? I would love it. Thank you for having me. It's been great talking with you.   Michael Hingson ** 58:51 Well, this has been fun and I hope that you enjoyed it listening out there. Reach out to Paige she I'm sure we'd love to hear from you and if she can help you in any of the decisions that you need to make. That's what coaches do. So reach out to Paige. You are also always welcome to reach out to me, we'd love to get your thoughts on what you heard today. You can email me at Michael M i c h a e l h i at accessibe A c c e s s i b e.com Or go to our podcast page www dot Michael hingson.com/podcast and Michael Hingson is m i c h a e l h i n g s o n.com/podcast. Of course as we asked and I really appreciate y'all doing it, please give us a five star rating wherever you're listening to us. We love your ratings. We appreciate your reviews, and any thoughts that you have and for all of you listening and Paige, as we sort of alluded to just now if you know of anyone else who would be a good guest for unstoppable mindset. love to have you let us know. We're always looking for guests. I believe everyone has a story to tell and this is As a way to get the opportunity to tell your story and help us all learn that we're more unstoppable than we think we are. So again, Paige, I want to just thank you one last time. Really appreciate you being here and hope that you had fun.   Paige Lewis ** 1:00:14 I did. Thank you so much.   Michael Hingson ** 1:00:20 You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com . AccessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for Listening. Please come back and visit us again next week.

Patrick Ermlich is a seasoned music industry professional hailing from Brooklyn, New York. Born into a musical family of opera singer-entrepreneurs, he inherited a unique combination of artistic and business acumen. He honed his skills through formal education, including studies at Northeastern University's music business program in Boston and The Conservatory of Recording Arts & Sciences in Arizona. Starting as an engineer and producer at the renowned Cutting Room Recording Studios in New York City, Patrick rose through the ranks to eventually manage and develop the studio into one of the most successful in the city, collaborating with some of the biggest names in the music industry along the way. His entrepreneurial spirit led to the launch of an independent record label followed by a music publicity agency, Gramophone Media, where he served as Chief Marketing Officer and General Manager / head of A&R. With over 1000 artists in his portfolio and a reputation for insightful, direct, and thoughtful artist and business development, Patrick is a sought-after mentor, strategist, and collaborator. Patrick continues to leave his mark on the industry through his mentorship, speaking engagements, blogging, and his role as an educator at Berklee Online. www.moneymaestroblog.com/ep-72

Nirakar Yakthumba is a founder of Gyanmandala. Manoj Kumar KC, the lead guitarist of 1974 AD, directs Recording Arts at KJC. Sanjay Kumar Shrestha, the percussionist and back vocalist for 1974 AD, is the Founder/Director of Musicology and the House of Music.

for more info https://www.eventbrite.com/e/let-it-rainpurple-tickets-793753958457?aff=ebdssbdestsearch

Harvey Brownstone conducts an in-depth Interview with Jim Wilson, Award Winning Composer, Pianist & Recording Artist, Author, “Tuned-In: Memoirs of a Piano Man” About Harvey's guest:Today's special guest, Jim Wilson, is a multi-award winning composer, pianist, concert and recording artist who has just released a fascinating, entertaining and insightful memoir entitled, “Tuned-In: Memoirs of a Piano Man: Behind the Scenes with Music Legends and Finding the Artist Within”.   As a young man, he moved from his home in Texas to Los Angeles to pursue a career as a songwriter, musician and performer.  But his ambitions took a major detour when his sideline job as a piano tuner blossomed into a hugely successful career as a piano technician for some of the greatest music artists of our generation, including Burt Bacharach, Elton John, Phil Collins, Quincy Jones, Bruce Springsteen, Carole King, Paul McCartney, Lionel Richie, David Foster, Dan Fogelberg – and believe me, I'm just scratching the surface.   Our guest got to know many of his legendary clients very well, and through his book, we get an up-close-and-personal glimpse into their lives off-stage.  Following the sudden death of a dear friend, and with the encouragement of music superstar Dan Fogelberg, our guest made the life-altering decision to confront his insecurities and anxieties, emerge from the sidelines and follow his dreams and step into the limelight as a music artist in his own right.  And what a career he's had.  He played keyboards, served as music director, and was frequently the opening act on tour for Stephen Bishop for 16 years.   He's recorded 10 piano-featured instrumental albums, 4 of which have hit the Billboard Top 20: “Northern Seascapes”, “Cape of Good Hope”, “Remembrance” and his beautiful tribute album to the late Dan Fogelberg, entitled, “Leader of the Band”.  Some of my other favourite albums are “My First Christmas With You”, “Playing Favourites”, and “My Mother's Son”.  Our guest has had 2 PBS specials: “Cape of Good Hope and Other Musical Portraits”, and “Jim Wilson: A Place in my Heart”.  And his music has been streamed close to 80 million times by fans around the world.  He was elected to the Board of Governors of the National Academy of Recording Arts and Sciences, and he was recently made a “Lifetime Member” of the Recording Academy.   For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To learn more about Jim Wilson, go to:https://jimwilsonmusic.com/https://www.facebook.com/jimwilsonmusichttps://www.instagram.com/jimwilsonmusic/https://twitter.com/jimwilsonmusichttps://www.youtube.com/user/JimWilsonianhttps://open.spotify.com/artist/7BfVtwOGofJ7r3I8GIBuGf?si=3fc94bcce4344c6chttps://music.apple.com/us/artist/jim-wilson/6668521 #JimWilson    #harveybrownstoneinterviews

Michael Cain, a gifted pianist, piano instructor and Director of Electronic Music and Recording Arts at MacPhail as well as the co-founder and CEO of Ekwe stopped by Jazz88 to discuss a concert he's throwing at Antonello Hall this Saturday with Yousif Sheronick, Barbara Cohen, JD Steele, Zacc Harris and more.

Chanell J. Wilson is a recording artist and songwriter from the East Bay Area. She has been writing since she was thirteen and performing since she was three years old. As an artist; she is a trained theatrical actress & voice-over performer, writer, dancer, public speaker, animator, scriptwriter, filmmaker, entrepreneur, songwriter, & vocalist. She studied Theatre Arts at San Francisco State University and Screenwriting and Editing at the Academy of Art University. She also has a Vocational Certificate in Recording Arts at Diablo Valley College in Pleasant Hill, CA. specializing in Music Business/Industry Studies and is a member of ASCAP. After 15 years of workshopping songs and writing a catalog; Chanell partnered with an indie Record label and released her debut single "Draw Near to Me”. In 2021; she independently released her EP Project “Black Heart on the Table Vol 1: A Warrior's Lament”- a musical and spoken word project about mental health awareness, conditional love, and how it impacts the human heart. She has curated a visual Theatrical emotion picture for the Black Heart on the Table Short EP project on Social Media.Currently, Wilson is releasing her latest single on Valentine's Day 2024 from her upcoming Album project (to be released later this year) entitled “Ride it ‘til” a song about choosing to love after the honeymoon wears off. Chanell believes that creativity and love can heal this world and she is determined to do just that! Support the showMusic Artist interview

Chanell J. Wilson is a recording artist and songwriter from the East Bay Area. She has been writing since she was thirteen and performing since she was three years old. As an artist; she is a trained theatrical actress & voice-over performer, writer, dancer, public speaker, animator, scriptwriter, filmmaker, entrepreneur, songwriter, & vocalist. She studied Theatre Arts at San Francisco State University and Screenwriting and Editing at the Academy of Art University. She also has a Vocational Certificate in Recording Arts at Diablo Valley College in Pleasant Hill, CA. specializing in Music Business/Industry Studies and is a member of ASCAP. After 15 years of workshopping songs and writing a catalog; Chanell partnered with an indie Record label and released her debut single "Draw Near to Me”. In 2021; she independently released her EP Project “Black Heart on the Table Vol 1: A Warrior's Lament”- a musical and spoken word project about mental health awareness, conditional love, and how it impacts the human heart. She has curated a visual Theatrical emotion picture for the Black Heart on the Table Short EP project on Social Media.Currently, Wilson is releasing her latest single on Valentine's Day 2024 from her upcoming Album project (to be released later this year) entitled “Ride it ‘til” a song about choosing to love after the honeymoon wears off. Chanell believes that creativity and love can heal this world and she is determined to do just that! For more information, visit www.chanelljwilson.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/ladydiva-live-radio--2579466/support.

Hosts Laurie Fitz and Rick Bernardo visit with High School for Recording Arts’ executive director, Tony Simmons, and Rock the Cause CEO, Scott Herold. We discuss High School for Recording Arts’ life-giving work to connect and reconnect parts of the Twin Cities and various generations alike—through the power of education, communications, and music with its…

From representing Yoko Ono to winning class action lawsuits on behalf of actors and musicians, Neville Johnson and his partner Douglas Johnson (no relationship) have built one of the most interesting and successful entertainment law practices in the nation, specializing in representing “talent” as opposed to the business side of the industry.  Join Rahul and Ben for a fascinating discussion with Neville and Doug, as they describe how they got their start in this practice, recount some of their most interesting cases, and talk about trends in entertainment law resulting from new technologies. About Neville Johnson - Senior PartnerWebsite: Johnson and Johnson, LLP Law Firm | Johnson and Johnson, LLP (jjllplaw.com) Professional Experience:Neville L. Johnson graduated Phi Beta Kappa from the University of California, Berkeley (1971).  He received his law degree from Southwestern Law School (1975), graduating near the top of his class.  He has tried over 28 civil jury trials and over 70 civil trials and arbitrations without a jury. He is a member of the invitation-only American Board of Trial Advocates (ABOTA), and is on the Board of Governors of the Consumer Attorneys of Los Angeles (CAALA since 2005), the Board of Directors of the national organization Public Justice, and on the Board of Governors of the Beverly Hills Bar Association 2013-2015 and 2020-2022 (BHBA). Johnson is a long-time member of the invitation-only Los Angeles Copyright Society, and on the Board of The California Society of Entertainment Lawyers. He was nominated for Trial Lawyer of the Year in 2005 by CAALA.  He was Co-Chair of the Entertainment Law Section of the Beverly Hills Bar Association from 2009 to 2011. He has been on the Planning Committee of the USC Entertainment Law Institute since 2011. He has appeared in courts in Arizona, Colorado, Florida, Georgia, Hawaii, Louisiana, Nevada, New York, New Jersey, New York, Oregon, Tennessee, New Mexico, Ohio, Pennsylvania, and Texas. In 2020, Mr. Johnson and his team secured a verdict in a Right of Publicity case of over 9 Million Dollars in damages, and over 7 Million Dollars in attorneys fees. Mr. Johnson has litigated and settled countless cases against a wide array of defendants concerning royalty accounting, profit participation, publicity rights, idea theft, copyright infringement, and many other entertainment law matters. He has also served as an adjunct professor at Southwestern Law School since 2012, where he teaches Entertainment and Media Litigation. However, his greatest pride has been in defending the privacy rights of all citizens against the worst malefactors in the media. His work in this field was perhaps best summarized by Professor David A. Elder, a leading expert on the law of privacy, who published the following special dedication in his treatise, Privacy Torts: To Neville L. Johnson… who has led the charge, often successfully (and always creatively and with great passion) in exposing some of the worst outrages of media newsgathering. Neville ranks with Brandeis and Warren as the great defenders of privacy. All America is in his debt. Mr. Johnson has practiced entertainment law and IP law since 1975 [except for 10 months in 1977-78 when he was a Public Defender (juvenile) in Los Angeles County and handled over 100 matters, including two murder trials and one attempted murder trial]. Mr. Johnson has represented many well-known celebrities and entertainment concerns. The firm currently represents Sylvester Stallone in net profit litigation, and many other writers, directors, actors, producers, musicians, models, and JoJo Siwa, the biggest teen star in the world. He and his firm have been lead counsel in many class actions, including pioneering class actions in the entertainment industry against the entertainment unions, major record companies and motion picture companies. The firm has also handled a number of consumer class actions. The firm handles 15 to 20 right of publicity cases a year. Mr. Johnson is a frequent lecturer and written extensively on entertainment, copyright and media and other legal topics, including in London, England  (Entertainment attorneys based in the UK, London Branch of Entertainment Section of BHBA), Cannes, France (MIDEM, the international music convention), New York (ABA Forum on Communications Section, and Entertainment Law Section and New York Bar Assn.: Entertainment Law Section), Nashville (ABA Entertainment Law Section), Las Vegas (ABA Entertainment Law Section), Miami, Arizona State University, Stanford University, U.C. Berkeley, Loyola Law School, Southwestern Law School, USC Entertainment Law Institute annual forum (3 times) as well as the undergraduate school, California Western School of Law, California State University, Northridge, and many times to the Entertainment Section of the BHBA as a panelist or moderator), the Intellectual Property Section of Los Angeles County Bar Assn., and Berklee College of Music (Boston). Johnson & Johnson LLP, based in Beverly Hills, California, is a litigation firm that specializes in complex litigation with a particular emphasis on entertainment, intellectual property, right of publicity, privacy, defamation, consumer issues, and class actions. Mr. Johnson and the firm also negotiate business and entertainment agreements. Representative Matters:Obtained a 9.6 Million Dollar jury verdict after a seven week jury trial for claim of violation of the right of publicity, Hansen v. The Coca Cola Company, the largest verdict for a right of publicity case in the history of the United States. The trial court also awarded 7.4 million dollars in attorneys' fees.Obtained a unanimous landmark privacy ruling from the California Supreme Court in Sanders v. American Broadcasting Companies, Inc. (1999) 20 Cal.4th 907, a decision that is included in multiple casebooks and taught in law schools across the country.Obtained a published California Court of Appeal opinion representing fitness celebrity Richard Simmons in right of privacy claims against a magazine and private eye for placing a GPS tracker on a car. Simmons v. Bauer Media (2020)Represented numerous victims (both individually and in a class action) of notorious wiretapper Anthony Pellicano and other liable parties, including obtaining a favorable partial affirmance of a significant sanctions award by the California Court of Appeal in Gerbosi v. Gaims, Weil, West & Epstein LLP (2011) 193 Cal.App.4th 435, which concerned a law firm's use of Pellicano's services.Pioneered the use of class actions against studios and record labels for improperly accounting to artists regarding royalties and profit participation, obtaining multiple eight-figure settlements therefrom. Represented many individuals in profit participation claims, including Sylvester Stallone, Jack Klugman, Richard Dreyfuss and Mike Connors.Represented the heir of songwriter Gram Parsons in Parsons v. Tickner (1995) 31 Cal.App.4th 1513, defeating a statute of limitations defense and establishing a fiduciary duty claim against a music publisher.Represented numerous legendary musicians and/or their estates on a variety of contractual, accounting, and intellectual property matters, including John Lennon, Buddy Holly, Michelle Phillips, Rick Nelson, P.F. Sloan, members of Earth, Wind and Fire, Mitch Ryder, Lloyd Price and many others.Obtained a $15 million award in a jury trial business fraud case. Honors:He has been repeatedly selected by Super Lawyers as one of the top entertainment attorneys in Southern California (top 5% of attorneys as voted by peers). In 2020, 2021 and 2022 Super Lawyer and his peers named him one of the top 100 attorneys in Southern California, the only entertainment attorney on the list, he was named one of the top 100 Power Lawyers in Entertainment Law by The Hollywood Reporter every year since, 2008, and in 2020 moved to a new permanent category and designated a “Legal Legend.” He has also been designated numerous times one of the top lawyers in entertainment by Variety and Los Angeles legal newspapaer The Daily Journal. He was nominated as Trial Lawyer of the Year by the California Consumer Attorneys Association of Los Angeles. He is a fellow at the American Law Institute (only 2% of all attorneys are members).  In 2020 he was honored as Alumnus of the Year by the Biederman Entertainment Law Institute at Southwestern Law School.   A law review article about his career is Richard and Calvert, “Suing the Media, Supporting the First Amendment: the Paradox of Neville Johnson and the Battle for Privacy,” 67 Albany Law Review 1097 (2004). On June 23, 2015, the Los Angeles Times did a major profile (front page, Business Section) on his career, “Contract Sport, ‘Go-to' L.A. Lawyer Says Hollywood Studios Are Shortchanging His Clients,” noting that Johnson & Johnson is one of the few firms successfully taking on the entertainment establishment on a regular basis. The cover story of the July 2016, issue of Attorney at Law magazine is about Neville Johnson.  The Los Angeles Business Journal profiled him on its first page, “Lawyer Up,” (September 9, 2019). Speaking Engagements:He is a frequent speaker, including in London, England [Entertainment attorneys based in the UK, London Branch of Entertainment Section of Beverly Hills Bar Association (BHBA)], Cannes, France (MIDEM, the international music convention), the Intellectual Property Section of Los Angeles County Bar Assn., and Berklee College of Music (Boston); and the Los Angeles Copyright Society. New York (ABA Forum on Communications Section, and Entertainment Law Section and New York Bar Assn.: Entertainment Law Section), Nashville (ABA Entertainment Law Section), Las Vegas (ABA Entertainment Law Section), Miami, Arizona State University, Stanford University, U.C. Berkeley, Loyola Law School, Southwestern Law School, USC Entertainment Law Institute annual forum (3 times) as well as the undergraduate school, California Western School of Law, California State University, Northridge, and many times to the Entertainment Section of the BHBA as a panelist or moderator),  SInce 2011 he has moderated the panel on ethical issues for the annual Year in Review for the Entertainment Section of the Beverly Hills Bar Association. Publications: Johnson & Johnson, “Interesting New Developments About Which All Practitioners Should be Aware,” 31 New York State Bar Assn, Entertainment, Arts and Sports Law Journal 56 (2020); Johnson, Johnson, Smolla & Tweed, “Defamation and Invasion of Privacy in the Internet Age,” 25 Southwestern Journal of International Law 9 (2019) Johnson & Johnson, “Trouble in Tinseltown, Los Angeles Daily Journal (April 23, 2019); “My Big Mouth,” Los Angeles Daily Journal (March 29, 2019); Johnson & Johnson, “Entertainment Contracts with Minors in New York and California, 30 New York State Bar Assn, Entertainment, Arts and Sports Law Journal 75 (2019); Johnson & Johnson, “A New Way to Revive a Corporation?,” Los Angeles Daily Journal (October 18, 2016); Johnson & Johnson, “Hollywood Docket: One Sided World,” 27 New York State Bar Assn, Entertainment, Arts and Sports Law Journal 32 (2016); Johnson & Elder, “Maybe America Needs More Peter Thiels,” Los Angeles Daily Journal (August 8, 2016); “We've Lost Control,” Los Angeles Daily Journal (June 16, 2016); “Talent Agency Act Survives Suit, Clarity Remains Elusive,” Los Angeles Daily Journal (May 10, 2013); “The Man Who Seduced Hollywood,” 36 Los Angeles Lawyer 41(September 2013); “Remedies for Web Defamation,” California Lawyer 36 (May 2013); “To Find Employment as a Lawyer, You Must Market Yourself,” 36 Los Angeles Lawyer 12 (June 2013); “Ten Rules for Success in the Practice of Law, 31 Los Angeles Lawyer 12 (June 2008); Chapter, Johnson & Aradi, “Defamatory Tweeting and Other Name and Likeness Violations” in Building Your Artist's Brand as a Business, International Association of Entertainment Lawyers (2012) (includes a discussion of right of publicity); Chapter, Johnson & Fowler, “Litigation: How to Draft Defensively Without Killing the Deal” in Licensing of Music from BC to AD (Before the Change/After Digital), International Association of Entertainment Lawyers (2014); Elder, Johnson & Rishwain, “Establishing Constitutional Malice for Defamation and Privacy/False Light Claims When Hidden Cameras and Deception Are Used by the Newsgatherer,” 22 Loyola of Los Angeles Entertainment Law Review 327 (2002); “New Developments in California Privacy and Defamation Law,” 23 California Litigation 21 (2010); Johnson & Johnson, “What Happened to Unjust Enrichment in California? The Deterioration of Equity in the California Courts,” 44 Loyola of Los Angeles Law Review 277 (2010); Johnson & Walsh, “The Danger of “Anti-Libel Tourism” Litigation in the United States, 32 Los Angeles Lawyer 44 (December 2009); Johnson, “Privacy and the First Amendment”, California Litigation (2006); co-author “Caught in the Act,” Los Angeles Lawyer (1998) (an analysis of trends in the right of privacy); Johnson & Lang, The Personal Manager in the California Entertainment Industry, 52 Southern California Law Review 375 (1979)(a definitive article on the regulation of talent agents, personal managers, and the interplay of entertainment unions and guilds in that nexus). He co-authored chapters on music publishing and personal managers in The Musician's Business & Legal Guide (2017 5th edition), and wrote the authorized and best-selling biography of the greatest coach in the history of sports, The John Wooden Pyramid of Success (Second Edition 2004). Since 2012, Neville and Douglas Johnson have taught a course on entertainment and media litigation as Adjunct Professors at Southwestern School of Law.  From 2011-2014, he was one of the panelists teaching the Los Angeles County Bar Association new admittees course on class actions; and since 2011 he has moderated the panel on ethical issues for the annual Year in Review for the Entertainment Section of the Beverly Hills Bar Association.  Professional Associations:American Board of Trial Advocates (invitation only)Association of Business Trial LawyersBeverly Hills Bar Association Co-Chair Entertainment Section, 2009-2011Board of Governors, 2012-2015, 2020-2022Consumer Attorneys Association of Los AngelesBoard of Governors, 2005-PresentConsumer Attorneys of CaliforniaLos Angeles Copyright Society (invitation only)Los Angeles County Bar AssociationLoyola Productions [Filmmaking arm of the Society of Jesus (the Jesuits)]Co-Chair of the Board, 2009-PresentNational Association of Recording Arts and Sciences (Grammy organization)Voting Member (as the recording artist professionally known as Trevor McShane)Public Justice (National organization advocating for consumers and fundamental rights)Board of Governors, 2011-PresentUSC Entertainment Law InstitutePlanning Board, 2011-Present Education:J.D., Southwestern University School of Law, 1975B.A., University of California at Berkeley, Berkeley, 1971 Practice Areas:Media LawEntertainment LawEntertainment Class ActionsPrivacy LawComplex Business Litigation Matters, including breach of contract, breach of fiduciary duty and fraudRight of Publicity (wrongful use of name and likeness)Copyright Infringement and Theft of Idea casesIssues involving the entertainment unions Admissions:CaliforniaUnited States Supreme Court  About Douglas Johnson - Managing PartnerWebsite: Johnson and Johnson, LLP Law Firm | Johnson and Johnson, LLP (jjllplaw.com) Professional Experience:Mr. Johnson is well known for handling high-profile and high-impact entertainment matters. His clients include producers, actors, directors, writers, production companies, music artists, composers, music publishers, and independent record labels. He is well-known for his successes in royalty disputes, profit participation disputes, right of publicity cases, and theft of idea cases for film and television.  Mr. Johnson also handles invasion of privacy and libel cases, business disputes, and class actions.  Mr. Johnson has been repeatedly named by Super Lawyer as a top intellectual property litigator for more than a decade, representing the top 2.5% of the profession in Southern California. Mr. Johnson also serves as outside general counsel for WorldStarHipHop.com, a popular music and pop culture website, where he deals with cutting-edge copyright, media, and right of privacy issues.  Mr. Johnson has handled numerous copyright infringement lawsuits in Federal Court for Worldstar.   Since co-founding Johnson & Johnson, Mr. Johnson has been at the forefront of developing California's right of publicity laws. He regularly represents celebrities, models, and professional athletes in litigation against defendants who have wrongfully used their images.  He has litigated cases up to the California Supreme Court, advocating for precedent to protect the rights of all Californians from those who would seek to profit from their names, images, and likenesses without authorization. Mr. Johnson's advocacy in this area of law extends to his participation on speaking panels, publication of scholarly articles, and educating law students on the importance of these rights.  Mr. Johnson recently litigated a right of publicity case that resulted in a 9.6 million jury award and an attorney fee award of 7 million against Coca-Cola and Monster Energy for building their Hubert's Lemonade brand around the name of the founder of Hansen Juices, Hubert Hansen.  Mr. Johnson also received a seven-figure jury award in a right of publicity case for an actor/supermodel.   Representative Matters:Handled profit participation disputes on behalf of Sylvester Stallone (Demolition Man, Expendables, and the Rocky Films), Glen Larson (Magnum PI, Knight Rider, Fall Guy, Battlestar Galactica), Ed Weinberger (Amen), Richard Dreyfuss (Goodbye Girl, Mr. Holland's Opus, and Close Encounters Of The Third Kind, and What About Bob?), Raymond Wagner (Turner and Hooch), Jack Klugman (Quincy, Odd Couple), Mike Connors (Mannix), the Estate of Charles Bronson (St. Ives, Telefon), Mort Engelberg (Hot Stuff and Smokey And The Bandit), and the owners of the Friday 13th horror franchise.  Lead counsel in a class action against Sony Music, resulting in $12.7 million settlement and 36% uplift in ongoing foreign streaming royalties in Nelson v. Sony (S.D.N.Y) benefiting thousands of legacy recordings artists; currently co-counsel in similar litigation on behalf of legacy artists signed to Warner and Universal. Lead Counsel defending RatPac inidea theft case over the 2018 Melissa McCarthy movie, Life of the Party. (case dismissed on Motion for Summary Judgment).Lead Counsel representing producer in a dispute over turnaround rights to the film Rush Hour 4.  Lead Counsel for Janet Jackson in a royalty dispute with her label.  Obtained $5.35 million in retrospective relief and an estimated $3.1 million in savings over the next three years in Risto v. AFM & SAG-AFTRA (C.D. Cal.) for non-featured performers who receive royalties from the AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund.Obtained a seven-figure settlement as lead counsel in a major talent management dispute for actress Karrueche Tran after successfully freezing all her manager's assets in Tran v. Muhammad (C.D. Cal.)Currently representing the leading production music company in North America on a variety of copyright matters both in and out of litigation-see, e.g., Associated Production Music v. The Vail Corp. (C.D. Cal.)Co-counsel in class actions against major Hollywood studios alleging endemic underpayment on home video and new digital media for pre-1982 movies for writers, producers, actors, and directors.  In those cases, Mr. Johnson handled the settlement with Universal for $25 million, the settlement with Fox for $12.6 million, and the settlements with Sony and Paramount.Mr. Johnson was co-counsel in three class actions against the record industry companies over digital download royalties of underpayments to artists (Temptations/Motels/Ronee Blakely), resulting in eight-figure settlements.  The cases dealt head-on with unresolved points of law as to the classification of digital downloads, and the rights of artists to receive royalties in the face of changing technology. Mr. Johnson has litigated several high-profile libel actions against large media companies, resulting in several mid-seven-figure settlements.  Recently he represented Richard Simmons against In-Touch Magazine. In May 2020, he argued and won an Anti-SLAPP appeal for Mr. Simmons.With his partner, Neville L. Johnson, he settled three class actions against the Directors Guild of America, Writers Guild of America, and Screen Actors Guild of America for tens of millions of dollars of unpaid foreign levies.  Defended blues icon B.B. King in a case seeking declaratory relief regarding the right to produce a film about his life, resulting in dismissal of the lawsuit.Obtained a seven-figure jury verdict in Oregon U.S. District Court on behalf of a music artist and record company in a copyright infringement case.Represented business owner in arbitration in a partnership dispute resulting in a seven-figure award for the client.Wrongful death and civil rights case resulting in reorganization of staffing and training at a county jail. The matter was featured on the cover of the Sacramento News & Review and constituted the largest settlement in the nation at the time for such a case. Thought Leadership:Panelist, CalCPA: Entertainment Industry Conference (June 21, 2022)Panelist, Beverly Hills Bar Association, Entertainment Law Year in Review, Ethics (January 13, 2020)Adjunct Professor, Entertainment and Media Litigation, Southwestern School of Law, (2012 to Present)Panelist, “Backend Optics: Profit Participations Through Different Lenses,” Beverly Hills Bar Association, Entertainment Law Section, (2018)Panelist, “I'm a Celebrity, You Can't Do That, (Can You?), California Society of Entertainment Lawyers, (2018)Panelist, “Entertainment Year in Review: Entertainment Litigation With Stars Of The Bar,” Beverly Hills Bar Association, Entertainment Law Section, (2017)Panelist, “The Right of Publicity: The State of The Current Law,” Beverly Hills Bar Association, Entertainment Law Section, (2014)The Ever-Evolving Courtroom Drama of Net Profits, Donald L. Stone's Inn of St. Ives, (2012)Panelist, Right of Publicity: How Much Is Your Client Really Worth?, Beverly Hills Bar Association, Entertainment Law Section, (2012)Panelist, Current Issues in Right of Likeness, Defamation and Privacy, Beverly Hills Bar Association, Entertainment Law Section, (2011)Panelist, Injuries Without Remedies, Loyola Law School's Legal Symposium, (2011) Sample Publications:The Troubling Trend of Online Exceptionalism to Copyright's Separate Accrual Rule, New York State Bar Association, Entertainment, Arts and Sports Law Journal, Vol. 34, No. 2, (Summer 2023)Florida sides with California on delayed discovery in copyright cases, Daily Journal (March 3, 2023)The Second and Ninth Circuits Diverge on Copyright Law's Discovery Rule, New York State Bar Association, Arts and Sports Law Journal, Vol 33, No. 2 (Fall 2022)The Top 3 Copyright Law Developments of 2022 (So Far), New York State Bar Association, Arts and Sports Law Journal, Vol. 33, No. 2, (Spring 2022)Say Goodbye to Back-End Deals, New York State Bar Association, Arts and Sports Law Journal, Vol. 32, No. 3 (Fall 2021)3 Music Litigation Developments in 2020-2021, Daily Journal (October 23, 2021)Contract, Fraud, and Libel Damages, Journal of Consumer Attorneys Associations for Southern California, Advocate Magazine (October 2021).  3 Music Litigation Developments in 2020-2021, Daily Journal (September 16, 2021)Recent Developments In Entertainment Law: Defamation Jurisdiction, Copyright, and Talent Contest Agreements (Summer 2021)Black Windows: Scarlett Jo vs Disney, Daily Journal, (July 6, 2021)Recent Right of Privacy Developments, Daily Journal, (July 22, 2021)Developments In Libel, Social Media, Privacy and The Right of Publicity, (Spring 2021)Copyright Developments in 2020, New York State Bar Association, Arts and Sports Journal, Vol. 32, No. 1 (Sring 2021)Pandemic-era Appellate Rulings Take on Arbitration, Los Angeles Daily Journal (April 22, 2021)Recent Interesting Cases, New York State Bar Association, Arts and Sports Law Journal, Vol. 31, No. 2, (Spring 2020)Hollywood Docket: Trending: Data Privacy, Copyright Trolling, And A Clause To Keep In Mind, New York State Bar Association, (June 6, 2020)Recent Development In Copyright Law, Daily Journal, (August 2, 2020)COVID-19 And The Return To Film Production In California, Los Angeles Daily Journal, (July 13, 2020)Interesting New Developments About Which All Practitioners Should Be Aware Of, New York State Bar Association, Arts and Sports Law Journal, Vol. 31, No. 1, (Winter 2020)My Big Mouth, Journal of Consumer Attorneys Association for Southern California, Advocate Magzine, (December 2019)Entertainment Contracts With Minors in New York and California, New York State Bar Association, Arts and Sports Law Journal, Vol. 30, No. 1, (Spring 2019)Defamation and Invasion of Privacy in the Internet Age, Southwestern Journal of International Law, Volume XXV (2019)When Will Legal Communication Result In Liability? Los Angeles Daily Journal, (Mar 29, 2019)Entertainment Contracts With Minors: Clarification Needed, Los Angeles Daily Journal, (Nov. 27, 2018)Tales and Lessons Regarding the Right of Publicity, USC Entertainment Law Spotlight, Issue 2, (2018)Hollywood Docket: Tales and Lessons Regarding the Right of Publicity, New York State Bar Association, Arts and Sports Law Journal, No. 2, (Summer 2018)Hollywood Docket: Essential Clauses for Drafting an Ironclad Release and Consent Agreement, New York State Bar Association, Arts and Sports Law Journal, Vol. 29, No. 1, (Spring, 2018)Before You Sign That Deal At Cannes…Produced By, Producers Guild of America, (April/May 2017)Hollywood Docket: Making the Perfect Pitch, New York State Bar Association, Arts and Sports Law Journal, Vol. 27, No.3, (Fall/Winter 2017)Hollywood Docket: One-Sided World, New York State Bar Association, Entertainment, Arts and Sports Law Journal, Vol 27, No. 2., (Summer, 2016)A New Way to Revive a Corporation, Los Angeles Daily Journal, (Oct 26, 2016)Hollywood Docket: Social Media, the Law, and You, New York State Bar Association, Arts and Sports Law Journal, Vol. 27, No. 3 (Fall 2016)What Happened to Unjust Enrichment in California? The Deterioration of Equity in the California Courts, Loyola of Los Angeles Law Review, Vol. 44:277 (Fall 2010) Published Cases:Gerbosi v. Gaims, Weil, West & Epstein, LLP (2011) 193 Cal.App.4th 435Walker v. Geico General Ins. Co. (9th Cir. 2009) 558 F.3d 1025Simmons v. Bauer Media Group USA, LLC (2020) 50 Cal App.5th 1037Education:J.D., University of the Pacific, McGeorge School of Law, 2000, Dean's ListB.A., University of Southern California, 1996, Dean's List Practice Areas:Entertainment LitigationComplex Business LitigationClass Action LitigationIntellectual Property LitigationDefamation, Media, and First Amendment LawRights of Privacy and Publicity Admissions:California   

Richard James Burgess is a man who wears many hats. In a career that spans over five decades, Richard was first and foremost a drummer. In the 1970s, he became a part of the London music scene as a session drummer, as well as with the ground- breaking band Landscape. Richard combined his passion for music, drumming and electronics when he worked closely with Dave Simmons on the Simmons SDS-V drum kit. After Landscape dissolved, he began to work more behind the desk, being one of the first to own a Fairlight CMI in the U.K. He would go on to work with the likes of Kate Bush, Spandau Ballet, Visage and Colonel Abrams.  The 1990s saw Burgess re-enter the world of academia and he would go on to write some of the most comprehensive guides on music production. Recently, Landscape released ‘Landscape A Go-Go', a comprehensive 5 CD anthology of their work covering their entire recorded output between 1977 and 1983. Richard recently chatted to Rob from his New York apartment, where he talked about his journey with electronic music and his future plans as an author, musician and producer.Chapters00:00 - Introduction01:49 - Looking Back On Working With Landscape04:43 - Using New Technology Live On Stage 06:19 - Starting The Journey With Music Technology08:00 - The Threat Of Electronic Drums And Drum Machines10:37 - Working With JJ Jeczalik12:25 - Involvement With The Simmons SDS V16:47 - Modern Electronic Drums18:03 - Using Drum Sample Libraries22:19 - The Fairlight CMI29:00 - The Introduction Of Page R32:23 - The Move Into Production37:51 - The New Romantics39:43 - Working With A Variety Of Artists42:07 - Richard Burgess The Author46:39 - A.I. In Music50:20 - Compensating Musicians For Their Work53:51 - Current Projects55:24 - A Landscape Reunion?Richard James Burgess BiogBorn in London, Burgess' family emigrated to New Zealand in 1958 when Richard was aged 10. He studied at both Berklee and London's Guildhall before forming Landscape. His musical career included being a session drummer, producer engineer and inventor.Burgess re-entered academia where he both lectured and advised on music production and the music business in both the U.K. and the United States. His books, ‘The Art of Music Production' and ‘The History of Music Production' are considered essential reading for anyone in the industry.Richard remains entrenched in the music business to this day, chairing the American Association of Independent Music, having also served on the boards of the National Academy of Recording Arts & Sciences and the Smithsonian Music Committee.https://landscape.band/Rob Puricelli BiogRob Puricelli is a Music Technologist and Instructional Designer who has a healthy obsession with classic synthesizers and their history. In conjunction with former Fairlight Studio Manager, Peter Wielk, he fixes and restores Fairlight CMI's so that they can enjoy prolonged and productive lives with new owners. He also writes reviews and articles for Sound On Sound, his website Failed Muso, and other music-related publications, as well as hosting a weekly livestream on YouTube for the Pro Synth Network and guesting on numerous music technology podcasts and shows. He also works alongside a number of manufacturers, demonstrating their products and lecturing at various educational and vocational establishments about music technology.www.failedmuso.comTwitter: @failedmusoInstagram: @failedmusoFacebook: https://www.facebook.com/failedmuso/ 

Making a return for his second appearance on StoryBeat is the great jazz and world flutist, Michael Mason. Michael's been playing professionally for more than 40 years.  He's led off for Trumpeter Arturo Sandoval, had master classes with James Newton, been influenced by Jethro Tull's Ian Anderson, performed with New Orleans Saxophonist Edward “Kidd” Jordan and Chicago's legendary Fred Anderson. He's also collaborated with James Galway and many artists from the legendary AACM organization.Michael's musical influences include Miles Davis, John Coltrane, Eric Dolphy, Sun Ra, and Yusef Lateef.More than a composer and musician, Michael was also a working firefighter for 38 years and is now Retired Lieutenant Michael Mason of the Downers Grove, Illinois Fire Department. He was one of the first responders from the Chicago area to fly to New York City after the World Trade Center Towers were attacked. There he worked with the New York City Fire Department and Port Authority for many weeks. You can read more about his firefighting efforts at ricofirerescue.com.   Over the past 10-plus years Michael's taught thousands of recruits at the Fire Academy to become first responders and has taught veterans how to save each other at the scene of any type of tragic incident. Please be sure to stick around at the end of this episode for a special treat. Michael has lent us his beautiful song, Freedom, from his new album, Impermanence. Freedom has also been turned into a music video as a tribute to the people of Ukraine.  The video, which can be seen on fireflute.com, has been approved by the National Academy of Recording Arts and Sciences for Grammy voting in the Best Music Video category, and Impermanence is up for voting in the "Best Contemporary Jazz Album" category.

On this episode of the Getting Smart Podcast, Victoria Andrews is joined by Producer Mickey Breeze, the 10-time Beat Battle Champion of the Twin Cities. He is also a former teacher for the “Twin Cities Mobile Jazz Project.” and a DJ for the Minnesota Timberwolves and Twins. He's a proud alumni of the High School for Recording Arts in St. Paul, MN.  We're also joined by Dr. H. Bernard Hall an Assistant Professor of Urban Teacher Education at Drexel University in the Department of Teaching, Learning, and Curriculum. His teaching and research interests include urban teacher education and development, social justice-oriented approaches to secondary English education, hip-hop pedagogy, anti-Black educational policy and practice, and critical qualitative research.  Links:  Mickey Breeze H. Bernard Hall HipHopEd Conference IG: Mickey. Breeze  

Although Minnesota has started to move the needle on teacher diversity, we still have a very long way to go. Over the past few years, policymakers have created a variety of incentives to increase the numbers of teachers of color in our state—along with some changes to teacher preparation and licensure systems—but too many obstacles remain. This EDTalk features three education professionals who will share insights from people of color who were at one time considering a career in education, but ultimately changed their minds and did not pursue this field. Josh Crosson is Executive Director of EdAllies; Haben Ghebregergish is an educator at the High School for Recording Arts, and Jocelyn McQuirter is a local government engagement manager. This EDTalk was recorded at Icehouse on November 13th, 2023. EDTalks is co-presented by Achieve Twin Cities and Graves Ventures, a project of the Graves Foundation. For more information on EDTalks or to watch EDTalks videos or listen to audio podcasts, visit http://www.achievetwincities.org.

PAUL'S BIO Our conversation with Paul is a whirlwind with a master of the media & entertainment world, now shaping how we consume, experience and feel live events - from the Olympics to art fairs to music festivals. He is President of Endeavor's IMG Events and On Location businesses, overseeing a diverse and global portfolio of consumer experiences, hospitality, and brand partnerships.  The company has partnerships with more than 150 rightsholders, including the NFL, NCAA, UFC, IOC (Paris 2024, Milano Cortina 2026, LA 2028 Olympic and Paralympic Games), and PGA of America as well as relationships with festivals, musicians, and other creators, On Location offers world-class hospitality, exclusive ticket packages, and premier end-to-end travel access for corporate clients, fans, and guests to create memorable experiences at the world's most marquee events. IMG Events business owns, produces, and commercially represents hundreds of events globally, including international music, culinary, art, and horticulture festivals, multiple sports competitions and tournaments, attractions, exhibitions, and entertainment experiences. Before joining Endeavor, Paul held leadership roles in media including Chief Revenue Officer of Bloomberg Media, Chief Executive Officer of Westwood One, and in various roles at Time Inc. He is also the Founder of PC Ventures, Member of the Board of Magnite and previously served as Chairman of the Boards of Engine Group and Telaria. He has held industry-wide leadership roles including serving on the boards of the Interactive Advertising Bureau, the Radio Advertising Bureau, the Association of Magazine Media and MusicCares (National Academy of Recording Arts & Sciences). He also co-founded Griffin Cares Foundation with his wife Pam Caine and serves as its Chairman. “Live events are communities”  EPISODE OUTLINE (0:00) - Intro (0:38) - Background (1:35) - Run down of Endeavor, IMG Events and On Location; sports, concerts, art, movies (4:50) - Digital, traditional media, live; the future of media, events, platforms, living it  (8:26) - The “Taylor Swift economy”; commercial dynamics of live events and  communities (11:09) - Lightning round; New Jersey, fish, sleeping, and “The Boss” (12:09) - Outro Assistant Editor: Devin Harris PAUL RELATED LINKS Endeavor / IMG Events / On Location Hollywood Reporter on merger of On Location and IMG Events Advertising Week Profile Magnite Board Profile Crain's 40 under 40 when he was Publisher of Teen People GENERAL INFO| TOP OF THE GAME: Official website: https://topofthegame-thepod.com/ RSS Feed: https://feed.podbean.com/topofthegame-thepod/feed.xml Hosting service show website: https://topofthegame-thepod.podbean.com/ Javier's LinkTree: https://linktr.ee/javiersaade & Bio: https://tinyurl.com/36ufz6cs  SUPPORT & CONNECT: LinkedIn: https://www.linkedin.com/showcase/96934564 Facebook: https://www.facebook.com/profile.php?id=61551086203755 Twitter: https://twitter.com/TOPOFGAMEpod Subscribe on Podbean: https://www.podbean.com/site/podcatcher/index/blog/vLKLE1SKjf6G Email us: info@topofthegame-thepod.com   THANK YOU FOR LISTENING – AVAILABLE ON ALL MAJOR PLATFORMS

This week on A Voice and Beyond, we share part two of my two-part interview with Lyndia Johnson. Her celebrated abilities as a vocal coach and in artist development are both highly respected in the music industry. Lyndia, also known in the Music Industry as “MzLyndia”, has built a relationship with the Recording Academy which has become a long-recognized and well-respected collaboration. She has also served on the Board of Governors for the National Academy of Recording Arts and Sciences and a vocal consultant and clinician for MusiCares and Grammys. She holds both Bachelor's and Master's Degrees in Voice and has been invited to serve as an Associate Professor of Practice in Pop Voice at the University of Southern California back in 2018. Proudly, she was the first African-American Professor of Voice engaged by the Thornton School of Music.From Pop, K-pop, R&B, and Gospel to Musical Theater, MzLyndia's artists can be heard around the world. In this episode, she delves deeper into her work preparing world-acclaimed music artists not only for the recording studio but also has the privilege of sharing the strategies she uses for assisting and supporting these artists when they face vocal issues amid a major tour. MzLyndia emphasizes the importance of understanding the performance and venue demands of our working students to ensure that what you are teaching, pedagogically, is relevant on stage, in a live situation.MzLyndia is an avid voice scientist, and she explains how this knowledge guides and informs her contemporary musical instructional style. She tells us that in a live concert, much of the vocal acoustics setup is configured in technology and can be dealt with by an audio engineer with the push of a button. MzLyinda explores the idea that, as singers, we are vocal athletes, and all athletes sustain injuries at some point. Therefore, it is time to stop shaming and improve the support systems for our singers.There's so much more to unpack in this episode as MzLyndia shares her knowledge, philosophies, and lived experiences. Remember this is part two of a two-part interview, and part 1 is last week's episode #138. In this Episode2:36-Introduction6:32-Dealing with preconceived ideas and Limitations18:19-Vocal health and rehabilitation for singers22:02-Vocal Pathology Factors 32:14-Popular music in higher education58:06-Embracing imperfections in singing and storytelling1:02:21-Singing, anxiety, and personal growthFind MzLyndia Online:Website: https://www.sterlingvoicecoaching.com/aboutFacebook: https://www.facebook.com/lyndia.johnson.94/Instagram: https://www.instagram.com/mzlyndia/Twitter: https://twitter.com/SterlingVoiceLinkedIn: linkedin.com/in/lyndia-johnson-59504028For more, go to https://drmarisaleenaismith.com/139.Like this episode? Please leave a review here - even one sentence helps!Follow me on Instagram.Performance Mastery Coaching - Take Centre Stage In Your Life!!Visit www.drmarisaleenaismith.com/coaching to learn more.

This week on A Voice and Beyond, we are very honored to have Lyndia Johnson as our special guest on the show. This is part one of a two-part interview with Lyndia, who is known in the Music Industry as “MzLyndia.” MzLyndia is not your average singing teacher and vocal coach. From touring with major artists to collaborating with music producers, she has spotlighted the need for vocal artist development in the music industry for over 25 years. Her celebrated abilities as a vocal coach and in artist development are highly respected. She has served on the Board of Governors for the National Academy of Recording Arts and Sciences, as a vocal consultant and clinician for MusiCares, and was one of the original architects of the Grammy's Vocal Camp. Her relationship with the Recording Academy has been a long-recognized and well-respected collaboration.In this interview, we delve into Lyndia's vocal journey as she shares with us that her career success as a well-established opera singer was based on a unique combination of years of operatic study and growing up being influenced by the voices of Aretha, Gladys, Etta James, and Mahalia Jackson. Lyndia later transitioned her career to become a highly sought-after vocal coach among Pop, R&B, Gospel, and Musical Theatre artists who desire to brand and transform their voices.Lyndia also offers a service uniquely intended for Producers and Recording Artists. In the recording studio, Lyndia's role as a vocal coach is not only to solve any vocal problems that occur in the recording session but to work alongside the record producer to help enhance the singer's voice and to ensure the producer can capture the best tone/timbre and vocal delivery possible all while avoiding costly delays. According to Lyndia, this gives the producer the freedom to create a highly marketable and vocally attractive finished product that can then be sustainable for touring.This is a most fascinating interview with Lyndia Johnson, one of the music industry's most acclaimed vocal coaches. Remember this is part one of a two-part interview and part 2 will be released next week.In this Episode2:35 - Introduction8:32 - MzLyndia's Journey10:22 - Opera training and cultural identity19:27 - MzLyndia reflects on losing her voice23:06 - Learning Voice Science28:49 - Music industry, voice coaching, and legacy36:49 - Artist uniqueness in live performances vs. recordings49:47 - Voice coaching and artist developmentFind MzLyndia Online:Website: https://www.sterlingvoicecoaching.com/about Facebook: https://www.facebook.com/lyndia.johnson.94/ Instagram: https://www.instagram.com/mzlyndia/Twitter: https://twitter.com/SterlingVoice LinkedIn: linkedin.com/in/lyndia-johnson-59504028 For more, go to https://drmarisaleenaismith.com/138.Like this episode? Please leave a review here - even one sentence helps!Follow me on Instagram.Performance Mastery Coaching - Take Centre Stage In Your Life!!Visit www.drmarisaleenaismith.com/coaching to learn more.

Jordan Clark is a musician, songwriter, music engineer, and producer with extensive experience in writing, performing, and recording musical works. As a musician, he has performed with a number of musical groups, including Vanladylove (named "#1 Artist on the Verge" at the 2014 New Music Seminar), and has worked diligently as a solo artist. Jordan graduated from Utah Valley University and attended the Conservatory of Recording Arts and Sciences in Gilbert, AZ. As an engineer, Jordan interned at Entourage Studios in North Hollywood, CA, worked for a short time at New Monkey Studio in Van Nuys, CA, and worked at Willamette Mountain Studio in American Fork, UT. Music producer, mastering engineer @rigbyroadstudios @thebandmowth Solo music @nonahnevermusic www.rigbyroadstudios.com

On this episode, Chicago native saxophonist Steve Cole (Buddy Guy, Larry Carlton) chats with Dave about his first concert experience (Lionel Richie), his career as Jazz Artist and the release of his new album, and his contributions to the MN Music History! When he's not on the road you can find him teach at the University of St.Thomas as Head of the Music Industry Studies and Recording Arts.Sponsored by Aquarius Home Services (https://aquariushomeservices.com/), Star Bank (https://starbank.net), UCare (https://www.ucare.org/) Propane Association (https://discoverpropanemn.com/) - and is recorded in the Aquarius Home Services Studio!Chanhassen Dinner Theater (https://chanhassendt.com)

On this episode, Chicago native saxophonist Steve Cole (Buddy Guy, Larry Carlton) chats with Dave about his first concert experience (Lionel Richie), his career as Jazz Artist and the release of his new album, and his contributions to the MN Music History! When he's not on the road you can find him teach at the University of St.Thomas as Head of the Music Industry Studies and Recording Arts.Sponsored by Aquarius Home Services (https://aquariushomeservices.com/), Star Bank (https://starbank.net), UCare (https://www.ucare.org/) Propane Association (https://discoverpropanemn.com/) - and is recorded in the Aquarius Home Services Studio!Chanhassen Dinner Theater (https://chanhassendt.com)

What happens when a man trusts God to achieve the impossible? The new movie Never Give Up, shares the story of deaf athlete Brad Minns. The Men's Singles Tennis Finals at the 1985 Deaf Olympics was truly a Match for the Ages, when Minns fought back from match point to win the Gold medal in the fifth set. The match serves as a framework for the story of this inspirational man who became deaf at the age of three from a deadly fever yet rose to the height of his sport.NEVER GIVE UP will be in select theaters September 1st, 2023https://www.nevergiveupfilm.com/ Rick Eldridge With more than 35 years in the entertainment business as a musician, producer, director, and entrepreneur: Rick Eldridge makes projects happen. Whether sports programming, live production, animated series, or feature films, Rick has been involved in every facet of creative development and production management in the entertainment industry. He is a graduate of Brevard College with advanced studies at the University of North Carolina Charlotte and Full Sail School of Recording Arts. He serves on several charitable, civic, and college/university boards. In addition to THE MULLIGAN, his creative projects include: THE ULTIMATE GIFT (feature film trilogy); BOBBY JONES: STROKE OF GENIUS (feature film); HERMIE & FRIENDS (animated series); GIGI (animated series); RUNNING THE SAHARA (feature documentary); NEVER AGAIN (feature documentary); FIRST RESPONDERS (released Oct 2022); and WHEN WE LAST SPOKE (feature film). Brad Minns Brad was born in Toledo, Ohio on June 9, 1965. At the age of three he lost his hearing when he contracted a deadly fever. Rather than send him to special schools, his parents made sure Brad knew how to read lips and had him fitted with hearing aids.He began playing sports and found that he had an interest in tennis, which he began to participate in more and more. He went on to become one of the top junior players in his age division and received a scholarship at the University of Toledo as a walk-on. The only difference between Brad and his teammates was the fact that he could hear the cheers of the crowds who came to watch him play. After college he went on to become the USA's number one deaf tennis player and won numerous World Deaf Championships. He also helped the USA to win its first ever Dreese Cup in 1995.Not being content with just playing professional tennis at the World level, he began using his body building in earnest. In 1995 he won the PAS / Experimental and Applied Sciences nutritional supplement transformation contest now known as Body-For-Life and became their second national spokesperson. His bodybuilding success earned him various modeling jobs including being Nordic Flex's cover model and appearing in their national advertising campaign.Brad has always met his goals and is now determined to teach others how to go for their dreams. Today, he lives with his wife Ginny in Orlando, FL and works as a tennis professional and personal trainer. He speaks at FCA (Fellowship of Christian Athletes) groups where he shares his testimony of living a life for Christ.https://bradminns.com/contact-us/

In this episode of The Jay Franze Show, we welcome Carl Tatz, an award-winning studio designer and the principal of Nashville-based Carl Tatz Design LLC. With over thirty years of experience as a GRAMMY®-nominated engineer/producer, commercial studio owner, and acclaimed acoustician, Carl has transformed how we experience sound.From his early days as a musician, composer, and recording engineer to owning the renowned Recording Arts studio, which received accolades from Mix Magazine as one of the "Great Studios Of the World," Carl's journey has been remarkable. Nominated for a GRAMMY® Award for his production work, Carl's passion for music and cinema was instilled at a young age when he worked at his father's drive-in theater, equipped with state-of-the-art 70-mm Todd-A-O projectors.Join us as we delve into the fascinating world of audio and acoustics with Carl Tatz. Throughout the episode, we explore his unique approach to studio and personal recording space design, which has garnered praise from high-profile engineers, producers, and artists alike. Carl's innovative PhantomFocus™ System and Precision Monitoring Instruments have revolutionized control rooms nationwide, providing engineers and producers with unparalleled performance and full-frequency accuracy.As we learn about Carl's vast expertise in entertainment, acoustics, and customer service, we gain insight into how he seamlessly integrates his clients' visions into his designs. Carl's approach centers on understanding the client's lifestyle and emotional connection to the space, whether it's a commercial studio or a personal screening room. As he travels the country working on various projects, he remains committed to exceeding expectations and helping his clients see and hear the world in new and extraordinary ways.Join us for a captivating conversation with Carl Tatz as we explore the art and science of audio space design, its impact on artists, and the boundless possibilities in the world of acoustics. Don't miss this episode filled with inspiring stories, invaluable insights, and a glimpse into the mind of a true visionary in the realm of studio design and acoustic engineering.Show InformationHost: Jay FranzeGuest: Carl TatzRecorded: August 7, 2023LinksJay Franze: https://JayFranze.comCarl Tatz Design: https://carltatzdesign.com/ Support the show

This week we are wrapping up season 5 with two amazing guests! I'm talking with Eric Knight & Ritch Esra of MUBUTV (Music Business Television) in Los Angeles, CA. These guys have a combined goldmine of knowledge and advice that covers the whole gambit of the music industry. Ritch worked at two record labels; A&M in radio promotion and Arista in A&R where he had the privilege of working with the legendary Clive Davis who has signed some of the biggest artists in the world including Whitney Houston and Kelly Clarkson. Eric has opened for such acts as KISS, Dave Matthews Band, Aerosmith and Kid Rock. He started his own artist management company Persistent Management™ not only for his own career as an artist but also to create a vehicle for other artists to achieve their artistic vision and integrity. Their MUBUTV Insider Series and Insider podcast is similar to my YOU CAN Make A Living In The Music Industry podcast as they have guests from all over the industry sharing knowledge that will help you make a living in music no matter what area you are pursuing. We are a companion series to each other and I can't recommend them enough to check out (after you listen to this episode of course!) We are discussing the importance of being educated about your chosen career path. Why you no longer need a record deal to be successful. Why you have to be a jack of all trades AND a master of all. Plus, learning who your audience is, finding where they are, then going after them. And we discuss how MUBUTV's goal is to educate, empower and engage your music career. Sponsors: Edenbrooke Productions - We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at contact@johnmartinkeith.com.  In this episode we discuss: *The importance of internships. *The Music Business Registry. *Become educated about your chosen career path. *MUBUTV (Music Business Television) is a companion type podcast to YOU CAN Make A Living In The Music Industry. *How to listen to songs for A&R. *The criteria of the kind of artists today has changed because of a copy model (CDs, tapes, etc.) to an access model (streaming for free). *Artists signings today are not just about who is successful or about their music. Today its about who they are, where are they from, what do they represent? What are their values?  *You no longer need a record deal to be successful. *The real challenge today is the ability to get someone's attention. *You must find an audience for your music before A&R or labels will put time, energy and effort   into you. *We are no longer just artists. We are business leaders. *A&R was a faith based business. That model changed with technology. *Today technology allows us to ask if there is a market for my music without A&R. *Who is my audience? *If you don't know who your audience is at the beginning of your career, start making a serious commitment to learning who they are. *Being an artist who has been signed to a label and also an indie. *Find where your niche is, that narrow world where you can build your career. *Major labels are amplifiers to a career. *Adapting is the key. *A booking agent won't sign you as an indie unless you can sell at least 300-500 seats on your own. *You have to be a jack of all trades and a master of all. *Learning who your audience is, finding where they are and going after them. *The more you know, the more valuable you become to companies. *MUBUTV's goal is to educate, empower and engage your music career. *Study the lives of other successful people in the industry. *www.mubutv.com *www.youtube.com/mubutv   BIO: Ritch Esra | Co-Founder I started my career in 1978 at Record World, a leading trade magazine and have spent my entire career in this industry.  From 1980 - 1987 I worked at two record labels; A&M in radio promotion and Arista in A&R where I had the privilege of working with the legendary Clive Davis. In 1986, I began teaching several music business courses at various schools including Trebas Institute of Recording Arts, UCLA Extension, SAE (School for Audio Engineering) and Musicians Institute where I continue to teach today. In 1992 I formed the Music Business Registry with my business partner Stephen Trumbull. For the last twenty years, we have published the music industries leading contact directories for personnel in A&R, Music Publishing, Film/Television Music, Music Law and Artist Management. MUBUTV™is a blend of my passion for music as well as educating artists and others who have a strong curiosity about music, technology and the new emerging models within the business. Eric Knight | Co-Founder As an independent recording artist, I have taken the contemporarily appropriate “do-it-yourself” attitude to a whole new level; Having opened for such acts as KISS, Dave Matthews Band, Aerosmith and Kid Rock, I have worked tirelessly to introduce my original music to the masses. Throughout my career, I have worked on both the performing and business sides of the music industry. Besides being an accomplished musician with a strong D.I.Y. work ethic, I started my own artist management company Persistent Management™ not only for my own career as an artist but also to create a vehicle for other artists to achieve their artistic vision and integrity. My band Rock act Disciples of Babylon has put everything I've learned throughout my career to the test in order to build a self sustaining career that is totally autonomous and completely independent.   My current and most ambitious project, Symbiotic Nation™ is a new entertainment company startup with a mission to reinvent the entertainment industry completely. “Think Google of the new entertainment industry.” I am a voting member to the National Academy of Recording Arts & Science [NARAS] and The Latin Recording Academy [LARAS] Grammy Awards. I've always had a strong passion for teaching and sharing my experience with other aspiring artists, musicians and industry professionals. As a result, I have lectured and conducted several workshops over the years with students at the Berklee School of Music in Boston as well as my alma mater Musicians Institute [MI] in Los Angeles. MUBUTV™ is the ultimate vehicle where I feel there is a genuine opportunity for artists and musicians like myself to empower themselves in order to survive as well as thrive in this new era.

Dr. John Kline is a psychologist and recording artist in Mobile, AL. He began playing music during his childhood in Montana, raised among the sheep and the dental floss, and has toured in a variety of bands during his adolescence and early adult life. He studied music and psychology in college, and later pursued graduate and post-doctoral scholarship in psychology. After being transplanted to Mobile AL ending a decade as an academic gypsy, John opened a private practice and began to construct a 40 track digital audio recording studio in Mobile AL. "The guiTARDIS" is his sanctuary where nerves can de-jangle and worries can be left outside. Improvisational / compositional music therapy soothes. It may also help combat anxiety and depression. Improvisational / compositional music therapy also seems to result in creative musical output. John has dozens of scientific publications to his credit on topics ranging from neuroscience and unconscious cognition to adult personality and psychopathology. In addition to his work with The Music Therapy Experiment, he has released several solo albums including“Different Drummers” (2012) and "Rixile Elixir" (2023). He is a voting member of The National Academy of Recording Arts and Sciences. He enjoys creating for its own sake, and encourages artists, scholars, arm-chair philosophers, poets, musicians, and accountants… hmmm…. ok…. maybe not accountants… to be creative simply for the joy of it.

Dr. John has dozens of scientific publications to his credit on topics ranging from neuroscience and unconscious cognition to adult personality and psychopathology. He has also released several albums as a solo multi-instrumentalist, including “Flipside” (2002), “Instrumental Conditioning” (2006), “Different Drummers” (2012), and “Rixile Elixir” (2023). He is the founding member of “The Music Therapy Experiment,” is a voting member of The National Academy of Recording Arts and Sciences, and was recently invited to be included in Marquis “Who's Who in America” for his contributions to the healing arts and music. He enjoys creating for its own sake, and encourages artists, scholars, arm-chair philosophers, writers, poets, and musicians to create music, art, and literature simply for the joy of it.

John has dozens of scientific publications to his credit on topics ranging from neuroscience and unconscious cognition to adult personality and psychopathology. He has also released several albums as a solo multi-instrumentalist, including “Flipside” (2002), “Instrumental Conditioning” (2006), “Different Drummers” (2012), and “Rixile Elixir” (2023). He is the founding member of “The Music Therapy Experiment,” is a voting member of The National Academy of Recording Arts and Sciences, and was recently invited to be included in Marquis “Who's Who in America” for his contributions to the healing arts and music. He enjoys creating for its own sake, and encourages artists, scholars, arm-chair philosophers, writers, poets, and musicians to create music, art, and literature simply for the joy of it.

Sunny Sumter is President and CEO of the DC Jazz Festival, a nonprofit service organization established in 2004 to present jazz-related cultural and educational programs in the nation's capital. Its' signature programs are the annual DC JazzFest, DC Jazz Festival Education, and the CharlesFishman Embassy Series. DC Jazz Festival is the recipient of the DC Mayor's Art Award for Excellence in Creative Industries. Sumter has been a thought leader on jazz with the U.S. Department of State, DC Deputy Mayor's Office of Planning and Economic Development, Jazz Philadelphia Summit, and Jazz Congress, among others. Prior to her tenure at DC Jazz Festival, Sumter held management/director positions with the Aspen Institute, National Foundation for Teaching Entrepreneurship, Smithsonian Institution, and Rhythm and Blues Foundation. She was awarded the Aspen Institute's Staff Achievement Award for Excellence. Sumter earned her bachelor's degree in music business from Howard University where she minored in jazz studies/voice. She is a recipient of a Howard University Benny Golson Award, the Sitar Arts Center Visionary Award, the Jazz Journalists Association Jazz Heroes Award, a DC Commission on the Arts and Humanities Fellowship, and a Mid-Atlantic Arts Foundation Emerging Artist Award. She was host of Jazz Central on the BET network. As a professional vocalist, Sumter has performed at some of the finest festivals, concert venues, and clubs in the U.S. and internationally. She currently serves on the boards of the HBCU-Jazz Education Initiative, the International Society of Jazz Arrangers and Composers, and the North American Performing Art Managers and Agents. She is a member of Americans for the Arts, National Academy for Recording Arts and Sciences; and served as a program director member of the National Collaboration for Youth. Sumter is a Fellow graduate of the prestigious DeVos Institute of Arts Management at the University of Maryland Business School; and is one of the “exceptional leaders” selected for National Arts Strategies' celebrated Chief Executive Program. International Jazz Day is an International Day declared by the United Nations Educational, Scientific and Cultural Organization in 2011 "to highlight jazz and its diplomatic role of uniting people in all corners of the globe." It is celebrated annually on April 30Creators & Guests Rob Lee - Host This episode of The Truth In This Art is part of National Jazz Appreciation Month, a celebration that takes place every April. Jazz music is a captivating fusion of multiple cultures, incorporating the classical styles of both America and Europe with the influence of West African culture and folk songs. Jazz music boasts a little bit of everything - an unforgettable melody, rich harmony, a rhythm that resonates within you, and outstanding improvisations that make the genre truly unique.To support the The Truth In This Art: Buy Me Ko-fiUse the hashtag #thetruthinthisart #JazzAppreciationMonth #NationalJazzAppreciationMonthFollow The Truth in This Art on InstagramLeave a review on Apple Podcasts, Spotify or wherever you get your podcasts.This episode was recorded at Eaton Radio - Eaton Radio empowers grassroots storytelling and supports emerging, contemporary, and historic underground music. We've produced over 2000+ shows of talk radio and music through a rich and varied rotation of DJ mixes, interviews, and regular shows. ★ Support this podcast ★

I first heard about wedding and portrait photographer, and wedding videographer, Andre Brown through my buddy Ant Pruitt's show "Hands on Photography", when Andre was on for a Photographers' Go-To Tip. I knew I wanted to get him on the show, and once I realized he was an Ambassador for StellaPro - an amazing line of lighting - I worked my contacts there to help get him on Behind the Shot. Here's the thing, Andre's work is different, it's unique in a number of ways. The post "Finding My Success by Exploring Light", for Sal Cincotta's Behind the Shutter, is a great read, and really helps to understand Andre as a creative.  His overall approach, as he has described it, is "...a high-fashion, editorial photography style. Showcasing my clients, and my culture with style and opulence. Creating drama with light and the absence of light". What struck me was how he described that he had been "replicating what I saw on the popular wedding blogs. High Key light, light and airy, kind of whimsical", but that his realization that the presence of black culture on some major sites, and in mainstream publications, was fairly non-existent outside of predominantly black publications like Essence and Ebony. As I read that it was like I was seeing the process of finding yourself - creatively - explained, step by step. We all start by re-creating, or emulating, what we see, or like, or think will work, but at some point (at least for the best out there) we have to find why we are doing this at all, what makes us pick up the camera. Seriously, go read that post. Andre is so talented that he has won awards that I know many have tried and never won. For example, the image we are talking about on this show won the 2019 WPPI Silver Distinction Award, and the 2019 WPPI Wedding Division, Bridal Party Award for Second Place. If you've never seen a WPPI competition, it's tough, damn tough. Oh yeah, that was his first competition! Since then he's racked up more than I can list. As an educator, Andre is a sought after speaker, and workshop leader. He has been published in outlets including Essence Magazine, Huffington Post, The Knot, Munaluchi Bride, Black Bride, The B Collective Magazine, and Huffington Post, and his work has also appeared on ABC News, and Good Morning America. A few things in Andre's bio intrigue me, and one in particular makes me think we might be good friends. Andre got his Bachelor of Science in Recording Arts, and at 19 he was the manager of Grammy-nominated songwriter and producer Ric Rude. Whoa. His work through that relationship with Ric Rude included, most notably, "Cater 2 U" by Destiny's Child and hits for other artists including Busta Rhymes, Mary J. Blige, Bow Wow, Omarion, Redman and Method Man, to name a few. I am so curious about this part of his history. The part that made me think we may already be friends is the fact that in his spare time he binge- watches episodes of Law and Order. I record re-runs of the original show regularly. Almost 500 episodes over 20 years means I still come across shows I haven't seen. Join award winning photographer, and Ambassador for StellaPro, Andre Brown and me as we dive into his high-fashion, editorial approach to wedding photography, on this Behind the Shot. Connect with Andre Website: AndreBrown.com Instagram: @andrebrownphoto Facebook: @andrebrownphoto TikTok: @andrebrownphoto YouTube: @andrebrownphoto Andre's Workshops Bokeh Academy: BokehAcademy.co Andre's Photography Marketing and Sales Solution SnapFlow: snapflow.co Andre's Photographer Picks Joshua Dwain: joshuadwain.com | @joshua_dwain Karl Taylor: karltaylor.com | @karltaylorphotography Steve's Whiskey Pick Jack Daniel's Triple Mash: jackdaniels.com

Description: On this episode, the Hip Hop Genius crew returns to the West Coast of the United States to chat with the legendary MC, Ras Kass, and the California Regional Director for 4 Learning and audio engineer to your Hip-Hop artist's favorite Hip-Hop artist, Scott "Tenacity" Martin. The two spoke with sam, Tony, Michael, and TC Ellis at the 2022 California IT in Education conference in Long Beach, California. Topics ranged from fathering the next generation of Hip-Hop lyricists to the two guests' own experiences with education. Tags: Hip Hop Education, Hip Hop, Education, High School for Recording Arts, 4 Learning, Hip Hop Genius, Ras Kass, Tenacity, Scott Martin, CITE, Long Beach, California --- Send in a voice message: https://anchor.fm/hiphopgenius/message Support this podcast: https://anchor.fm/hiphopgenius/support

While on the road, stopped by Loyola Marymount University and visited with one of my former students who is a current student at LMU. Loyola Marymount is one of 28 Jesuit (a Catholic university) colleges that are located in 17th states, the District of Columbia and Belize. Jesuit colleges like Loyola Marymount University in California welcome students of all faith and strive to instill values of menaing and empathy for their students. At the same time, their mission is encourage students to become leaders not only in their profession but social justice as well. Loyola Marymount University founded in 1911 has 143 acres with over 6,000 student and has a range of rankings like:*Top 2% in Diversity - College Factual, 2021*No. 3 in Promotion of Latinx Student Success - Education Trust, 2017*No. 4 in "Students Most Engaged in Community Service," Nationally - Princeton Review, 2023*No. 8 in "Best Catholic College," Nationally - Niche.com, 2023*No. 14 in "Best Undergraduate Teaching" Among National Universities - U.S. News*No. 46 in Best Colleges for Veterans, Nationally - U.S. News, 2023*No. 77 in "Best U.S. National Universities" - U.S. News, 2023*No. 90 - Nationally - Wall Street Journal / Times Higher Education, 2022Now rankings give us one picture and academic offerings at LMU like Animation, Engineering, Film & Television, Marketing, Recording Arts, Screenwriting, and Studio Arts can provide us some of the options at Loyola but let's find out the inside story from a student and how they master the admissions and financial aid process to move forward with their dream school - Loyola Marymount University in Los Angeles, California.

In today's episode, we're chatting with Josh Gillis and Richard Constable of Guitar Boss, an all in one system for guitar teachers. Listen in and get some insights and how this program will help you stay organized as you get busier and you get more leads in. They also shared the importance of using a funnel and the misconceptions around it. If you're looking for some great advice on how to be successful as a guitar teacher, while still being yourself and without worrying on the business side of things, this episode is for you. Richard shares with us what Guitar Boss Program is all about. Is Guitar Boss only for guitar teachers? The importance of a funnel and why we should use it. What's the biggest misconception about funnels? Advice for guitar teachers who are either struggling with the business side of things or want to get more into marketing. Josh shares his interest on NFT's, Crypto and Blockchain. How to protect your intellectual property with NFT's. One piece of wisdom for guitar teaching or business. Guest Links Josh Gillis Website Instagram – Josh Gillis Facebook – Josh Gillis  Guitar Teaching Resources Mentioned Free Guitar E-book Resources Today's Guests JOSH GILLIS Josh Gillis is a musician and guitar teacher from Columbus, MS. He has been playing guitar for over 25+ years and has been teaching for the past 10+ years. His primary focus is helping beginners and teaching the basics. He enjoys good coffee, outdoor adventure, and learning more about Crypto, AI, and NFT's. RICHARD CONSTABLE Richard Constable from Guitar Journey has been playing guitar for 20+ years. He has been running Guitar Journey for 5 years and has taught over 200+ people. He also has 20 years of gigging and recording experience, including doing a BTEC in Music Technology and a degree in Recording Arts. His teaching style is relaxed and easygoing with lots of encouragement. He can teach all levels from Beginner to Advanced across all exam boards. Whether you would like to learn classical, jazz or rock, Rich got you covered. Click here to find out more about TopMusicGuitar Membership Thank you for tuning in! Consider implementing the ideas from this podcast by writing several actionable steps for your teaching practice if it's inspired you. If you enjoyed today's show, please leave us a review on Apple Podcasts, which helps other teachers find our show. Stay updated by subscribing to this show, and get automatic delivery to your device every time a new episode goes live! We publish on Fridays weekly.  

Award-winning Hawaiian slack key guitarist Makana talks about the business of music, multiple income streams, and how to be wealthy. Guest Biography Makana is a singer, composer, cultural educator, and master of Hawaiian Slack Key Guitar. His music combines deep tradition with unbridled innovation to breathe fresh intensity into the timeless sounds of Hawaiʻi. The New York Times calls him "dazzling." His music has been featured on three GRAMMY-nominated albums, including the soundtrack of the Academy-Award winning film The Descendants. Guitar Player Magazine ranked him as one of the top 3 guitarists in America, and the Hawaiʻi Academy of Recording Arts recognized him with the Slack Key Legacy Award. Slack Key is a unique style from the 1800s that simulates three guitars in one, performed in gorgeous tunings that open the guitar to a symphonic sound. Makana's live performances are raw, diverse and virtuosic, culturally informative, shared in multiple languages, and always spontaneous. Feel the presence of kūpuna (elders) as he honors their legacies while weaving in universal themes and sounds from around the world. An acoustic experience like no other. This episode is brought to you by Runnymede Capital Management. Subscribe to our email at https://www.runnymede.com/newsletter. In this episode, you'll learn: Hawaiian slack key guitar and its different styles The multiple revenue streams of a musician Why Makana says wanting things that others do not want makes him wealthy Show notes: http://www.inspiredmoney.fm/261 Find more from our guest: www.makanamusic.com Apple Music Spotify SoundCloud facebook Twitter YouTube Instagram Mentioned in the episode: Bobby Moderow, Jr. Raymond Kāne Sonny Chillingworth Leonard Kwan Gabby Pahinui Thomas Kinkade Dr. Mitsuo Aoki Mayumi Oda Thanks for Listening & Watching! To share your thoughts: Leave a note in the comment section below. Share this show on Twitter or Facebook. Join us at the Inspired Money Makers groups at facebook and LinkedIn To help out the show: Leave an honest review on Apple Podcasts, Podchaser.com, or wherever you listen. Your ratings and reviews really help, and I read each one. Subscribe on Apple Podcasts and YouTube.

On this episode, 4 Learning brings you NLE Choppa, a young but mighty rap artist out of Memphis Tennessee. In addition to already having a platinum-selling record with Shotta Flow, Choppa's debut album, Top Shotta, peaked in the top 10 Billboard charts when it dropped in 2020. All this before he has even turned 21. But Choppa's not just an MC, he has also launched the NLE Choppa reading challenge for middle schoolers across the country and is helping people eat differently with his Vegan diet challenge, the Choppa Cleanse. The MC recently visited the High School for Recording Arts in St. Paul, MN, to meet the students and catch a vibe. While there, Ryah Davis, Cuauhtl Day, and Isaac Johnson spoke to him on record about his work. --- Send in a voice message: https://anchor.fm/hiphopgenius/message Support this podcast: https://anchor.fm/hiphopgenius/support

Harvey Brownstone conducts an in-depth interview with Larry Carlton, Multi-Grammy Award Winning Guitarist About Harvey's guest: Today's special guest, Larry Carlton, is a legendary, 4-time Grammy award winning guitarist whose brilliant musicianship can be heard on thousands of recordings, and on over 100 gold records recorded by the greatest stars of all time, including Barbra Streisand, Peggy Lee, Sammy Davis Jr., Quincy Jones, Michael Jackson, Diana Ross, Olivia Newton-John, Dolly Parton, and dozens more.   His list of milestones in a career spanning over 50 years is staggering.  For over 3 decades, before transitioning completely to a solo artist,  he was one of the most sought-after studio musicians in the recording industry, because he's equally adept on the electric and acoustic guitar, in every musical genre including pop, jazz, rock, R&B, blues, soul and country. He's renowned for his unmistakable and often-imitated "sweet" sound, created on his famous Gibson ES-335 electric guitar.   He created his trademark volume pedal technique, prominently featured in his recordings with Joni Mitchell, and with the legendary jazz/rock group “The Crusaders”, with whom he toured until 1976, and performed on 13 of their albums. He was a member of the iconic jazz band, “Four Play”, and recorded 8 albums with them.  His performance on the "Theme from Hill Street Blues" won him a Grammy award.  And he co-wrote the theme for the hit TV sitcom “Who's the Boss”, and the movie soundtrack for “Against All Odds”.   His guitar work on Steely Dan's classic song, "Kid Charlemagne", was ranked by Rolling Stone magazine as one of the greatest guitar licks of all time.  His solo career has been hugely successful, with over 30 albums and 14 video concerts produced so far.  The National Academy of Recording Arts and Sciences voted him their most valuable player for 3 consecutive years, and then he was given their highest honour; he was named “player emeritus”.    For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ https://www.larrycarlton335.com/https://www.facebook.com/LarryCarlton335/https://www.instagram.com/larrycarlton335/ #LarryCarlton    #harveybrownstoneinterviews

With more than 35 years in the entertainment business as a musician, producer, director, and entrepreneur: Rick Eldridge makes projects happen. Whether sports programming, live production, animated series, or feature films, Rick has been involved in every facet of creative development and production management in the entertainment industry. He is a graduate of Brevard College with advanced studies at the University of North Carolina Charlotte and Full Sail School of Recording Arts. He serves on several charitable, civic, and college/university boards. In addition to THE MULLIGAN, his creative projects include: THE ULTIMATE GIFT (feature film trilogy); BOBBY JONES: STROKE OF GENIUS (feature film); HERMIE & FRIENDS (animated series); GIGI (animated series); RUNNING THE SAHARA (feature documentary); NEVER AGAIN (feature documentary); and WHEN WE LAST SPOKE (feature film). THE MULLIGAN is an inspiring story about relationships, forgiveness and second chances. Paul McAllister seems to have it all as a successful businessman, but his life starts to fall apart. Guided by the wisdom and advice of an old golf pro, Paul learns about playing a good game both on and off the course. Based on the popular book, THE MULLIGAN is an inspiring reminder that second chances are only one shot away. *BUY THE DVD NOW ON AMAZON: https://amzn.to/3VBpJPz CONNECT WITH VICTORIA: EMAIL: choose2think@gmail.com WEBSITE COACHING ONLINE COURSES YOUTUBE FACEBOOK INSTAGRAM *CHOOSE 2 THINK: Find Peace, Joy, Hope, Health & Freedom Every Day! Your 365-day DEVOTIONAL. Peek Inside Here. CONNECT WITH RICK ELDRIDGE: ​Email: rick@reelworks.net Website Facebook *Making a purchase from my amazon affiliate links may generate a small commission on qualifying purchases at no extra charge for you. Thank you for your support. --- Send in a voice message: https://anchor.fm/victoria-walker-lydon/message Support this podcast: https://anchor.fm/victoria-walker-lydon/support

Today we're talking about one of early PC computing's most iconic songs, "Trip Through the Grand Canyon" also known as "CANYON.MID" with none other than the composer himself, George Stone! We take a trip down memory lane and discuss how the song was written, how it ended up on millions of PCs around the world starting with Windows 3.0, and its status as a song that remains beloved to this day. George Stone is a multi-talented jazz musician who has been active for over 35 years; he's a performer, composer, arranger, and long-time professor at Cuesta College (Music, Recording Arts, Jazz performance/arrangement/composition). In addition to teaching and live performance, George recently did orchestration and arrangement for the 2022 film Amsterdam. After our interview, George was kind enough to send us a number of gifts that bring us joy: a signed PDF copy of CANYON.MID for Bryan and Gene to cherish (yes really), an unreleased MIDI from 1991 which we included in the show, the above charming side-by-side photo of George 30 years apart (1991 to 2021) as well as a screenshot showing some of the original musical cues he worked on way back when! We checked our facts and sorry George, we forgot to credit you specifically in our talk at the Library of Congress, continuing the unfortunate trend (whoops). Hopefully this episode serves as a decent apology and as always, we hope our listeners enjoy the story and the music as much as we do! Special thanks to virt (aka Jake Kaufman), "The Smash Brothers" and the band WASD for their lovely arrangements of the classic CANYON.MID All tracks composed by George Stone unless otherwise stated 00:00 CANYON.MID - full title 'Trip Through the Grand Canyon' 07:40 CANYON.MID arranged by virt (YouTube) 20:31 Untitled cue from 1991 35:33 CANYON.MID (excerpt) performed at MAGFest 7 by the Smash Brothers (YouTube) 48:03 CANYON.MID performed by the band WASD from the album C:WINDOWSMEDIA LINKS George Stone Bio on Hal Leonard website George Stone Big Band - on Discogs Other mentions mentioned Passport Designs - the company that started it all Amsterdam (film) - wiki page Texting and Driving - album by Dave Tull Libretto jazz club website in Paso Robles

This is the Mulligan week! On Tuesday, we had Tanya Christiansen and today we have Rick Eldridge, who co-wrote the screenplay and produced the film. I love this conversation with Rick because he truly appears to wear his heart on his sleeve. He talks about how he sold his company that was on a backlot of Universal Studios to now making amazing faith based movies, like The Mulligan and First Responders, which is out next week! His humble attitude and enthusiasm will definitely leave you encouraged as you listen! Bio: With more than 35 years in the entertainment business as a musician, producer, director, and entrepreneur: Rick Eldridge makes projects happen. Whether sports programming, live production, animated series, or feature films, Rick has been involved in every facet of creative development and production management in the entertainment industry. He is a graduate of Brevard College with advanced studies at the University of North Carolina Charlotte and Full Sail School of Recording Arts. He serves on several charitable, civic, and college/university boards. In addition to THE MULLIGAN, his creative projects include: THE ULTIMATE GIFT (feature film trilogy); BOBBY JONES: STROKE OF GENIUS (feature film); HERMIE & FRIENDS (animated series); GIGI (animated series); RUNNING THE SAHARA (feature documentary); NEVER AGAIN (feature documentary); and WHEN WE LAST SPOKE (feature film). Anchor Verses: 1 Chronicles 29: 11-12 Featured Movies We Discussed: The Mulligan movie: https://themulliganmovie.com/ First Responders movie: https://firstrespondersmovie.com This movie comes out for two nights only next week, Monday October 24th and Tuesday October 25th. Click the link to find tickets in your local theatre! Connect with Rick: Website: https://reelworks.net ***This podcast is a proud member of the Spark Network! It is a network of Christian podcasts that cover so many different topics! Head over to: https://www.sparkmedia.ventures/spark-network#/ to find more amazing podcasts!!***

MULLIGAN TALKING POINTS:● After a successful nationwide theatrical release on April 18 & 19, The Mulligan will be available On Demand, Digital and DVD August 16● Based on the bestselling novel The Mulligan by Ken Blanchard and Wally Armstrong● THE MULLIGAN shows the power of a second chance● A heartwarming story about life inspired by the game of golfRICK ELDRIDGE BIO:With more than 35 years in the entertainment business as a musician, producer, director, and entrepreneur: Rick Eldridge makes projects happen. Whether sports programming, live production, animated series, or feature films, Rick has been involved in every facet of creative development and production management in the entertainment industry. He is a graduate of Brevard College with advanced studies at the University of North Carolina Charlotte and Full Sail School of Recording Arts. He serves on several charitable, civic, and college/university boards. In addition to THE MULLIGAN, his creative projects include: THE ULTIMATE GIFT (feature film trilogy); BOBBY JONES: STROKE OF GENIUS (feature film); HERMIE & FRIENDS (animated series); GIGI (animated series); RUNNING THE SAHARA (feature documentary); NEVER AGAIN (feature documentary); FIRST RESPONDERS (releasing Oct 2022); and WHEN WE LAST SPOKE (feature film).The Mulligan website: https://themulliganmovie.com/______________________________________Make sure to Stay Connected with Rob during the week via any of the below social media platforms:Facebook: https://www.facebook.com/RobLohmanLiftedFromTheRut/ Twitter: @RobLohmanInstagram: @roblohmanliftedfromtherut LinkedIn: https://www.linkedin.com/in/robertlohman/ YouTube: Rob Lohman BroadcastsWebsite: www.liftedfromtherut.comEmail: rob@liftedFromTheRut.comTo schedule Rob Lohman as a Guest on your show, use this link;https://calendly.com/roblohman/schedule-rob-lohman-as-a-guest-on-your-show

Episode 184 is with the Producer of the film "The Mulligan," Rick Eldridge. With more than 35 years in the entertainment business as a musician, producer, director, and entrepreneur: Rick Eldridge makes projects happen. Whether sports programming, live production, animated series, or feature films, Rick has been involved in every facet of creative development and production management in the entertainment industry. He is a graduate of Brevard College with advanced studies at the University of North Carolina Charlotte and Full Sail School of Recording Arts. He serves on several charitable, civic, and college/university boards. In addition to THE MULLIGAN, his creative projects include: THE ULTIMATE GIFT (feature film trilogy); BOBBY JONES: STROKE OF GENIUS (feature film); HERMIE & FRIENDS (animated series); GIGI (animated series); RUNNING THE SAHARA (feature documentary); NEVER AGAIN (feature documentary); and WHEN WE LAST SPOKE (feature film).After a successful nationwide theatrical release, Cinedigm tees up the faith and family film The Mulligan with an August 16 release date for On Demand, Digital and DVD. Based on the inspirational novel by Ken Blanchard and Wally Armstrong, the film follows a man trying to right the wrongs of his past as he learns that the game of life is best approached with a clear head. The powerful film about second chances stars Eric Close (American Sniper, Nashville), Pat Boone (A Cowgirl's Story, God's Not Dead 2) and Tanya Christiansen (I Still Believe, The Hate U Give). Outwardly, Paul (Close) has everything that he could possibly want. He's a successful businessman, motivational speaker and superstar on the golf course. But behind the persona, his world has fallen apart and his estrangement from his family has left him desperate to find anything to fill the void. When he gets teamed up with an old golf pro (Boone), Paul begins to realize that there is still time to set his world right…there's still time for a mulligan. Directed by Michael O. Sajbel (The Ultimate Gift, The Ride) the film reflects on the idea that having everything isn't everything and that the game of golf and the game of life have a lot in common. From taking the good shots with the bad, to knowing when to chip it and knowing when to rip it, we all look back at things we could have done differently. Co-written by Randall Eldridge, Rick Eldridge (The Ultimate Gift, Bobby Jones: Stroke of Genius), Roland Eldridge and Jimmy Hager the film is based on the 2016 novel “The Mulligan: A Parable of Second Chances” by Blanchard and Armstrong. The film also stars Andrew Brodeur (Tall Girl, MacGyver), Charmin Lee (Westworld, The 5th Wave) and Debra Stipe (Full House, Father Figures), with guest appearances by PGA Professional Tom Leyman and Broadcasting legend Jim Nantz. The Mulligan was produced by Scotty Curlee, Eldridge and Stephan Schultze, with Eldridge also acting as Executive Producer. The inspiration for the film came from the early life of co-author PGA touring pro Wally Armstrong, who, like Paul, was mentored by a club pro at his hometown golf course. Originally an idea for a children's book, Armstrong and Blanchard created a deep and meaningful novel that has been enjoyed by young and old, where golf is more than just a game and second chances are never out of reach. “When I read this transformational book by Ken (Blanchard) and Wally (Armstrong), I immediately identified with it. As a husband, businessman and father, it can become difficult to give each role its respective place. Sometimes we stumble and we all need ‘second chances.' Add in being a life-long lover of the game of golf, the book really hit home for me. It has been an incredible experience telling the story of The Mulligan,” says Eldridge. Official Trailer: https://youtu.be/lQ89v0f3BsU Official Synopsis: An inspiring story about relationships, forgiveness and second chances. Paul McAllister seems to have it all as a successful businessman, but his life starts to fall apart. Guided by the wisdom and advice of an old golf pro, Paul learns about playing a good game both on and off the course. Based on the popular book, THE MULLIGAN is an inspiring reminder that second chances are only one shot away.

Drew Vandenberg is a recording engineer based in Athens, Georgia. He got an internship at Chase Park Transduction in Athens, GA when he was 16, and then went to college at Indiana University where he received a B.S. in Recording Arts. He's been working on records with people ever since. Some of his clients include: Faye Webster, Toro y Moi, SPELLLING, of Montreal, Kishi Bashi, Kristine Leschper, S.G. Goodman, Bambara, and Dent May. He was an assistant engineer on a Grammy Award winning album from Booker T. Jones. IN THIS EPISODE, YOU'LL LEARN ABOUT: Practicing your craft Finding a balance of wet vs dry sounding tracks  How to create depth in a mix without using reverb or delay Getting great indie drum tones How to baffle drums when recording Using uncommon stereo mic techniques for overheads and room tracks Why the 3:1 rule is so important Understanding phase vs. polarity Why you shouldn't time-align your multi-mic'd instruments Giving back to charity with your audio skills To learn more about Drew Vandenberg, visit: http://www.vbergindustries.com/ To learn more tips on how to improve your mixes, visit https://masteryourmix.com/ Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of the #1 Amazon bestselling book, The Mixing Mindset – The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Join the FREE MasterYourMix Facebook community: https://links.masteryourmix.com/community To make sure that you don't miss an episode, make sure to subscribe to the podcast on iTunes or on Android. Have your questions answered on the show. Send them to questions@masteryourmix.com Thanks for listening! Please leave a rating and review on iTunes!

Sound quality is one of the most important (um THE most important) factors in your podcast. And if your audio isn't up to snuff, your audience is going to bail…quickly. So I wanted to share with you the person who has helped me ensure that all my guest episodes sound great.   This week on the podcast, Daniel Romeros, my podcast editor and editor for several of my clients, is sharing why it's not too late to start your own podcast, why there's so much podfading going on, and important considerations when it comes to recording your episodes.   We also talk about tools you can use, why consistency matters, and why it pays to educate yourself about podcasting from the pros.   Be sure to tune in and make your next episode rock! Mentioned in This Episode Join Podcast Ease Q&A Sessions Garage Band Audacity About Daniel Romeros Daniel Romeros is a Music Composer, Sound Designer and Audio Engineer based in Austin, TX.   Since 2015, Daniel has been extensively editing, mixing, and mastering audio podcasts and gaining great knowledge of the industry—as well expanding on his engineering techniques. With over 2,500 produced episodes, Daniel has not only become highly efficient in the work he does, but extremely informative of the industry field as well. Daniel is an Alumni of Full Sail University with a Bachelors in Recording Arts and is a Certified Avid Pro Tools Operator in both Music and Post-production. Before the work of audio podcast production, Daniel worked (and still working) in the world of records, film, and video games—working for companies such as Paramount Pictures and Strange Fire Studios. With this past experience, Daniel has been able to transfer these skills into his high-quality and industry-standard podcast production service. Connect with Daniel on LinkedIn.

Episode one hundred and thirty-seven of A History of Rock Music in Five Hundred Songs looks at “Papa's Got a Brand New Bag” by James Brown, and at how Brown went from a minor doo-wop artist to the pioneer of funk. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "I'm a Fool" by Dino, Desi, and Billy. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ NB an early version of this was uploaded, in which I said "episode 136" rather than 137 and "flattened ninth" at one point rather than "ninth". I've fixed that in a new upload, which is otherwise unchanged. Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I relied mostly on fur books for this episode. James Brown: The Godfather of Soul, by James Brown with Bruce Tucker, is a celebrity autobiography with all that that entails, but a more interesting read than many. Kill ‘Em and Leave: Searching for the Real James Brown, by James McBride is a more discursive, gonzo journalism piece, and well worth a read. Black and Proud: The Life of James Brown by Geoff Brown is a more traditional objective biography. And Douglas Wolk's 33 1/3 book on Live at the Apollo is a fascinating, detailed, look at that album. This box set is the best collection of Brown's work there is, but is out of print. This two-CD set has all the essential hits. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Introduction, the opening of Live at the Apollo. "So now, ladies and gentlemen, it is star time. Are you ready for star time? [Audience cheers, and gives out another cheer with each musical sting sting] Thank you, and thank you very kindly. It is indeed a great pleasure to present to you in this particular time, national and international known as the hardest working man in showbusiness, Man that sing "I'll Go Crazy"! [sting] "Try Me" [sting] "You've Got the Power" [sting] "Think" [sting], "If You Want Me" [sting] "I Don't Mind" [sting] "Bewildered" [sting] million-dollar seller "Lost Someone" [sting], the very latest release, "Night Train" [sting] Let's everybody "Shout and Shimmy" [sting] Mr. Dynamite, the amazing Mr. Please Please himself, the star of the show, James Brown and the Famous Flames"] In 1951, the composer John Cage entered an anechoic chamber at Harvard University. An anechoic chamber is a room that's been completely soundproofed, so no sound can get in from the outside world, and in which the walls, floor, and ceiling are designed to absorb any sounds that are made. It's as close as a human being can get to experiencing total silence. When Cage entered it, he expected that to be what he heard -- just total silence. Instead, he heard two noises, a high-pitched one and a low one. Cage was confused by this -- why hadn't he heard the silence? The engineer in charge of the chamber explained to him that what he was hearing was himself -- the high-pitched noise was Cage's nervous system, and the low-pitched one was his circulatory system. Cage later said about this, "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music." The experience inspired him to write his most famous piece, 4'33, in which a performer attempts not to make any sound for four minutes and thirty-three seconds. The piece is usually described as being four minutes and thirty-three seconds of silence, but it actually isn't -- the whole point is that there is no silence, and that the audience is meant to listen to the ambient noise and appreciate that noise as music. Here is where I would normally excerpt the piece, but of course for 4'33 to have its full effect, one has to listen to the whole thing. But I can excerpt another piece Cage wrote. Because on October the twenty-fourth 1962 he wrote a sequel to 4'33, a piece he titled 0'00, but which is sometimes credited as "4'33 no. 2". He later reworked the piece, but the original score, which is dedicated to two avant-garde Japanese composers, Toshi Ichiyanagi and his estranged wife Yoko Ono, reads as follows: "In a situation provided with maximum amplification (no feedback), perform a disciplined action." Now, as it happens, we have a recording of someone else performing Cage's piece, as written, on the day it was written, though neither performer nor composer were aware that that was what was happening. But I'm sure everyone can agree that this recording from October the 24th, 1962, is a disciplined action performed with maximum amplification and no feedback: [Excerpt: James Brown, "Night Train" (Live at the Apollo version)] When we left James Brown, almost a hundred episodes ago, he had just had his first R&B number one, with "Try Me", and had performed for the first time at the venue with which he would become most associated, the Harlem Apollo, and had reconnected with the mother he hadn't seen since he was a small child. But at that point, in 1958, he was still just the lead singer of a doo-wop group, one of many, and there was nothing in his shows or his records to indicate that he was going to become anything more than that, nothing to distinguish him from King Records labelmates like Hank Ballard, who made great records, put on a great live show, and are still remembered more than sixty years later, but mostly as a footnote. Today we're going to look at the process that led James Brown from being a peer of Ballard or Little Willie John to being arguably the single most influential musician of the second half of the twentieth century. Much of that influence is outside rock music, narrowly defined, but the records we're going to look at this time and in the next episode on Brown are records without which the entire sonic landscape of the late twentieth and early twenty-first centuries would be unimaginably different. And that process started in 1958, shortly after the release of "Try Me" in October that year, with two big changes to Brown's organisation. The first was that this was -- at least according to Brown -- when he first started working with Universal Attractions, a booking agency run by a man named Ben Bart, who before starting his own company had spent much of the 1940s working for Moe Gale, the owner of the Savoy Ballroom and manager of the Ink Spots, Louis Jordan, and many of the other acts we looked at in the very first episodes of this podcast. Bart had started his own agency in 1945, and had taken the Ink Spots with him, though they'd returned to Gale a few years later, and he'd been responsible for managing the career of the Ravens, one of the first bird groups: [Excerpt: The Ravens, "Rock Me All Night Long"] In the fifties, Bart had become closely associated with King Records, the label to which Brown and the Famous Flames were signed. A quick aside here -- Brown's early records were released on Federal Records, and later they switched to being released on King, but Federal was a subsidiary label for King, and in the same way that I don't distinguish between Checker and Chess, Tamla and Motown, or Phillips and Sun, I'll just refer to King throughout. Bart and Universal Attractions handled bookings for almost every big R&B act signed by King, including Tiny Bradshaw, Little Willie John, the "5" Royales, and Hank Ballard and the Midnighters. According to some sources, the Famous Flames signed with Universal Attractions at the same time they signed with King Records, and Bart's family even say it was Bart who discovered them and got them signed to King in the first place. Other sources say they didn't sign with Universal until after they'd proved themselves on the charts. But everyone seems agreed that 1958 was when Bart started making Brown a priority and taking an active interest in his career. Within a few years, Bart would have left Universal, handing the company over to his son and a business partner, to devote himself full-time to managing Brown, with whom he developed an almost father-son relationship. With Bart behind them, the Famous Flames started getting better gigs, and a much higher profile on the chitlin circuit. But around this time there was another change that would have an even more profound effect. Up to this point, the Famous Flames had been like almost every other vocal group playing the chitlin' circuit, in that they hadn't had their own backing musicians. There were exceptions, but in general vocal groups would perform with the same backing band as every other act on a bill -- either a single backing band playing for a whole package tour, or a house band at the venue they were playing at who would perform with every act that played that venue. There would often be a single instrumentalist with the group, usually a guitarist or piano player, who would act as musical director to make sure that the random assortment of musicians they were going to perform with knew the material. This was, for the most part, how the Famous Flames had always performed, though they had on occasion also performed their own backing in the early days. But now they got their own backing band, centred on J.C. Davis as sax player and bandleader, Bobby Roach on guitar, Nat Kendrick on drums, and Bernard Odum on bass. Musicians would come and go, but this was the core original lineup of what became the James Brown Band. Other musicians who played with them in the late fifties were horn players Alfred Corley and Roscoe Patrick, guitarist Les Buie, and bass player Hubert Perry, while keyboard duties would be taken on by Fats Gonder, although James Brown and Bobby Byrd would both sometimes play keyboards on stage. At this point, as well, the lineup of the Famous Flames became more or less stable. As we discussed in the previous episode on Brown, the original lineup of the Famous Flames had left en masse when it became clear that they were going to be promoted as James Brown and the Famous Flames, with Brown getting more money, rather than as a group. Brown had taken on another vocal group, who had previously been Little Richard's backing vocalists, but shortly after "Try Me" had come out, but before they'd seen any money from it, that group had got into an argument with Brown over money he owed them. He dropped them, and they went off to record unsuccessfully as the Fabulous Flames on a tiny label, though the records they made, like "Do You Remember", are quite good examples of their type: [Excerpt: The Fabulous Flames, "Do You Remember?"] Brown pulled together a new lineup of Famous Flames, featuring two of the originals. Johnny Terry had already returned to the group earlier, and stayed when Brown sacked the rest of the second lineup of Flames, and they added Lloyd Bennett and Bobby Stallworth. And making his second return to the group was Bobby Byrd, who had left with the other original members, joined again briefly, and then left again. Oddly, the first commercial success that Brown had after these lineup changes was not with the Famous Flames, or even under his own name. Rather, it was under the name of his drummer, Nat Kendrick. Brown had always seen himself, not primarily as a singer, but as a band leader and arranger. He was always a jazz fan first and foremost, and he'd grown up in the era of the big bands, and musicians he'd admired growing up like Lionel Hampton and Louis Jordan had always recorded instrumentals as well as vocal selections, and Brown saw himself very much in that tradition. Even though he couldn't read music, he could play several instruments, and he could communicate his arrangement ideas, and he wanted to show off the fact that he was one of the few R&B musicians with his own tight band. The story goes that Syd Nathan, the owner of King Records, didn't like the idea, because he thought that the R&B audience at this point only wanted vocal tracks, and also because Brown's band had previously released an instrumental which hadn't sold. Now, this is a definite pattern in the story of James Brown -- it seems that at every point in Brown's career for the first decade, Brown would come up with an idea that would have immense commercial value, Nathan would say it was the most ridiculous thing he'd ever heard, Brown would do it anyway, and Nathan would later admit that he was wrong. This is such a pattern -- it apparently happened with "Please Please Please", Brown's first hit, *and* "Try Me", Brown's first R&B number one, and we'll see it happen again later in this episode -- that one tends to suspect that maybe these stories were sometimes made up after the fact, especially since Syd Nathan somehow managed to run a successful record label for over twenty years, putting out some of the best R&B and country records from everyone from Moon Mullican to Wynonie Harris, the Stanley Brothers to Little Willie John, while if these stories are to be believed he was consistently making the most boneheaded, egregious, uncommercial decisions imaginable. But in this case, it seems to be at least mostly true, as rather than being released on King Records as by James Brown, "(Do the) Mashed Potatoes" was released on Dade Records as by Nat Kendrick and the Swans, with the DJ Carlton Coleman shouting vocals over Brown's so it wouldn't be obvious Brown was breaking his contract: [Excerpt: Nat Kendrick and the Swans, "(Do the)" Mashed Potatoes"] That made the R&B top ten,  and I've seen reports that Brown and his band even toured briefly as Nat Kendrick and the Swans, before Syd Nathan realised his mistake, and started allowing instrumentals to be released under the name "James Brown presents HIS BAND", starting with a cover of Bill Doggett's "Hold It": [Excerpt: James Brown Presents HIS BAND, "Hold It"] After the Nat Kendrick record gave Brown's band an instrumental success, the Famous Flames also came back from another mini dry spell for hits, with the first top twenty R&B hit for the new lineup, "I'll Go Crazy", which was followed shortly afterwards by their first pop top forty hit, "Think!": [Excerpt: James Brown and the Famous Flames, "Think!"] The success of "Think!" is at least in part down to Bobby Byrd, who would from this point on be Brown's major collaborator and (often uncredited) co-writer and co-producer until the mid-seventies. After leaving the Flames, and before rejoining them, Byrd had toured for a while with his own group, but had then gone to work for King Records at the request of Brown. King Records' pressing plant had equipment that sometimes produced less-than-ideal pressings of records, and Brown had asked Byrd to take a job there performing quality control, making sure that Brown's records didn't skip. While working there, Byrd also worked as a song doctor. His job was to take songs that had been sent in as demos, and rework them in the style of some of the label's popular artists, to make them more suitable, changing a song so it might fit the style of the "5" Royales or Little Willie John or whoever, and Byrd had done this for "Think", which had originally been recorded by the "5" Royales, whose leader, Lowman Pauling, had written it: [Excerpt: The "5" Royales, "Think"] Byrd had reworked the song to fit Brown's style and persona. It's notable for example that the Royales sing "How much of all your happiness have I really claimed?/How many tears have you cried for which I was to blame?/Darlin', I can't remember which was my fault/I tried so hard to please you—at least that's what I thought.” But in Brown's version this becomes “How much of your happiness can I really claim?/How many tears have you shed for which you was to blame?/Darlin', I can't remember just what is wrong/I tried so hard to please you—at least that's what I thought.” [Excerpt: James Brown and the Famous Flames, "Think"] In Brown's version, nothing is his fault, he's trying to persuade an unreasonable woman who has some problem he doesn't even understand, but she needs to think about it and she'll see that he's right, while in the Royales' version they're acknowledging that they're at fault, that they've done wrong, but they didn't *only* do wrong and maybe she should think about that too. It's only a couple of words' difference, but it changes the whole tenor of the song. "Think" would become the Famous Flames' first top forty hit on the pop charts, reaching number thirty-three. It went top ten on the R&B charts, and between 1959 and 1963 Brown and the Flames would have fifteen top-thirty R&B hits, going from being a minor doo-wop group that had had a few big hits to being consistent hit-makers, who were not yet household names, but who had a consistent sound that could be guaranteed to make the R&B charts, and who put on what was regarded as the best live show of any R&B band in the world. This was partly down to the type of discipline that Brown imposed on his band. Many band-leaders in the R&B world would impose fines on their band members, and Johnny Terry suggested that Brown do the same thing. As Bobby Byrd put it, "Many band leaders do it but it was Johnny's idea to start it with us and we were all for it ‘cos we didn't want to miss nothing. We wanted to be immaculate, clothes-wise, routine-wise and everything. Originally, the fines was only between James and us, The Famous Flames, but then James carried it over into the whole troupe. It was still a good idea because anybody joining The James Brown Revue had to know that they couldn't be messing up, and anyway, all the fines went into a pot for the parties we had." But Brown went much further with these fines than any other band leader, and would also impose them arbitrarily, and it became part of his reputation that he was the strictest disciplinarian in rhythm and blues music. One thing that became legendary among musicians was the way that he would impose fines while on stage. If a band member missed a note, or a dance step, or missed a cue, or had improperly polished shoes, Brown would, while looking at them, briefly make a flashing gesture with his hand, spreading his fingers out for a fraction of a second. To the audience, it looked like just part of Brown's dance routine, but the musician knew he had just been fined five dollars. Multiple flashes meant multiples of five dollars fined. Brown also developed a whole series of other signals to the band, which they had to learn, To quote Bobby Byrd again: "James didn't want anybody else to know what we was doing, so he had numbers and certain screams and spins. There was a certain spin he'd do and if he didn't do the complete spin you'd know it was time to go over here. Certain screams would instigate chord changes, but mostly it was numbers. James would call out football numbers, that's where we got that from. Thirty-nine — Sixteen —Fourteen — Two — Five — Three — Ninety-eight, that kind of thing. Number thirty-nine was always the change into ‘Please, Please, Please'. Sixteen is into a scream and an immediate change, not bam-bam but straight into something else. If he spins around and calls thirty-six, that means we're going back to the top again. And the forty-two, OK, we're going to do this verse and then bow out, we're leaving now. It was amazing." This, or something like this, is a fairly standard technique among more autocratic band leaders, a way of allowing the band as a whole to become a live compositional or improvisational tool for their leader, and Frank Zappa, for example, had a similar system. It requires the players to subordinate themselves utterly to the whim of the band leader, but also requires a band leader who knows the precise strengths and weaknesses of every band member and how they are likely to respond to a cue. When it works well, it can be devastatingly effective, and it was for Brown's live show. The Famous Flames shows soon became a full-on revue, with other artists joining the bill and performing with Brown's band. From the late 1950s on, Brown would always include a female singer. The first of these was Sugar Pie DeSanto, a blues singer who had been discovered (and given her stage name) by Johnny Otis, but DeSanto soon left Brown's band and went on to solo success on Chess records, with hits like "Soulful Dress": [Excerpt: Sugar Pie DeSanto, "Soulful Dress"] After DeSanto left, she was replaced by  Bea Ford, the former wife of the soul singer Joe Tex, with whom Brown had an aggressive rivalry and mutual loathing. Ford and Brown recorded together, cutting tracks like "You Got the Power": [Excerpt: James Brown and Bea Ford, "You Got the Power"] However, Brown and Ford soon fell out, and Brown actually wrote to Tex asking if he wanted his wife back. Tex's response was to record this: [Excerpt: Joe Tex, "You Keep Her"] Ford's replacement was Yvonne Fair, who had briefly replaced Jackie Landry in the Chantels for touring purposes when Landry had quit touring to have a baby. Fair would stay with Brown for a couple of years, and would release a number of singles written and produced for her by Brown, including one which Brown would later rerecord himself with some success: [Excerpt: Yvonne Fair, "I Found You"] Fair would eventually leave the band after getting pregnant with a child by Brown, who tended to sleep with the female singers in his band. The last shows she played with him were the shows that would catapult Brown into the next level of stardom. Brown had been convinced for a long time that his live shows had an energy that his records didn't, and that people would buy a record of one of them. Syd Nathan, as usual, disagreed. In his view the market for R&B albums was small, and only consisted of people who wanted collections of hit singles they could play in one place. Nobody would buy a James Brown live album. So Brown decided to take matters into his own hands. He decided to book a run of shows at the Apollo Theatre, and record them, paying for the recordings with his own money. This was a week-long engagement, with shows running all day every day -- Brown and his band would play five shows a day, and Brown would wear a different suit for every show. This was in October 1962, the month that we've already established as the month the sixties started -- the month the Beatles released their first single, the Beach Boys released their first record outside the US, and the first Bond film came out, all on the same day at the beginning of the month. By the end of October, when Brown appeared at the Apollo, the Cuban Missile Crisis was at its height, and there were several points during the run where it looked like the world itself might not last until November 62. Douglas Wolk has written an entire book on the live album that resulted, which claims to be a recording of the midnight performance from October the twenty-fourth, though it seems like it was actually compiled from multiple performances. The album only records the headline performance, but Wolk describes what a full show by the James Brown Revue at the Apollo was like in October 1962, and the following description is indebted to his book, which I'll link in the show notes. The show would start with the "James Brown Orchestra" -- the backing band. They would play a set of instrumentals, and a group of dancers called the Brownies would join them: [Excerpt: James Brown Presents His Band, "Night Flying"] At various points during the set, Brown himself would join the band for a song or two, playing keyboards or drums. After the band's instrumental set, the Valentinos would take the stage for a few songs. This was before they'd been taken on by Sam Cooke, who would take them under his wing very soon after these shows, but the Valentinos were already recording artists in their own right, and had recently released "Lookin' For a Love": [Excerpt: The Valentinos, "Lookin' For a Love"] Next up would be Yvonne Fair, now visibly pregnant with her boss' child, to sing her few numbers: [Excerpt: Yvonne Fair, "You Can Make it if You Try"] Freddie King was on next, another artist for the King family of labels who'd had a run of R&B hits the previous year, promoting his new single "I'm On My Way to Atlanta": [Excerpt: Freddie King, "I'm on My Way to Atlanta"] After King came Solomon Burke, who had been signed to Atlantic earlier that year and just started having hits, and was the new hot thing on the scene, but not yet the massive star he became: [Excerpt: Solomon Burke, "Cry to Me"] After Burke came a change of pace -- the vaudeville comedian Pigmeat Markham would take the stage and perform a couple of comedy sketches. We actually know exactly how these went, as Brown wasn't the only one recording a live album there that week, and Markham's album "The World's Greatest Clown" was a result of these shows and released on Chess Records: [Excerpt: Pigmeat Markham, "Go Ahead and Sing"] And after Markham would come the main event. Fats Gonder, the band's organist, would give the introduction we heard at the beginning of the episode -- and backstage, Danny Ray, who had been taken on as James Brown's valet that very week (according to Wolk -- I've seen other sources saying he'd joined Brown's organisation in 1960), was listening closely. He would soon go on to take over the role of MC, and would introduce Brown in much the same way as Gonder had at every show until Brown's death forty-four years later. The live album is an astonishing tour de force, showing Brown and his band generating a level of excitement that few bands then or now could hope to equal. It's even more astonishing when you realise two things. The first is that this was *before* any of the hits that most people now associate with the name James Brown -- before "Papa's Got a Brand New Bag" or "Sex Machine", or "It's a Man's Man's Man's World" or "Say it Loud I'm Black and I'm Proud" or "Funky Drummer" or "Get Up Offa That Thing". It's still an *unformed* James Brown, only six years into a fifty-year career, and still without most of what made him famous. The other thing is, as Wolk notes, if you listen to any live bootleg recordings from this time, the microphone distorts all the time, because Brown is singing so loud. Here, the vocal tone is clean, because Brown knew he was being recorded. This is the sound of James Brown restraining himself: [Excerpt: James Brown and the Famous Flames, "Night Train" (Live at the Apollo version)] The album was released a few months later, and proved Syd Nathan's judgement utterly, utterly, wrong. It became the thirty-second biggest selling album of 1963 -- an amazing achievement given that it was released on a small independent label that dealt almost exclusively in singles, and which had no real presence in the pop market. The album spent sixty-six weeks on the album charts, making number two on the charts -- the pop album charts, not R&B charts. There wasn't an R&B albums chart until 1965, and Live at the Apollo basically forced Billboard to create one, and more or less single-handedly created the R&B albums market. It was such a popular album in 1963 that DJs took to playing the whole album -- breaking for commercials as they turned the side over, but otherwise not interrupting it. It turned Brown from merely a relatively big R&B star into a megastar. But oddly, given this astonishing level of success, Brown's singles in 1963 were slightly less successful than they had been in the previous few years -- possibly partly because he decided to record a few versions of old standards, changing direction as he had for much of his career. Johnny Terry quit the Famous Flames, to join the Drifters, becoming part of the lineup that recorded "Under the Boardwalk" and "Saturday Night at the Movies". Brown also recorded a second live album, Pure Dynamite!, which is generally considered a little lacklustre in comparison to the Apollo album. There were other changes to the lineup as well as Terry leaving. Brown wanted to hire a new drummer, Melvin Parker, who agreed to join the band, but only if Brown took on his sax-playing brother, Maceo, along with him. Maceo soon became one of the most prominent musicians in Brown's band, and his distinctive saxophone playing is all over many of Brown's biggest hits. The first big hit that the Parkers played on was released as by James Brown and his Orchestra, rather than James Brown and the Famous Flames, and was a landmark in Brown's evolution as a musician: [Excerpt: James Brown and his Orchestra, "Out of Sight"] The Famous Flames did sing on the B-side of that, a song called "Maybe the Last Time", which was ripped off from the same Pops Staples song that the Rolling Stones later ripped off for their own hit single. But that would be the last time Brown would use them in the studio -- from that point on, the Famous Flames were purely a live act, although Bobby Byrd, but not the other members, would continue to sing on the records. The reason it was credited to James Brown, rather than to James Brown and the Famous Flames, is that "Out of Sight" was released on Smash Records, to which Brown -- but not the Flames -- had signed a little while earlier. Brown had become sick of what he saw as King Records' incompetence, and had found what he and his advisors thought was a loophole in his contract. Brown had been signed to King Records under a personal services contract as a singer, not under a musician contract as a musician, and so they believed that he could sign to Smash, a subsidiary of Mercury, as a musician. He did, and he made what he thought of as a fresh start on his new label by recording "Caldonia", a cover of a song by his idol Louis Jordan: [Excerpt: James Brown and his Orchestra, "Caldonia"] Understandably, King Records sued on the reasonable grounds that Brown was signed to them as a singer, and they got an injunction to stop him recording for Smash -- but by the time the injunction came through, Brown had already released two albums and three singles for the label. The injunction prevented Brown from recording any new material for the rest of 1964, though both labels continued to release stockpiled material during that time. While he was unable to record new material, October 1964 saw Brown's biggest opportunity to cross over to a white audience -- the TAMI Show: [Excerpt: James Brown, "Out of Sight (TAMI show live)"] We've mentioned the TAMI show a couple of times in previous episodes, but didn't go into it in much detail. It was a filmed concert which featured Jan and Dean, the Barbarians, Lesley Gore, Chuck Berry, the Beach Boys, Gerry and the Pacemakers, Billy J Kramer and the Dakotas, Marvin Gaye, the Miracles, the Supremes, and, as the two top acts, James Brown and the Rolling Stones. Rather oddly, the point of the TAMI Show wasn't the music as such. Rather it was intended as a demonstration of a technical process. Before videotape became cheap and a standard, it was difficult to record TV shows for later broadcast, for distribution to other countries, or for archive. The way they used to be recorded was a process known as telerecording in the UK and kinescoping in the US, and that was about as crude as it's possible to get -- you'd get a film camera, point it at a TV showing the programme you wanted to record, and film the TV screen. There was specialist equipment to do this, but that was all it actually did. Almost all surviving TV from the fifties and sixties -- and even some from the seventies -- was preserved by this method rather than by videotape. Even after videotape started being used to make the programmes, there were differing standards and tapes were expensive, so if you were making a programme in the UK and wanted a copy for US broadcast, or vice versa, you'd make a telerecording. But what if you wanted to make a TV show that you could also show on cinema screens? If you're filming a TV screen, and then you project that film onto a big screen, you get a blurry, low-resolution, mess -- or at least you did with the 525-line TV screens that were used in the US at the time. So a company named Electronovision came into the picture, for those rare times when you wanted to do something using video cameras that would be shown at the cinema. Rather than shoot in 525-line resolution, their cameras shot in 819-line resolution -- super high definition for the time, but capable of being recorded onto standard videotape with appropriate modifications for the equipment. But that meant that when you kinescoped the production, it was nearly twice the resolution that a standard US TV broadcast would be, and so it didn't look terrible when shown in a cinema. The owner of the Electronovision process had had a hit with a cinema release of a performance by Richard Burton as Hamlet, and he needed a follow-up, and decided that another filmed live performance would be the best way to make use of his process -- TV cameras were much more useful for capturing live performances than film cameras, for a variety of dull technical reasons, and so this was one of the few areas where Electronovision might actually be useful. And so Bill Roden, one of the heads of Electronovision, turned to a TV director named Steve Binder, who was working at the time on the Steve Allen show, one of the big variety shows, second only to Ed Sullivan, and who would soon go on to direct Hullaballoo. Roden asked Binder to make a concert film, shot on video, which would be released on the big screen by American International Pictures (the same organisation with which David Crosby's father worked so often). Binder had contacts with West Coast record labels, and particularly with Lou Adler's organisation, which managed Jan and Dean. He also had been in touch with a promoter who was putting on a package tour of British musicians. So they decided that their next demonstration of the capabilities of the equipment would be a show featuring performers from "all over the world", as the theme song put it -- by which they meant all over the continental United States plus two major British cities. For those acts who didn't have their own bands -- or whose bands needed augmenting -- there was an orchestra, centred around members of the Wrecking Crew, conducted by Jack Nitzsche, and the Blossoms were on hand to provide backing vocals where required. Jan and Dean would host the show and sing the theme song. James Brown had had less pop success than any of the other artists on the show except for the Barbarians, who are now best-known for their appearances on the Nuggets collection of relatively obscure garage rock singles, and whose biggest hit, "Are You a Boy or Are You a Girl?" only went to number fifty-five on the charts: [Excerpt: The Barbarians, "Are You a Boy or Are You a Girl?"] The Barbarians were being touted as the American equivalent of the Rolling Stones, but the general cultural moment of the time can be summed up by that line "You're either a girl or you come from Liverpool" -- which was where the Rolling Stones came from. Or at least, it was where Americans seemed to think they came from given both that song, and the theme song of the TAMI show, written by P.F. Sloan and Steve Barri, which sang about “the Rolling Stones from Liverpool”, and also referred to Brown as "the king of the blues": [Excerpt: Jan and Dean, "Here They Come From All Over The World"] But other than the Barbarians, the TAMI show was one of the few places in which all the major pop music movements of the late fifties and early sixties could be found in one place -- there was the Merseybeat of Gerry and the Pacemakers and the Dakotas, already past their commercial peak but not yet realising it, the fifties rock of Chuck Berry, who actually ended up performing one song with Gerry and the Pacemakers: [Excerpt: Chuck Berry and Gerry and the Pacemakers: "Maybellene"] And there was the Brill Building pop of Lesley Gore, the British R&B of the Rolling Stones right at the point of their breakthrough, the vocal surf music of the Beach Boys and Jan and Dean, and three of the most important Motown acts, with Brown the other representative of soul on the bill. But the billing was a sore point. James Brown's manager insisted that he should be the headliner of the show, and indeed by some accounts the Rolling Stones also thought that they should probably not try to follow him -- though other accounts say that the Stones were equally insistent that they *must* be the headliners. It was a difficult decision, because Brown was much less well known, but it was eventually decided that the Rolling Stones would go on last. Most people talking about the event, including most of those involved with the production, have since stated that this was a mistake, because nobody could follow James Brown, though in interviews Mick Jagger has always insisted that the Stones didn't have to follow Brown, as there was a recording break between acts and they weren't even playing to the same audience -- though others have disputed that quite vigorously. But what absolutely everyone has agreed is that Brown gave the performance of a lifetime, and that it was miraculously captured by the cameras. I say its capture was miraculous because every other act had done a full rehearsal for the TV cameras, and had had a full shot-by-shot plan worked out by Binder beforehand. But according to Steve Binder -- though all the accounts of the show are contradictory -- Brown refused to do a rehearsal -- so even though he had by far the most complex and choreographed performance of the event, Binder and his camera crew had to make decisions by pure instinct, rather than by having an actual plan they'd worked out in advance of what shots to use. This is one of the rare times when I wish this was a video series rather than a podcast, because the visuals are a huge part of this performance -- Brown is a whirlwind of activity, moving all over the stage in a similar way to Jackie Wilson, one of his big influences, and doing an astonishing gliding dance step in which he stands on one leg and moves sideways almost as if on wheels. The full performance is easily findable online, and is well worth seeking out. But still, just hearing the music and the audience's reaction can give some insight: [Excerpt: James Brown, "Out of Sight" (TAMI Show)] The Rolling Stones apparently watched the show in horror, unable to imagine following that -- though when they did, the audience response was fine: [Excerpt: The Rolling Stones, "Around and Around"] Incidentally, Chuck Berry must have been quite pleased with his payday from the TAMI Show, given that as well as his own performance the Stones did one of his songs, as did Gerry and the Pacemakers, as we heard earlier, and the Beach Boys did "Surfin' USA" for which he had won sole songwriting credit. After the TAMI Show, Mick Jagger would completely change his attitude to performing, and would spend the rest of his career trying to imitate Brown's performing style. He was unsuccessful in this, but still came close enough that he's still regarded as one of the great frontmen, nearly sixty years later. Brown kept performing, and his labels kept releasing material, but he was still not allowed to record, until in early 1965 a court reached a ruling -- yes, Brown wasn't signed as a musician to King Records, so he was perfectly within his rights to record with Smash Records. As an instrumentalist. But Brown *was* signed to King Records as a singer, so he was obliged to record vocal tracks for them, and only for them. So until his contract with Smash lapsed, he had to record twice as much material -- he had to keep recording instrumentals, playing piano or organ, for Smash, while recording vocal tracks for King Records. His first new record, released as by "James Brown" rather than the earlier billings of "James Brown and his Orchestra" or "James Brown and the Famous Flames", was for King, and was almost a remake of "Out of Sight", his hit for Smash Records. But even so, "Papa's Got a Brand New Bag" was a major step forward, and is often cited as the first true funk record. This is largely because of the presence of a new guitarist in Brown's band. Jimmy Nolen had started out as a violin player, but like many musicians in the 1950s he had been massively influenced by T-Bone Walker, and had switched to playing guitar. He was discovered as a guitarist by the bluesman Jimmy Wilson, who had had a minor hit with "Tin Pan Alley": [Excerpt: Jimmy Wilson, "Tin Pan Alley"] Wilson had brought Nolen to LA, where he'd soon parted from Wilson and started working with a whole variety of bandleaders. His first recording came with Monte Easter on Aladdin Records: [Excerpt: Monte Easter, "Blues in the Evening"] After working with Easter, he started recording with Chuck Higgins, and also started recording by himself. At this point, Nolen was just one of many West Coast blues guitarists with a similar style, influenced by T-Bone Walker -- he was competing with Pete "Guitar" Lewis, Johnny "Guitar" Watson, and Guitar Slim, and wasn't yet quite as good as any of them. But he was still making some influential records. His version of "After Hours", for example, released under his own name on Federal Records, was a big influence on Roy Buchanan, who would record several versions of the standard based on Nolen's arrangement: [Excerpt: Jimmy Nolen, "After Hours"] Nolen had released records on many labels, but his most important early association came from records he made but didn't release. In the mid-fifties, Johnny Otis produced a couple of tracks by Nolen, for Otis' Dig Records label, but they weren't released until decades later: [Excerpt: Jimmy Nolen, "Jimmy's Jive"] But when Otis had a falling out with his longtime guitar player Pete "Guitar" Lewis, who was one of the best players in LA but who was increasingly becoming unreliable due to his alcoholism, Otis hired Nolen to replace him. It's Nolen who's playing on most of the best-known recordings Otis made in the late fifties, like "Casting My Spell": [Excerpt: Johnny Otis, "Casting My Spell"] And of course Otis' biggest hit "Willie and the Hand Jive": [Excerpt: Johnny Otis, "Willie and the Hand Jive"] Nolen left Otis after a few years, and spent the early sixties mostly playing in scratch bands backing blues singers, and not recording. It was during this time that Nolen developed the style that would revolutionise music. The style he developed was unique in several different ways. The first was in Nolen's choice of chords. We talked last week about how Pete Townshend's guitar playing became based on simplifying chords and only playing power chords. Nolen went the other way -- while his voicings often only included two or three notes, he was also often using very complex chords with *more* notes than a standard chord. As we discussed last week, in most popular music, the chords are based around either major or minor triads -- the first, third, and fifth notes of a scale, so you have an E major chord, which is the notes E, G sharp, and B: [Excerpt: E major chord] It's also fairly common to have what are called seventh chords, which are actually a triad with an added flattened seventh, so an E7 chord would be the notes E, G sharp, B, and D: [Excerpt: E7 chord] But Nolen built his style around dominant ninth chords, often just called ninth chords. Dominant ninth chords are mostly thought of as jazz chords because they're mildly dissonant. They consist of the first, third, fifth, flattened seventh, *and* ninth of a scale, so an E9 would be the notes E, G sharp, B, D, and F sharp: [Excerpt: E9 chord] Another way of looking at that is that you're playing both a major chord *and* at the same time a minor chord that starts on the fifth note, so an E major and B minor chord at the same time: [Demonstrates Emajor, B minor, E9] It's not completely unknown for pop songs to use ninth chords, but it's very rare. Probably the most prominent example came from a couple of years after the period we're talking about, when in mid-1967 Bobby Gentry basically built the whole song "Ode to Billie Joe" around a D9 chord, barely ever moving off it: [Excerpt: Bobby Gentry, "Ode to Billie Joe"] That shows the kind of thing that ninth chords are useful for -- because they have so many notes in them, you can just keep hammering on the same chord for a long time, and the melody can go wherever it wants and will fit over it. The record we're looking at, "Papa's Got a Brand New Bag", actually has three chords in it -- it's basically a twelve-bar blues, like "Out of Sight" was, just with these ninth chords sometimes used instead of more conventional chords -- but as Brown's style got more experimental in future years, he would often build songs with no chord changes at all, just with Nolen playing a single ninth chord throughout. There's a possibly-apocryphal story, told in a few different ways, but the gist of which is that when auditioning Nolen's replacement many years later, Brown asked "Can you play an E ninth chord?" "Yes, of course" came the reply. "But can you play an E ninth chord *all night*?" The reason Brown asked this, if he did, is that playing like Nolen is *extremely* physically demanding. Because the other thing about Nolen's style is that he was an extremely percussive player. In his years backing blues musicians, he'd had to play with many different drummers, and knew they weren't always reliable timekeepers. So he'd started playing like a drummer himself, developing a technique called chicken-scratching, based on the Bo Diddley style he'd played with Otis, where he'd often play rapid, consistent, semiquaver chords, keeping the time himself so the drummer didn't have to. Other times he'd just play single, jagged-sounding, chords to accentuate the beat. He used guitars with single-coil pickups and turned the treble up and got rid of all the midrange, so the sound would cut through no matter what. As well as playing full-voiced chords, he'd also sometimes mute all the strings while he strummed, giving a percussive scratching sound rather than letting the strings ring. In short, the sound he got was this: [Excerpt: James Brown, "Papa's Got a Brand New Bag"] And that is the sound that became funk guitar. If you listen to Jimmy Nolen's playing on "Papa's Got a Brand New Bag", that guitar sound -- chicken scratched ninth chords -- is what every funk guitarist after him based their style on. It's not Nolen's guitar playing in its actual final form -- that wouldn't come until he started using wah wah pedals, which weren't mass produced until early 1967 -- but it's very clear when listening to the track that this is the birth of funk. The original studio recording of "Papa's Got a Brand New Bag" actually sounds odd if you listen to it now -- it's slower than the single, and lasts almost seven minutes: [Excerpt: James Brown "Papa's Got a Brand New Bag (parts 1, 2, and 3)"] But for release as a single, it was sped up a semitone, a ton of reverb was added, and it was edited down to just a few seconds over two minutes. The result was an obvious hit single: [Excerpt: James Brown, "Papa's Got a Brand New Bag"] Or at least, it was an obvious hit single to everyone except Syd Nathan, who as you'll have already predicted by now didn't like the song. Indeed according to Brown, he was so disgusted with the record that he threw his acetate copy of it onto the floor. But Brown got his way, and the single came out, and it became the biggest hit of Brown's career up to that point, not only giving him his first R&B number one since "Try Me" seven years earlier, but also crossing over to the pop charts in a way he hadn't before. He'd had the odd top thirty or even top twenty pop single in the past, but now he was in the top ten, and getting noticed by the music business establishment in a way he hadn't earlier. Brown's audience went from being medium-sized crowds of almost exclusively Black people with the occasional white face, to a much larger, more integrated, audience. Indeed, at the Grammys the next year, while the Beatles, the Beach Boys, the Rolling Stones, Bob Dylan, Phil Spector and the whole Motown stable were overlooked in favour of the big winners for that year Roger Miller, Herb Alpert, and the Anita Kerr Singers, even an organisation with its finger so notoriously off the pulse of the music industry as the National Academy of Recording Arts and Sciences, which presents the Grammys, couldn't fail to find the pulse of "Papa's Got a Brand New Bag", and gave Brown the Grammy for Best Rhythm and Blues record, beating out the other nominees "In the Midnight Hour", "My Girl", "Shotgun" by Junior Walker, and "Shake" by Sam Cooke. From this point on, Syd Nathan would no longer argue with James Brown as to which of his records would be released. After nine years of being the hardest working man in showbusiness, James Brown had now become the Godfather of Soul, and his real career had just begun.