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Los Angeles-based singer-songwriter who just released a new single this past Friday and has a new album in the works. Her previous single reached number 2 on the Mediabase Top 40 Pop Independent Artist chart and even hit the Top 40 Pop chart. Plus, the track was also featured in SPIN, LA Weekly, and Rolling Stone UK. Five months ago, the music video for her previous single was released and is up to more than three-quarters-of-a-million views on YouTube. She previously had earned recognition with her remake of the Beastie Boys' song "FIGHT," which was licensed by SONY ATV and received approval from both the Beastie Boys and producer Rick Rubin. Her version of "FIGHT" climbed the charts and earned her a spot as the #1 spun independent artist for four consecutive weeks on Mediabase. She has opened for high-profile artists such as Lil Jon, Mike Jones, and Soulja Boy. She has also been featured on television shows, including a live performance on Bravo TV's ‘Watch What Happens Live,' where she was both a guest and one of the first musical performers in the show's history.

Charlie Peacock is a Billboard chart-topping, six-time Grammy Award-winning music producer whose recordings now exceed 25 million album sales. Billboard named him one of the 500 most important producers in popular music history. He has held executive positions at EMI and SONY/ATV and he founded the Universal Music Group imprint re:think. He helped launch The Lone Bellow, Switchfoot, and The Civil Wars. And now, he has a new book, Roots & Rhythm: A Life in Music. These credentials make Charlie podcast-worthy in just about any format that is interested in the intersection of Christianity and pop culture. But one of the reasons I wanted to have Charlie on the program today is that he's one of the most thoughtful guys I know when it comes to issues of fame and its pitfalls, vocation and work, and creativity. It was a special treat for me to get to spend this time with Charlie Peacock, and I hope you find it special, too. Charlie spoke to me from his studio in Nashville. He has a new book, Roots & Rhythm: A Life in Music. I highly recommend it. The producer for today's program is Jeff McIntosh. Until next time, may God bless you.

Herbert Holler on The Virtual Sessions presented by The DJ Sessions 6/25/24   About Herbert Holler - Herbert Holler has been a party producer, promoter and DJ for over 25 years. He's played at the most notable lounges, bars and dance clubs in NYC nightlife history, from Wall Street to 125th, from Brooklyn to the Bronx, not-to-mention guest spots across the globe, in cities like Tokyo, Venice and London.    He works with a growing list of high-profile clients (Samsung, Porsche, Live Nation, Sony/ATV, etc.), event-production teams (Creative Edge Parties, Glow, Frost Audio, etc.) and world-renown artists (Benny Blanco, Boyz II Men, Diplo, John Legend, Miguel, Snoop Dogg, etc.), and continues to spin some of the most celebrated annual events in NYC (like the Brooklyn Black Tie Ball and Brooklyn Botanic Spring Gala).    He's also created the most legendary old-school dance party in history, the Freedom Party®, voted “Best Party” by Papermag, Village Voice and URB, now in its 21st year of parties with 1000+ events to date, My House™, his home for deep-house music, and Jams™, a new 2000s night! Past When I was little, I had problems sleeping. I wasn't putting myself to bed ever, really. My parents tried everything in the book to get me out, but nothing worked. One night, my dad was at the bar doing his funny dance to Survivor's “Eye of the Tiger,” and I asked him to pick me up. Less than five minutes later, I was out. Every night thereafter, he slung me over his shoulder just before bedtime and danced me to sleep—to Queen, Styx, Chicago, Meatloaf and lots and lots of Electric Light Orchestra.   ELO was our personal favorite. I ended up memorizing every word to every song off “Out of the Blue.” Anytime we were in his Honda Accord '87, that 8-track went in. My mom had her input, too. Mostly Billy Joel, Tom Jones, maybe some Diana Ross. She tried singing me to sleep some nights, but “Why Do Fools Fall in Love” doesn't really set the mood for deep slumber. She gave me my very first piece of vinyl—1966's “The Best of the Beach Boys.” After the needle gave up trying to stick to that record, she handed me the soundtrack to “Hair.” When the day finally came for me to start learning the value of a dollar and buy my own music, the first tape I went out and purchased was Run DMC's “Raising Hell.”   How I got from 70s orchestral rock, surf ditties, and Broadway musicals to hip-hop, I'll never know. But that diversity has stuck with me to this day. Just when I pledge allegiance to some new rap artist, I'm a bloodthirsty digger searching for a new, synthetic electronic sound I heard on satellite radio or on somebody's blog. And then I'm back frantically Googling a soul or disco sample I recognized from an old tune, or putting the finishing touches on a Dubstep mix I took way too much time obsessing over, or re-organizing my playlists so I know the difference between bounce, trap and an old Dirty-South anthem.   The question of how I ended up spending half my waking hours in a nightclub is easy: I practically grew up in one. Again, my father's to blame. He used to be the Food & Beverage Manager at Resorts Casino Hotel in Atlantic City, NJ, my hometown. I clocked more hours at that place than some of the people on payroll. And this was the 80s, mind you, when the casino strip was as glamorous as it would ever be: fur coats, pearl necklaces, big Cadillacs and Liberace (who I saw live…many times). The lights, the sounds, the electricity in the air, even the smells…these things never left.   Nor has my penchant for making people smile. In grade school I brought class clown to a new level. It cost me my grades, and also led to a few suspensions, but there was nothing I enjoyed more than leaving my classmates in stitches. Sometimes even the teacher had to take a second to regain composure. I thought maybe I'd make a good Psychologist, helping people smile, so I went Premed at NYU, till I realized the night before classes started that I'd have to sit still and study a lot. (Hence the B.A.) Naturally, I tried my hand at comedy, but I couldn't afford to be broke, and I was already getting gigs and discovering my knack for making dance floors pop. So, it was settled: I was to be a professional DJ. Present Today, my career is in its 20th year with no signs of slowing down. I've played just about every NYC lounge, bar, and dance club from Wall Street to 125th, from Brooklyn to the Bronx, not-to-mention residencies and guest spots across the globe; I continue to work with a growing list of high-profile clients and world-renown artists (like Snoop Dogg, Diplo, Benny Blanco, Boyz II Men, John Legend, Miguel, Blondie…).   I spin some of the most celebrated annual events in NYC, including the Brooklyn Black Tie Ball, the Brooklyn Botanic Garden Spring Gala, and Central Park Summerstage to name a few; I've created the most legendary old-school dance party in NYC history, the award-winning Freedom Party® (19-plus years and 900-plus parties; voted “Best Dance Party” by Village Voice in 2015); and I continue to create unforgettable nightlife experiences for people from all walks of life. Future After years of hard work, dedication and professionalism, my name and reputation as a DJ in the music and entertainment industry precedes itself. And though I don't get to play nearly as much ELO at the gigs as I'd like to, and 8-track tapes (and Liberace) are long gone, my love for the music, the night, and for making people smile are still here.  

With an international background, PATRICK SOLURI is a New York City based composer of music for ballet, opera and film/TV. His love of telling stories through music is evident in a large body of work for the stage, screen and concert hall. Mr. Soluri has had 11 ballet scores performed internationally. This includes a commission and eight sold out performances of JUST BEFORE NOW (2017) at Ballet de l'Opéra National de Bordeaux (France). The same creative team, led by German choreographer Xenia Wiest and costume designer Melanie Frost, first collaborated on TO BE CONTINUED (aka “Continuum” 2009) which was commissioned and performed 18 times over two seasons to great acclaim by Staatsballett Berlin. In 2016 this ballet won the Grande Prixe (1st prize) at the Berritz International Choreographic Competition, and the music was a finalist/winner of the Kaleidescope 2020 international composers competition (with over 8,000 submissions). The latest production is in the 2022/23 season by Ballet X Schwerin in Germany.  During the pandemic the same creative team featuring Xenia Wiest collaborated on “Nacht Ohne Morgen” with Xenia also as the ballet director of Ballett X Schwerin (Germany),  receiving rave reviews and 13 performances in the 2021/22 season, plus 4 additional performances in the 2022/23 season. Other notable ballet works include three productions of MADAME X (1999, 2003, 2019), featuring American Ballet Theater principal Marcelo Gomes, and NY City Ballet principals Abi Stafford and Ask La Cour; FIRE & AIR, premiered at The Kennedy Center with Mr. Soluri conducting; and FANCY NANCY, based on the hit children's books. Mr. Soluri's ballets have been performed by STAATSBALLETT BERLIN (Germany), BALLET DE L'OPÉRA NATIONAL DE BORDEAUX (France), BALLETT X SCHWERIN (Germany), INTERMEZZO DANCE CO (New York City), DANCES PATRELLE (New York City), BOWEN McCAULEY DANCE (DC), and CUYAHOGA VALLEY YOUTH BALLET (OH). In opera, Mr. Soluri was a finalist with librettist Deborah Brevoort for ALBERT NOBBS in the 2018 Pellicciotti Opera Composition Prize who then commissioned and work-shopped a 20-minute excerpt in September 2016. In January 2018 ALBERT NOBBS was showcased as part of Opera America's "New Works Forum," with two new scenes added, and won the 2019 Frontiers Competition at FORT WORTH OPERA (FWO). His one-act opera EMBEDDED, commissioned by AMERICAN LYRIC THEATER, also won the 2013 Frontiers Competition at FWO, and had its fully staged world premiere in March 2014 at FARGO-MOORHEAD OPERA, followed by six performances at FWO in their Spring 2016 season where the NY Times praised "Mr. Soluri's skillfully scored music…” Mr. Soluri is also known for his series of 10 minute comic operas which have performed around the world, four of which have premiered at CARNEGIE HALL. With nearly a dozen productions, his most performed short opera is the dark comedy FIGARO's LAST HANGOVER. The sequel, FIGARO & THE ZOMBIE APOCALYPSE was commissioned & premiered by FWO in 2013. His opera INFERNO was featured in the prestigious ‘2003 VOX Showcasing American Composers' by NEW YORK CITY OPERA. In addition, Mr. Soluri's operas have been performed by VIENNE EN VOIX FESTIVAL, NEVADA OPERA, CENTER CITY OPERA THEATER, URBAN ARIAS, OPERA ON TAP, UNIVERSITY OF ALBANY, RTB, JUVENTAS, and L'ARIETTA SINGAPORE. Mr. Soluri has also composed numerous film scores, has a vast library of music for film/TV, and a film trailer that showed on 19,000 film screens in the US. Other projects include orchestrating and arranging for the EMMY AWARD winning WONDERPETS, with Sean Lennon on the film score for ALTER EGOS, and scoring the indie short HOSTILE TAKEOVER (2018). Additionally, he has hundreds of cues in various film/tv music production libraries (including SONY/ATV, ReelTracks, and ScoreKeepers), which has been featured worldwide on various TV shows and networks, such as TLC, LOGO and DISCOVERY - including hit shows like NBC's "World of Adventure Sports" and "America's Got Talent." Other works include various chamber and orchestral commissions, including an orchestral overture commissioned by GULF COAST SYMPHONY with multiple performances in their 2014/15 season. Holding dual citizenship in the US and Portugal, Mr. Soluri was born in Brazil, and raised in NYC attending a Montessori School (in Milan & NYC) and later Rudolf Steiner (a Waldorf School). At Bennington College Mr. Soluri studied composition with Tobias Picker and Alan Shawn, then received a BM in classical composition from Manhattan School of Music as a scholarship recipient studying with Aaron J. Kernis and Nils Vigeland. He received a MM in composition from Univ. of Louisville where he held the Moritz von Bomhard Fellowship for Opera Composition. Additionally, he was selected for various prestigious programs including the first “class” of the Composer Librettist Development Program by ALT, the ASCAP Film Scoring Workshop in Hollywood, and VOX Showcasing American Composer by New York City Opera. If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

Tyler was born in La Quinta, CA, and began his career early, signing renowned Grammy nominated artist / writer / producer PARTYNEXTDOOR when he was just 21 years old at USC. Since then, Tyler has grown his management practice bringing in production phenoms Wondagurl, HARV, Los Hendrix, and Nonstop da Hitman, as well as Bazzi and Cordae, up-and-coming artist Peter Manos, and established social media superstar Cameron Dallas. Tyler has also expanded his portfolio, co-founding a publishing Joint Venture with PARTYNEXTDOOR and Warner Chappell in 2016 - where they signed superstar producer Murda Beatz and G Ry. He also co-founded a publishing Joint Venture with Wondagurl, Sony/ATV and Cactus Jack in 2020 - where they signed upcoming producers London Cyr, Jenius, and FORTHENIGHT. In 2018, Tyler, his brother Kevin, Adrian Martinez, Connor Moy, Ben Wolin, and Jasper Heenan co-founded the multi-hyphenated creative company, STURDY. It includes a music division (now merged with Range Music), creative studio, and  production company. In 2021, Tyler and his music team joined forces with Range as they are building the worlds newest and most exciting talent representation company. Follow Tyler https://www.instagram.com/tyler.henry/?hl=en (0:00) - Intro (1:55) - Prioritizing wellness (4:10) Staying grounded during “fire alarms” (5:39) Boundaries that have created the greatest ROI (13:25) changing your perspective on failures (22:25) Learning and unlearning money mindsets (27:51) Balancing working on two businesses (35:41) Working on Drake's touring team (43:15) Training for and completing an Ironman (56:04) Things to let go of and add more of in 2024 (59:59) Challenge for the listeners My Links STAY ON TRACK NEWSLETTER

Felicia Bennett is a tour manager, manager, and founder with over seven years of experience in the live side of the music business working for companies like Sony ATV, Sarm Studios, Live Nation, and now Janelle Monáe's Wondaland Arts Society.  Bennett is an Atlanta native turned Los Angeles resident, who is a passionate advocate for artists and women of color in the live music scene. She founded Get A Room Productions to expose more people especially, women of color to tour management and help them become successful in the entertainment industry. Join us for the Girls That Create podcast anytime and learn more about Bennett and Get A Room Productions at getaroomproductions.com. Host Erin Prather Stafford launched Girls That Create in 2019, a site supports the parents and caregivers of creative girls while encouraging greater female representation across the arts. Go to www.girlsthatcreate.com for parenting tips, women empowerment, and everything in between. Follow us on Instagram, Facebook, Pinterest and YouTube. Please support UnsilencedVoices.org. We thank Smith Sisters and the Sunday Drivers for our theme song, "She is You". Connect with Word of Mom on Facebook, Instagram and Twitter . WordofMomRadio.com - sharing the wisdom of women, in business and in life.  

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

Ep.16: Interview with singer songwriter Lenka This week on SyncRiffs, Charles interviews Lenka, an Australian singer songwriter who is back working with the Blue Buddha Sync Team. Charles & Blue Buddha Entertainment first worked with Lenka in 2007, securing her two syncs before she went on to secure a major label and publishing deal.  Welcome to Lenkaland! Inhabited by Aussie singer-songwriter Lenka and all her sugar bombs, Lenka has spent much of her time on this earth making music to soothe her own heart and hopefully yours. Her early career as an actress spiked everything with a sense of drama. Her education in fine art peppered all with visual expression. Her love of nature began with a blissful early childhood in the Australian bush. Career highs saw her tour the world extensively and perform on live TV around the globe. Motherhood has brought her back to the Australian countryside, where she resides and continues to make music.  She takes us through her journey as a singer songwriter and talks about her process for writing music, her forthcoming new album & a 2023 winter U.S tour.  

In the personal development space, we often hear the advice to be authentic and to ensure we are operating from a place of authenticity, but what happens if you don't know who you are? This happens more often than you might think, and even celebrities deal with identity struggles. In the entrepreneurial world, you have to have clarity in who you are, and who you are speaking to, or the disconnect will be apparent. Jonathan George is here on the 365 Driven Podcast to dive deep into personal branding and offer a different perspective on what exactly it all means and how to achieve it the right way. Jonathan George is the CEO of a Personal Branding Agency called Unleash Your Rockstar. His clients have amassed over 150 million online followers leading him to be dubbed “The Human Hitmaker.” As a specialist in creating, positioning, and expanding authentic rockstar personal brands to scale business brands, Jonathan has worked with top brands including Chanel, Universal, Sony ATV, Hulu, FOX, and Disney. As a thought leader on the topic, he also utilizes it as one of the hottest tools for self-development for GenZers and Millennials. In this episode, Jonathan explains why it is so crucial to understand who you are in this day and age. With social media, so many of us get caught up in comparing ourselves to others, leading to anxiety and overwhelm. If we haven't taken the time to overcome the insecurities we had as children, we can carry them into adulthood without even realizing it, and then we let those insecurities turn into excuses as to why we can't go after our goals. With mental health on the decline, it is becoming increasingly important to break through the walls and barriers that are holding you back and be the person you are meant to be. Unleashing your rockstar means unapologetically being who you are. Key highlights: The mental effects of social media The number one thing that will hold you back from reaching your dreams  Jonathan's rebirthing experience and how he found real confidence Why personal branding is more than just colors and fonts How Jonathan helps people figure out how they want to show up in the world Why you need to understand your weaknesses Learning how to tell your story in a way that connects to your audience  Oversharing: how do you know when it becomes too much? Crisis Management: How to diffuse situations you are not proud of Controlling how people perceive you Why your personal brand shouldn't be built around your business Why a personal brand is portable and can be pivoted for any business For resources and links mentioned in this episode, visit: 365driven.com/episode301

This episode is brought to you by Rupa Health, InsideTracker, and Paleovalley.My job as a Functional Medicine doctor is to be a medical detective—to investigate and address the root causes of problems (not just the symptoms), help people fix the underlying problems that cause their symptoms, and recreate balance in the whole system. Rather than ask “what drug should I use to treat the symptom?” I ask “what is causing the symptom in the first place?”In today's episode, I talk with Dr. Elizabeth Boham, Dr. Steven Phillips and Dana Parish, and Dhru Purohit about why it's important to thoroughly investigate to get to the root cause of symptoms.Dr. Elizabeth Boham is a physician and nutritionist who practices Functional Medicine at The UltraWellness Center in Lenox, MA. Through her practice and lecturing she has helped thousands of people achieve their goals of optimum health and wellness. She witnesses the power of nutrition every day in her practice and is committed to training other physicians to utilize nutrition in healing.Dr. Steven Phillips is a renowned, Yale-trained physician, international lecturer, and media go-to expert. Well-published in the medical literature, he has treated over 20,000 patients with complex, chronic illness from nearly 20 countries. Dr. Phillips experienced firsthand the nightmare of an undiagnosed, serious infection after nearly dying from his own mystery illness. He figured out how to save his own life when 25 doctors could not.Dana Parish developed Lyme-induced heart failure as a result of being improperly diagnosed by some of the “top” doctors in the country—and had her life saved by Dr. Phillips. A chart-topping Sony/ATV singer/songwriter who has written songs for artists like Celine Dion and Idina Menzel, she has become a major voice in the world of chronic illness. Her popular column on Huffington Post has been read by more than one million people globally.Dhru Purohit is a podcast host, serial entrepreneur, and investor in the health and wellness industry. His podcast, The Dhru Purohit Podcast, is a top-50 global health podcast with over 30 million unique downloads. His interviews focus on the inner workings of the brain and the body and feature the brightest minds in wellness, medicine, and mindset.This episode is brought to you by Rupa Health, InsideTracker, and Paleovalley. Rupa Health is a place where Functional Medicine practitioners can access more than 2,000 specialty lab tests from over 35 labs. You can check out a free, live demo with a Q&A or create an account at RupaHealth.com.InsideTracker is offering my community 20% off at insidetracker.com/drhyman.Paleovalley is offering my listeners 15% off their entire first order. Just go to paleovalley.com/hyman.Full-length episodes of these interviews can be found here:Dr. Elizabeth BohamDr. Steven Phillips and Dana ParishDhru Purohit Hosted on Acast. See acast.com/privacy for more information.

We had the pleasure of interviewing Jay Allen Zoom video!Country singer Jay Allen has released his latest single, "No Prayer Like Mama's," through ONErpm. The new single is a touching tribute to the strength and devotion of a mother's love and is available now on streaming services worldwide.Inspired by Jay Allen's own journey, "No Prayer Like Mama's" is a tribute to the love and sacrifice of mothers. The song was born out of Allen's own experience of losing his mother to Alzheimer's disease and serves to honor the memory of all mothers who have dedicated their lives to their children, even in the face of adversity. The lyrics pay homage to the endless prayers that mothers offer for their children, from their earliest moments to when they've reached adulthood, capturing the beauty and power of that love that can transcend time and distance.Allen spoke about the song, saying “'No Prayer Like Mama's' was written after grieving the loss of my own mother. That process was a difficult journey, but now I find strength in believing that she's still with me. I hope this song brings honor to both mothers in heaven and those still with us.”Growing up near Cedar Falls, Iowa, Allen was influenced by the music he heard from both his father at rock concerts and his mother, who would sing country tunes on long car rides. Allen attributes his love for country music to his mother, and it's what ultimately led him to move to Nashville in 2013. He signed a publishing deal in 2014 and an artist deal with SONY/ATV in 2016. With the release of "Sounds Good to Me" in 2017, Allen was selected as Sirius XM's "The Highway Find."It was his 2018 hit "Blank Stares," a powerful tribute to his mother who suffered from early-onset Alzheimer's, that first caught the attention of national audiences. The song went viral, reaching over 500 million views on Facebook, and showcased Allen's raw talent and dedication to raising awareness for the Alzheimer's Association. As a result of his advocacy efforts, Allen has been involved with several international events, including the Rita Hayworth Gala, which have raised over $100 million for the Alzheimer' Association and has received numerous accolades, including The Caregiver Award from the National Alzheimer's Association.Allen has also been recognized for his music. He was named Favorite Competition Contestant at the 2022 Country Now Awards and featured in Music Mayhem Magazine's 2023 Artists to Watch.With the release of his debut EP Bulletproof, which includes the single "Mustang on Mud Tires" featuring UMG country artist, co-writer, and now-wife Kylie Morgan (along with Nate Kenyon and Blake Bollinger) Allen continues to captivate audiences with his emotional and heartfelt music.We want to hear from you! Please email Hello@BringinitBackwards.com. www.BringinitBackwards.com#podcast #interview #bringinbackpod #JayAllen #NoPrayersLikeMamas #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

Do you understand your contracts?Maria Lozano is a Music Business Consultant with 25 years of experience in the music industry. She currently works with Exploration in their Latin music department. In 1993, while awaiting her LSAT score, Maria was assigned to a 2-week temporary job at Sony Music Publishing. She stayed for 11 years, and rose to become the Director of Administration, where she oversaw licensing (mechanical, synchronization, karaoke, ringtone, print, and new media); registrations with PROs and the Library of Congress; and collection and distribution of royalties for the U.S. Latin, Latin American, and Iberian repertoires.In 2005, Maria moved on to Emusica Entertainment Group, owner of the famed Latin label, Fania. In 2009 she was referred by an industry colleague to teach music publishing to the manager of a major artist, Chayanne®. She was there until 2018, assisting with income tracking; drafting correspondence; licensing image and likeness; setting up a publishing company; negotiating a sub-publishing admin deal; signing songwriters; pre-selecting repertoire for recording; assisting in negotiating agreements with record producers, tour personnel, tour equipment vendors; liaising with his record label; managing time with legal counsel, and working closely with the trademark attorney to protect his mark from infringement.While working with Chayanne, Maria also assisted the office of famed Latin icon, Ricardo Arjona, with royalties, synchronization licensing, and their relationship with Sony/ATV.Maria broke out on her own in 2019 and founded MLO Music Business Adviser, where she provides consulting services to major artists, a record producer and label, indie bands, DJ's, and others. She has developed a rapport with songwriters, artists, attorneys, managers, and other industry executives that today provide a source of referrals and clients for Exploration. She earned a Bachelor of Arts from the City University of New York at Hunter College and is fully bilingual in Spanish and English.Listen as Maria shares;- why so many platinum-selling musicians go broke- how to read the fine print in music industry contracts- how to find the right entertainment lawyer or music lawyer- how recording contracts work- how music royalties are calculated and paid- how to budget on an income that fluctuates- the new payment system for songwriters and musicians- how streaming services transformed the music industry- how artists can protect their intellectual property- how to understand music data analytics tools- how to ensure your contracts are protecting your interests...and so much more!Connect with Maria:Website: https://exploration.io/maria-lozano/LinkedIn: https://www.linkedin.com/in/maria-lozano-1294805/Additional Resources:"How The Music Business Works" by ExplorationConnect with me on:Email: roberta4sk@gmail.comKindly subscribe to our podcast and leave us a rating and a review. Leave a rating and a review on Apple and Spotify:Spotify: https://open.spotify.com/episode/3yrJ6C5yvJ1X7yvI6rjsNiApple: https://podcasts.apple.com/us/podcast/why-musicians-go-broke-w-maria-lozano/id1614151066?i=1000590396045YouTube: https://www.youtube.com/watch?v=L_Z_NVtEvUM

In this episode of Sync Music Mondays K. Sparks & JS aka The Best sit down with Jim Hustwit. Jim is an English music producer, composer and songwriter. Scoring and producing music for singer-songwriters, television, film and theatre. he has written and produced music for Universal Production Music, Sony/ATV and Ninja Tune. During this interview they discuss various topics such as the process of creating music, how Jim got started in the music licensing/sync business, and much more. (Special Guest) Jim Hustwit Website: https://www.larpmusic.com Jim Hustwit Facebook: https://www.facebook.com/LarpMusic/ Our mission here at Rhythm Couture is to help purpose-driven musicians  attain their goals doing what they love and making an impact through the power of music.  Here are the ways to work with us here at Rhythm Couture:  ⚡️FREE TIPS: Download our FREE TV/Film Sync Music Licensing Tips: https://www.rhythmcouture.com/mlb ⚡️RC UNIVERSITY: Check out our online university that provides direct knowledge in regards to music licensing https://www.rhythmcouture.com/rc-academy (Host) K. Sparks: https://www.instagram.com/ksparksmusic/ (Host) JS aka The Best: https://www.instagram.com/jsakathebest/ (Engineer) Es-K: https://www.instagram.com/beatsbyesk/

Damn You (also known as “American Dream) is an unreleased song by Lana Del Rey, it was recorded in 2011 alongside another “Demo” track called “Hollywood's Dead” with Chris Braide. A “Demo” leaked on September 11, 2012 and an “Alternate Final Version” of the song leaked on February 17, 2021. During March 2012 a snippet of the “Final Version” was briefly available on the Sony/ATV's website alongside the “Final Version” of “Hollywood's Dead”. Unfortunately these remains currently unleaked. Damn You is speculated to be an outtake from the “Born To Die Recording Sessions”

Moderne Labelführung und Musik-Plattform. Nach dem Studium der Publizistik & Kommunikationswissenschaften in Wien startete Benjamin Voß im A&R-Bereich für Sony Music in die Musikindustrie, um später bei Sony/ATV und EMI Music Publishing die Verlagsseite der Branche kennenzulernen. Nachdem er danach viele Jahre auf Labelseite erneut bei Sony Music aktiv war, machte er sich schließlich mit der Online-Plattform Musicstep und dem Label Circular Wave selbstständig. Im Redfield Podcast mit Alexander Schröder berichtet er über seine Stationen in der Musikbranche und über Erfahrungen, die er im Umgang mit Künstlerinnen und Künstlern, sowie der kreativen Arbeit sammeln konnte. Voß erklärt, welches Potential er in Musicstep sieht, welchen Mehrwert die Service-Plattform bieten soll und warum er 2021 gemeinsam mit dem langjährigen Sony Music Manager Mathias Blühdorn ein neues Label gründete. Dabei macht er deutlich, welche Erwartungen er an Bands hat und welche Arbeitsweise ein modern ausgerichtetes Label in Sachen PR und Marketing berücksichtigen sollte. www.musicstep.de www.circularwave.eu www.redfield-podcast.de

We had the pleasure of interviewing Sofia Treadway over Zoom video!At just 17 years old, the bilingual singer-songwriter Sophia Treadway is taking the music industry by storm with her latest single, Kiss N Tell, produced by 2022 Grammy-Award Winner (Best Album, Jon Batiste) Autumn Rowe! The singles sound is a nod to the late 90's/early 2000's and will give nostalgic vibes to those who remember that era of music well! The Dallas-based singer is well known for her latest single, Close to Me, and her other popular songs, I'm Good (2021), Not That into You (2020), Beside Me (2019), and Can't Stop Thinking About You (2018). Born in Greenville, South Carolina, Sophia has always wanted to share her love of singing with the world. Sophia made her journey to Memphis, Tennessee from California at the age of 5 where she auditioned for her first show. After blowing the judges away with her performance of Adele's "Rolling In The Deep" she began working with infamous vocal instructor, Bob Westbrook, former teacher to Justin Timberlake, Britney Spears Lance Bass, Chris Young, Lucy Hale, Olivia Holt, Peyton List and many more! Sophia took her singing career to the next level with her performance in 2013 at various events including the Delta Fair. By 2014, Sophia won in the national competition, IPOP, and in 2017 found herself in the main showcase at the Mike Beaty Model & Talent Expo in Dallas, TX. After her many accomplishments as a young singer, she launched her path to creating original music with the support of Platinum Record music producer Marc Williams of Indasoul Entertainment, and Sony/ATV music producer Christopher 'C-Ray' Roberts of OnKey Entertainment! Additionally, she has been mentored by 2022 Grammy-Award Winner Autumn Rowe (Best Album for ‘We Are' with Jon Batiste) for the last 6 years, who has worked alongside Sophia homing in on her writing skills and sound.Sophia feels passionate about both her Latina and American heritage and is striving to incorporate both languages into her music. She also feels strongly about including her personal experiences in her music to connect with her audience. Her hit single, Beside Me, was written to encourage her fans to feel empowered and always express their individuality! Sophia is an avid supporter of the Thirst for Life project- an organization that builds wells in Africa for people who do not have access to clean water. In addition to the Thirst For Life project, Sophia loves to perform and has gone on to sing the national anthem for the Memphis Grizzlies and the Memphis Redbirds!We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.comThis episode is sponsored by American Musical Supply. Go to https://ter.li/AmericanMusicalSupply-BACKWARD and use promo code BACKWARD to receive $20 off a purchase over $100.#podcast #interview #bringinbackpod #SofiaTreadway #KissNTell #NewMusic #zoomListen & Subscribe to BiB https://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

No matter where you are in your career, you'll benefit from listening to 3Q. 3Q provides a window into the careers of some of the best in the music business. Every episode is an insider's view of the realities of life as a music executive. Topics include issues of empowerment, uncertainty, trust, finances, etc; issues that will impact you both personally and professionally. The executives we interview represent every aspect of the industry including but not limited to A&R, Marketing, Music Supervision, Artist Management, Promotion, and more. About Rich: Rich currently serves as the Senior Vice President of A&R at Warner Chappell Music Publishing. Prior to joining Warner Chappell, Rich held the role of SVP and Head of East Coast A&R at Sony/ATV where his roster included songwriters like Billy Walsh, Ricky Reed, Sam Hollander, and many others. In addition, he's worked on several culturally important and commercially successful singles like “Sunflower” by Post Malone, “God's Plan” by Drake, and “Truth Hurts” by Lizzo. In his current role, he's been responsible for signing and developing songwriters like Jenna Andrews, Masked Wolf, Nate Rhoads, and many others. Singles those writers have worked on include “Butter” by BTS, “Astronaut in The Ocean” by Masked Wolf himself, and “You're Mine Still” by Yung Bleu.

In episode 5 of Couched in Color, Dr. Alfiee celebrates the comeback/reinvention of Shanti Das and her “Silence the Shame” mission. Shanti, well known in the entertainment industry for her work with some of music's top talent –like OutKast, Usher, Prince, TLC, Toni Braxton, and Erykah Badu, to name a few–shares a different type of success in this intimate interview. Shanti tells the story of the night she contemplated suicide, with pills nearby, and ended up reaching out for help. That night changed her life forever, as she was redirected to self-care and to teach others the same, especially encouraging others to open up about their mental health challenges.  “That I am here is a blessing from God and I don't take that for granted,” Shanti shares. Hence, starting with a hashtag of the name, she founded Silence the Shame, a non-profit foundation dedicated to eliminating mental health stigma, reducing health disparities, and improving rates of suicide among vulnerable populations.  Through community conversations, compelling content, and culturally responsive programs, the foundation aims to normalize the conversation, peel back the layers of shame, and promote mental wellness for vulnerable and disparate population groups, including Black, Indigenous, and People of Color (BIPOC) and Lesbian, Gay, Bisexual, Transgender, and Queer or Questioning (LGBTQ+), individuals in high-stress jobs, older adults and those living in rural communities.  Silence the Shame has received a prestigious award, national recognition and global awareness as a mental health movement. The beginnings: Looking back at her young life, Shanti says she was “introduced to mental health as a baby.”  Her father died by suicide when she was seven months old, leaving her mom alone to raise her and two older siblings. Now, as an adult, who has faced her darkest moments and continues to heal, she shares her “toolkit” of resources that helped her move forward.  Combining her faith journey with therapy is key, as is having a life coach, being outdoors, and traveling. Topics covered in this interview:–Walking away from a half-million-dollar per year job, with a corner office, and life on “the red carpet” supporting music celebrities. –Balancing the faith journey, that is often so important to people of color, sometimes exclusively, with the benefits of therapy. – Expanding Silence the Shame to include more major events such as the second annual,  My Life is a Gift: Suicide Awareness Summit, on Sept. 14, 2022 10 a.m. to 2 p.m., livestream online and limited in-person seating at The Gathering Spot in Atlanta, GA: https://silencetheshame.com/mlg-suicide-awareness-summit/my-life-is-a-gift-suicide-awareness-summit.html –The event is geared to youth and young adults, with a performance by a young rapper.  It also  will feature “an authentic hybrid opportunity of youth and young adult lived experience,” behavioral health and suicide prevention professionals, and family support. –A pilot “campus ambassadors program” at colleges. –May 1st being declared “Black Children's Mental Health Day” in the state of Georgia, and wanting to spread that concept to other states. –The launch of her new mind- body related company. Dr. Alfiee: “I'm so grateful that you're still here. And that night when you almost weren't going to be here anymore, that God put the right people in your place and in your space, and that  you had that hotline to call.”    Quoting one of her mentors, Dr. Alfiee commends Shanti for “turning learned helplessness to learned helpfulfuness.”  Background on Shanti Das | Founder of Silence the Shame non-profit; accomplished entertainment industry veteran Shanti is an accomplished entertainment industry veteran (for more than 25 years), speaker, author, and philanthropist.  Her music industry career (from intern to executive vice president) included positions at Capitol Records, LaFace Records, Columbia Records, Sony Urban Music and Universal Motown where she worked directly with some of music's top talent like OutKast, Usher, Prince, TLC, Toni Braxton, Erykah Badu, and more.  As a result of Shanti's extensive community work in the 2000 decade, she established  her own nonprofit, The Hip Hop Professional Foundation, Inc. The foundation was later rebranded under the name Silence the Shame, Inc., which received global awareness and has become a commonly used hashtag to normalize the conversation in America.  Shanti's foundation curates community conversations, offers wellness training, creates content and broadens awareness and education around mental health and wellness. In 2019, Silence the Shame was awarded one of five awards by the American Psychiatric Association Foundation for advancing minority mental health. Shanti has suffered from depression/anxiety over the years and has also experienced loved ones affected with mental health disorders. In addition to running her nonprofit, Shanti is a public speaker. She has presented live at companies/universities sharing her inspiring story and is now also facilitating virtual webinars around mental wellness with licensed mental health clinicians. Companies include: Warner Chappell Publishing, National Geographic, SB Projects, Translation agency, NBA, Sony ATV, EA Sports, LVMH, Sony Music UK, Warner Media, Warner Music Group, Def Jam records, Freddie Mac, Dillard University, Syracuse University, Alabama A&M and more. Awards and Honors: 2019- Shanti was named a Top Changemaker in the World (#7 out of 100) by a UK publication called The Big Issue! 2019- The American College of Neuropsychopharmacology (ACNP) has named Shanti Das as the recipient of the 2019 Media Award for Silence the Shame. 2020- NAMI (National Alliance on Mental Health) awarded Shanti Das their 2020 Multicultural Award. 2020- Named an ESSENCE Magazine Essential Hero in Mental Health. 2021- Culture Creators Health and Wellness Award. EVENT: My Life is a Gift: Suicide Awareness Summit Sept. 14, 2022 10 a.m. to 2 p.m. Livestreaming & limited in-person seating at The Gathering Spot in Atlanta, GA Follow Shanti Das: Website: https://www.shantidas.biz Instagram: https://www.instagram.com/shantidas404/ Silence the Shame: Website: https://silencetheshame.com Instagram :https://www.instagram.com/silencetheshame/ Facebook: https://www.facebook.com/SilenceThShame Podcast: https://silencetheshame.com/podcast.html Follow Dr. Alfiee: Website:  https://dralfiee.com Instagram: https://www.instagram.com/dralfiee Twitter: https://twitter.com/dralfiee Linkedin: https://www.linkedin.com/in/dralfiee/ Website: https://dralfiee.com Find out more about the AAKOMA Project here: https://www.youtube.com/watch?v=yvTKmYKi24I Season 3 Produced By: https://socialchameleon.us More Couched in Color: https://dralfiee.com/podcast Music Produced by: Mark “King” Batson (Superproducer of your favorite artists and Grammy award-winner for albums with Eminem and Beyoncé)

In episode 5 of Couched in Color, Dr. Alfiee celebrates the comeback/reinvention of Shanti Das and her “Silence the Shame” mission. Shanti, well known in the entertainment industry for her work with some of music's top talent –like OutKast, Usher, Prince, TLC, Toni Braxton, and Erykah Badu, to name a few–shares a different type of success in this intimate interview. Shanti tells the story of the night she contemplated suicide, with pills nearby, and ended up reaching out for help. That night changed her life forever, as she was redirected to self-care and to teach others the same, especially encouraging others to open up about their mental health challenges.  “That I am here is a blessing from God and I don't take that for granted,” Shanti shares. Hence, starting with a hashtag of the name, she founded Silence the Shame, a non-profit foundation dedicated to eliminating mental health stigma, reducing health disparities, and improving rates of suicide among vulnerable populations.  Through community conversations, compelling content, and culturally responsive programs, the foundation aims to normalize the conversation, peel back the layers of shame, and promote mental wellness for vulnerable and disparate population groups, including Black, Indigenous, and People of Color (BIPOC) and Lesbian, Gay, Bisexual, Transgender, and Queer or Questioning (LGBTQ+), individuals in high-stress jobs, older adults and those living in rural communities.  Silence the Shame has received a prestigious award, national recognition and global awareness as a mental health movement. The beginnings: Looking back at her young life, Shanti says she was “introduced to mental health as a baby.”  Her father died by suicide when she was seven months old, leaving her mom alone to raise her and two older siblings. Now, as an adult, who has faced her darkest moments and continues to heal, she shares her “toolkit” of resources that helped her move forward.  Combining her faith journey with therapy is key, as is having a life coach, being outdoors, and traveling. Topics covered in this interview:–Walking away from a half-million-dollar per year job, with a corner office, and life on “the red carpet” supporting music celebrities. –Balancing the faith journey, that is often so important to people of color, sometimes exclusively, with the benefits of therapy. – Expanding Silence the Shame to include more major events such as the second annual,  My Life is a Gift: Suicide Awareness Summit, on Sept. 14, 2022 10 a.m. to 2 p.m., livestream online and limited in-person seating at The Gathering Spot in Atlanta, GA: https://silencetheshame.com/mlg-suicide-awareness-summit/my-life-is-a-gift-suicide-awareness-summit.html –The event is geared to youth and young adults, with a performance by a young rapper.  It also  will feature “an authentic hybrid opportunity of youth and young adult lived experience,” behavioral health and suicide prevention professionals, and family support. –A pilot “campus ambassadors program” at colleges. –May 1st being declared “Black Children's Mental Health Day” in the state of Georgia, and wanting to spread that concept to other states. –The launch of her new mind- body related company. Dr. Alfiee: “I'm so grateful that you're still here. And that night when you almost weren't going to be here anymore, that God put the right people in your place and in your space, and that  you had that hotline to call.”    Quoting one of her mentors, Dr. Alfiee commends Shanti for “turning learned helplessness to learned helpfulfuness.”  Background on Shanti Das | Founder of Silence the Shame non-profit; accomplished entertainment industry veteran Shanti is an accomplished entertainment industry veteran (for more than 25 years), speaker, author, and philanthropist.  Her music industry career (from intern to executive vice president) included positions at Capitol Records, LaFace Records, Columbia Records, Sony Urban Music and Universal Motown where she worked directly with some of music's top talent like OutKast, Usher, Prince, TLC, Toni Braxton, Erykah Badu, and more.  As a result of Shanti's extensive community work in the 2000 decade, she established  her own nonprofit, The Hip Hop Professional Foundation, Inc. The foundation was later rebranded under the name Silence the Shame, Inc., which received global awareness and has become a commonly used hashtag to normalize the conversation in America.  Shanti's foundation curates community conversations, offers wellness training, creates content and broadens awareness and education around mental health and wellness. In 2019, Silence the Shame was awarded one of five awards by the American Psychiatric Association Foundation for advancing minority mental health. Shanti has suffered from depression/anxiety over the years and has also experienced loved ones affected with mental health disorders. In addition to running her nonprofit, Shanti is a public speaker. She has presented live at companies/universities sharing her inspiring story and is now also facilitating virtual webinars around mental wellness with licensed mental health clinicians. Companies include: Warner Chappell Publishing, National Geographic, SB Projects, Translation agency, NBA, Sony ATV, EA Sports, LVMH, Sony Music UK, Warner Media, Warner Music Group, Def Jam records, Freddie Mac, Dillard University, Syracuse University, Alabama A&M and more. Awards and Honors: 2019- Shanti was named a Top Changemaker in the World (#7 out of 100) by a UK publication called The Big Issue! 2019- The American College of Neuropsychopharmacology (ACNP) has named Shanti Das as the recipient of the 2019 Media Award for Silence the Shame. 2020- NAMI (National Alliance on Mental Health) awarded Shanti Das their 2020 Multicultural Award. 2020- Named an ESSENCE Magazine Essential Hero in Mental Health. 2021- Culture Creators Health and Wellness Award. EVENT: My Life is a Gift: Suicide Awareness Summit Sept. 14, 2022 10 a.m. to 2 p.m. Livestreaming & limited in-person seating at The Gathering Spot in Atlanta, GA Follow Shanti Das: Website: https://www.shantidas.biz Instagram: https://www.instagram.com/shantidas404/ Silence the Shame: Website: https://silencetheshame.com Instagram :https://www.instagram.com/silencetheshame/ Facebook: https://www.facebook.com/SilenceThShame Podcast: https://silencetheshame.com/podcast.html Follow Dr. Alfiee: Website:  https://dralfiee.com Instagram: https://www.instagram.com/dralfiee Twitter: https://twitter.com/dralfiee Linkedin: https://www.linkedin.com/in/dralfiee/ Website: https://dralfiee.com Find out more about the AAKOMA Project here: https://www.youtube.com/watch?v=yvTKmYKi24I Season 3 Produced By: https://socialchameleon.us More Couched in Color: https://dralfiee.com/podcast Music Produced by: Mark “King” Batson (Superproducer of your favorite artists and Grammy award-winner for albums with Eminem and Beyoncé)

When Dana Parish was at the height of her musical career she had got a tick bite and her health rapidly deteriorated. It took a while to figure out what was going on and things only improved after she met Dr. Phillips who took her seriously. Adam Schroeder and Naresh Vissa talk with Dr. Steven Phillips and Dana Parish about how they worked together to fix her, and how people can take charge of their health in general. Dr. Steven Phillips is an internationally renowned infectious disease physician specializing in complex, chronic diseases; Dana Parish is a chart-topping Sony/ATV singer-songwriter, including "Not My Problem" from her debut album Uncrushed, charted at #23 on Billboard and "Let It Go By" reached the Top 10; they are both New York Times' bestselling co-authors of the new book Chronic: The Hidden Cause of the Autoimmune Pandemic and How to Get Healthy Again. Websites: www.Patreon.com/WorkFromHomeShow www.StevenPhillipsMD.com www.DanaParish.com www.WorkFromHomeShow.com

We had the pleasure of interviewing Jenna Andrews over Zoom video.As a performer who was signed to a major label (Island Def Jam) and a music publisher (Sony/ATV) herself, Jenna Andrews is driven by an innate passion for music and a belief in its power to unite and inspire. The Calgary native has worn many hats in the music industry, from vocal producer to A&R/creative consultant, from songwriter and arranger to executive producer, taking both young and seasoned performers under her wing as friend, confidant, advisor and often even therapist. Jenna is familiar with the trials and tribulations faced by recording artists in achieving their vision. A true triple-threat, Andrews offers the collaborative skills of a songwriting mentor/partner and the acumen of an A&R/artist development executive. As a consultant for Sony Music's RECORDS label (where she is currently working with Swedish pop star Tove Styrke) and a partner in their joint venture publishing company TwentySeven Music at Sony/ATV, Jenna is in more demand than ever after serving as the vocal producer on BTS' Grammy-nominated global smash, “Dynamite,” and doing similar honors, along with co-writing, for the South Korean superstars' current chart-topping smash “Butter” as well as collaborating with Ed Sheeran on writing their latest smash, “Permission to Dance.”Among her impressive credits include collaborations with Drake, Jennifer Lopez, Tori Kelly, Jessie J, Noah Cyrus (“July”), Benee (the TikTok smash “supalonely,” being used in over 10 million user-created videos, and streaming over 500 million times to date) and Galantis, David Guetta & Little Mix (“Heartbreak Anthem”), as well as producers Noah “40” Shebib, Diplo, DJ Mustard, Max Martin, Illangelo and Stargate.Jenna's fingerprints are all over “Butter,” with a pair of her TwentySeven Music signings, songwriter/producer Rob Grimaldi and co-writer Alex Bilowitz, both contributing to the BTS song along with Stephen Kirk, all of whom receive writing credit on the song along with Columbia Records Chairman Ron Perry and BTS' RM, who penned the closing rap.The result was the band's fourth chart-topping Billboard Hot 100 single, and a major achievement for Andrews and her team, one that has her looking to the future to make her mark in not just the music business, but other ancillary, related projects.We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod #JennaAndrews #BTS #Butter #DixieD'Amelio #NewMusic #zoom Listen & Subscribe to BiB https://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

Pixie started working in the media industry 17 years ago in the music department of ITV Yorkshire. After recognising a passion for the creative side of putting music to picture, she moved on to become a music consultant for EMI. Initially it was a mostly Regional based role, providing media clients across the UK with both production music and commercial music. She gradually worked her way to leading the UK sales team for Sony ATV, and in 2021 became the V.P of Creative and Co-head of the UK sync team. This entails managing a team who license, pitch, and seek sync opportunities for their roster, both catalogue and new works.Pixie works closely with the artists at Sony ATV and A&R to build and maintain relationships so that she can pitch creatively and effectively for TV, Advertising, Games and Film, as well as work with music supervisors, directors, and music departments to create opportunities for our Sony ATV artists and writers. Alongside this she runs UK sync sessions for Sony songwriters and currently works with a plethora of artists and composers to produce 50 albums a year for the Sony Music Publishing in-house Juice label.We really enjoyed speaking with Pixie and hope that you like this episode!Please do subscribe and leave a rating, it really helps us to share these stories with more people.Like all of our episodes, this was recorded remotely.Follow MeloCompass on Instagram and LinkedIn. Hosted on Acast. See acast.com/privacy for more information.

“The pressure that we put on ourselves to create a masterpiece actually in itself, stifles creativity. If you're putting yourself under pressure, it's really hard to just be creative and let it flow.” - Jim HustwitIn today's episode of  Steve Stein's Podcast, we are joined by Jim Hustwit. He's a music producer, composer, and songwriter, scoring and producing music for singers, songwriters, television, film, and theater. He has written and produced music for Rehearsal Production Music, Sony ATV, and many others. He's also a member of the marketing team that helped "Crazy Frog" become the #1 hit on the Billboard charts.As of the moment, he runs LARP Music, which we're going to be talking a lot about today, which way he works on music for sync placements for film, TV shows, trailers, commercials, all sites, all sorts of different things. Highlights:(03:40)Jim's first dalliance with music(10:42)The Dichotomy between Musicians and Composers  (16:44)The Difference Between Creating Intellectually vs. from the Heart(19:40)How does the creative process begin?(24:18)The Importance of Sound Layering in Music Production(28:41)Jim's battle between creation and production(33:21)Jim's contribution to Crazy Frog's success(49:51)Who was the artist that inspired Jim?Links:Website:Larpmusic.comLinkedIn:Jim HustwitFacebook:Jim Hustwit - Larp MusicInstagram:​​jimhustwitTwitter:Jim HustwitYoutube:LarpMusic

Colton Graves joins The Steebee Weebee Show for the 1st time!! We talk about: him growing up in Sacramento, how he got into country music, his Brazilian middle-aged woman "fan base", growing up around rodeos, a Rodeo Clown: a rodeo protection athlete/performer, how he signed to Sony ATV, the inspiration behind the song: Higher, his debut EP-Smile For Me, the psychology of Serial Killers, Pokemon's-Charizard Card, how he had to clean horse manure in a past job, the beautiful "soundscapes" in the movie-O Brother, Where Art Thou?, No Country for Old Men  , and much more !!!!Go to: https://www.youtube.com/steebeeweebee to watch. *Go to: Lucy.co and use promo code: STEEBEE at checkout More: Jessimae https://www.instagram.com/jessimaepeluso Scissor Bros YouTube channel: https://www.youtube.com/scissorbros ** Now on iTunes:  https://goo.gl/CdSwyV ** Subscribe: https://goo.gl/d239PO Little Ray promises a Karma Boost if you join our Patreon: https://goo.gl/aiOi7J Or, click here for a one time Karma Boost. https://www.paypal.me/steebeeweebeeshow/2 More Steven: Instagram: https://www.instagram.com/quangou Bandcamp: https://steebeeweebee.bandcamp.com/ Itunes: https://goo.gl/PSooa0 WEBSITE: https://www.steebeeweebeeshow.com Send stuff to: 1425 N. Cherokee Ave P.O. Box 1391 Los Angeles, CA 90093

En marge des Rendez-vous littéraires rue Cambon, le podcast « les Rencontres » met en lumière l'acte de naissance d'une écrivaine.Écoutez la journaliste Lauren Bastide en conversation avec Clara Ysé, autrice de « Mise à feu », son premier roman paru chez Grasset en 2021. Ensemble, elles évoquent la façon dont les mots ont le pouvoir de transformer le monde ainsi que le rapport particulier de Clara Ysé à l'écriture, influencé par sa pratique de la musique.Clara Ysé, Mise à feu, © Éditions Grasset & Fasquelle, 2021.Malcolm Lowry, Sous le volcan, ©Grasset & Fasquelle, 1987.Nina Simone, Wild Is the Wind, © UNIVERSAL MUSIC PUBLISHING, 1966.Gaël Faye, Petit Pays, © Grasset, 2016.Jacques Lacan - L'Éthique de la psychanalyse, Séminaire Livre VII, Seuil, 2019.Clara Ysé, Le monde s'est dédoublé, © Tomboy Lab, Sony ATV, 2015.© La Boule Noire.

Today's guest is mixing and mastering engineer Nicholas Di Lorenzo. Nicholas is the owner and operator of Panorama Mastering in Melbourne, Australia. Since opening the studio 6 years ago Panorama has been involved in over 3000 projects, including artists such as Tentendo, Ava King, and Dugong Jr. As well as labels and publishing companies like Universal Music Group and Sony ATV. We have a great chat about loudness target myths, how to build a client roster, the importance of mental health awareness in the music industry. In this episode we'll dig in on... Mastering in Pro Tools Non-Traditional studio models The future of file delivery Building a team that facilitates a great experience for clients How to build a new client roster 3 am gym sessions Frictionless content creation Client feedback The Melbourne studio scene Logic vs Pro Tools for editing and mixing Recognizing the reality of the music industry Social media as a creative outlet Learn More About ... Website: https://www.panoramamastering.com.au/ (https://www.panoramamastering.com.au/) YouTube: https://www.youtube.com/c/PanoramamasteringAustralia/ (https://www.youtube.com/c/PanoramamasteringAustralia/) Instagram: https://www.instagram.com/panorama_mastering/ (https://www.instagram.com/panorama_mastering/) Tik Tok: https://www.tiktok.com/@panorama_mastering (https://www.tiktok.com/@panorama_mastering) Our Sponsors: Sign Up for Complete Producer Network https://www.completeproducer.net/share/z_LJhc8M_GtKZ1OX?utm_source=manual (HERE)! Get on the Waitlist for The Beats Accelerator Process https://knowledge.completeproducer.pro/bapwaitlist (HERE)! Get on the Waitlist for The Mix Accelerator Process http://mixaccelerator.com/ (HERE)! Other Links: https://www.travisference.com/coffeecup (Give Me a Coffee Cup!) Support Progressions on https://www.patreon.com/progressionspod (Patreon)! Sign up for the https://mailchi.mp/87a95bbfe666/progressionspod (Progressions Mailing List) https://kit.co/travisference (Gear and Recommended Reading List) Instagram: https://www.instagram.com/progressionspod/ (https://www.instagram.com/progressionspod/) Facebook: https://www.facebook.com/ProgressionsPod/ (https://www.facebook.com/ProgressionsPod/) Twitter: https://twitter.com/progressionspod (https://twitter.com/progressionspod) Learn more about Travis: https://www.travisference.com/ (https://www.travisference.com/) Credits: Guest: Nicholas Di Lorenzo Host: Travis Ference Editor: https://linktr.ee/djempirical (Stephen Boyd) Theme Music: inter.ference

Ep. 115  -My guest this week is Mike "Smidi" Smith, an award-winning songwriter, musician, mixer, producer and record label owner who now has a media branch that is beginning to produced TV and Film projects.  He is an Emmy, Clio and Addy Award winner who has written and produced songs that have sold over 14 million copies worldwide including multiple #1 songs, albums and top ten hits.  Smith has worked with Giorgio Moroder, Sia, Coldplay, Ke$ha, Miley Cyrus, Britney Spears, One Republic, Tyrone Wells and many others.  Smidi began his career as a keyboardist, playing in bands with Keith Urban and Ben Folds.  After moving to Los Angeles, Smith signed a publishing deal with Sony ATV and began focusing on album writing and production.   Smidi's music has been licensed and placed in thousands of TV shows and commercials.  He has 4 Emmy nominations for his work in television and won BMI's Film and TV award in 2019.   Internationally, Smidi is known for his global theme for Live Earth, the largest televised concert in history.  His theme opened the event delivered across 7 continents with concerts in New York, London, Sydney, Tokyo, Shanghai, Rio de Janeiro, Johannesburg and Hamburg.  Most recently, Smidi is co-founder of the music and media label Saint Rogue along with his partner TJ Stafford. His tenured licensing experience has been instrumental to Saint Rogue's rapid success in TV and film. Join Mike and I as we talk about his career in the rapidly changing music industry, some of his special projects and where he thinks the music industry is headed.  You won't want to miss it! Learn more about Mike: Websites: https://www.smidimusic.com https://www.saintrogue.com Social Media: Instagram: https://www.instagram.com/smidicity/ Twitter: @SmidiMusic Facebook: https://www.facebook.com/Smidi To learn more about host G. Brian Benson: www.gbrianbenson.com www.habitsforsuccessbook.com Instagram: www.instagram.com/gbrianbenson Facebook: www.facebook.com/gbrianbensonmedia LinkedIn: https://www.linkedin.com/in/gbrianbenson/   Produced by Casey Jarombek ✌ Brought to you by Reawaken Media www.reawakenmedia.com 

Today on Mouth-Off I have the pleasure of interviewing JESSICA WILDE. Jessica is a Brixton based singer/songwriter who fuses rap/spoken word into her unique, raw, and honest songs. Jessica is signed with Sony ATV and she has collaborated with renowned artists such as RUDIMENTAL, EMELI SANDE, TOUGH LOVE, KIZZO and has also written for renowned K Pop Label SM Entertainment. Jessica's new album SOBER, WASTED, WASTED, SOBER charts her journey from addiction andtoxic relationships to self-empowerment and sobriety. She bares all with brutally honest lyrics, sharp-witted lyricism, and powerful soulful vocals. On today's episode we talk about a wide range of topics such as addiction, sexuality, body image, as well as discussing what it's like for Jessica, maintaining her autonomy while navagating a male-dominated industry. NB - the music tracks included in this podcast are used for the purpose of critque and analysis. ACKNOWLEDGEMENTS Intro Music - music by Clary Saddler LA Boy Out of my Ooo Wasted Walk on Fire Cruel Heads in the Roses Drugs Don't Work F*ck U I'm Sober Now Two Thousand and Five Ain't Fucking with you Cruel Part 2 (feat. Laville) Body Down to Earth Play God Daylight All songs featured in today's episode were written and performed by Jessica Wilde. Outro Music - music by Clary Saddler Social Media and Spotify Links: https://open.spotify.com/artist/1C3Ft1dyv1hvSrsbCnRoij?si=TEqsCRQ8RaiZO-q1zR6WoA https://twitter.com/iamjessicawilde https://www.instagram.com/iamjessicawilde/ https://www.facebook.com/iamjessicawilde https://www.youtube.com/channel/UCqy2PsCo0RmGsG-qviT7SYQ

No matter where you are in your career, you'll benefit from listening to 3Q. 3Q provides a window into the careers of some of the best in the music business. Every episode is an insider's view of the realities of life as a music executive. Topics include issues of empowerment, uncertainty, trust, finances, etc; issues that will impact you both personally and professionally. The executives we interview represent every aspect of the industry including but not limited to A&R, Marketing, Music Supervision, Artist Management, Promotion, and more. The best part? Every executive answers the same three questions and 3Q never takes more than 15 minutes of your time. Learn more about Jacob Fain: Following receiving a B.A. from the University of Pennsylvania, Fain began his extensive music journey at RCA Records and Republic Records where he then transitioned to a 13 year stay at Sony/ATV. Fain developed some of the company's top songwriters and producers, signing Grammy-winning artists such as The Chainsmokers and Leon Bridges, as well as Of Monsters and Men, Russ, Powfu, Princess Nokia, and others. As SVP, A&R, and Research/Analytics, he also conceptualized and oversaw the development of an innovative data & analytics platform, which became the cornerstone of A&R functionality globally at Sony/ATV. Since joining Elektra as a seasoned executive, Fain has signed and is currently developing artists from the chart-topping Masked Wolf to an up-and-coming country sensation, Bailey Zimmerman. Fain was named to Billboard's prestigious 40 Under 40 Power Players list in 2017 as well as the magazine's inaugural Pride List of industry-shaping LGBTQ executives in 2019. More recently, his ability to marry creativity and data analytics landed himself in Variety's 2021 Hitmakers and Hitbreakers publication, further cementing his influence on breaking influential and culture-moving artists.

On the podcast this week, Canadian Musician Editor-in-Chief Michael Raine is joined by Andre Kaden Black, who has a multi-faceted career as a producer, songwriter, musician, artist development, creative director, and more. With two decades of experience in the music industry, Andre has written for indie and major labels across Canada, Asia, and the United States, including Sony/ATV, Warner, EMI, Atlantic Records, Curve Music, 21 Entertainment, and Arista/BMG. He has also toured extensively across North America and Asia with artists such as Alicia Keys, One Republic, and Jason Mraz. Andre has been featured in Professional Sound Magazine, Canadian Musician, and has been invited to numerous major music conferences including Canadian Music Week, NXNE, The Shot, and Toronto's Indie Week, as a performer, panelist, and judge. In this wide-ranging conversation, Andre talks about what he learned as a songwriter during his years in Nashville, and compares that style of songwriting with his work as a pop topline writer. Andre and Mike also discuss artist development, creativity and work ethic, royalties and rights, and more.

In this episode, McIntyre talks with House Music recording artist King Topher. King Topher is building a Kingdom. A DJ, producer, songwriter and label owner, King Topher is a singular talent who knows exactly who he is and what he wants his music to say. He has over a decade behind the decks and producing.  In 2020, King Topher founded Bring the Kingdom Records, the first artis label under Don Diablo's Hexagon. He also started a publishing company, Bring the Kingdom Publishing, a joint venture with Sony ATV. Follow King Topher on Instagram @ROYALKINGTOPHER.   To register for Michael's Next Level Experience and for more information or resources please visit THEMICHAELMCINTYRE.COM   Check out the other shows from KB PODCAST PRODUCTIONS: THE KINGDOM BRINGER PODCAST SUPER-NATURAL LIVING WITH BETH PACKARD  CINDY STEWART PODCAST KINGDOM MASTER MIND PODCAST WITH ANN MCDONALD   Podcast music from HOOKSOUNDS.COM  

This episode is sponsored by Rupa Health and Athletic Greens.Millions of individuals worldwide are affected by autoimmune diseases including rheumatoid arthritis, lupus, multiple sclerosis, inflammatory bowel disease, type-1 diabetes, hypothyroidism, psoriasis, and many others. Simply put, autoimmune diseases are conditions where the body's immune system attacks its own tissues rather than a foreign molecule like bacteria. This happens when something confuses the immune system. In this compilation episode, I talk to Dr. Cynthia Li, Dr. George Papanicolaou, Dr. Todd LePine, Dr. Steven Phillips, and Dana Parish about out-of-the-box ways to treat autoimmune disease. We also discuss the importance of healing your gut and optimizing your diet, treating hidden infections, and more.Dr. Cynthia Li received her medical degree from the University of Texas Southwestern Medical Center in Dallas. She currently has a private practice in Berkeley, CA and is the author of Brave New Medicine: A Doctor's Unconventional Path to Healing Her Autoimmune Illness.Dr. George Papanicolaou is a graduate of the Philadelphia College of Osteopathic Medicine and is Board Certified in Family Medicine from Abington Memorial Hospital. In 2015, he established Cornerstone Personal Health—a practice dedicated entirely to Functional Medicine. He joined The UltraWellness Center in 2017.Dr. Todd LePine graduated from Dartmouth Medical School and is Board Certified in Internal Medicine, specializing in Integrative Functional Medicine. Prior to joining The UltraWellness Center, he worked as a physician at Canyon Ranch in Lenox, MA, for 10 years. Dr. LePine's focus at The UltraWellness Center is to help his patients achieve optimal health and vitality by restoring the natural balance to both the mind and the body. Dr. Steven Phillips is a renowned Yale-trained physician, international lecturer, and media go-to expert. Well-published in the medical literature, he has treated over 20,000 patients with complex, chronic illness from nearly 20 countries. Dr. Phillips experienced firsthand the nightmare of an undiagnosed, serious infection after nearly dying from his own mystery illness. He figured out how to save his own life when 25 doctors could not.Dana Parish developed Lyme-induced heart failure as a result of being improperly diagnosed by some of the “top” doctors in the country—and had her life saved by Dr. Steven Phillips. A chart-topping Sony/ATV singer/songwriter who has written songs for artists like Celine Dion and Idina Menzel, she has become a major voice in the world of chronic illness. Her popular column on Huffington Post has been read by more than one million people globally. This episode is brought to you by Rupa Health and Athletic Greens. Rupa Health is a place for Functional Medicine practitioners to access more than 2,000 specialty lab tests from over 20 labs like DUTCH, Vibrant America, Genova, Great Plains, and more. Check out a free live demo with a Q&A or create an account here. Athletic Greens is offering my listeners 10 free travel packs of AG1 when you make your first purchase here. See acast.com/privacy for privacy and opt-out information.

Remi Nicole is a writer, director and performer.A native of Holloway, North London, Remi grew up fired by a passion for story-telling, which she explored by endlessly writing music, fiction, plays and poetry. After training as an actress at the Birmingham School of Speech and Drama, she graduated in 2004 then swiftly landed a variety of stage roles including Two Step and Playboy of the West Indies before becoming a regular cast member in BBC TV series Hyperdrive alongside Miranda Hart plus appearances on ITV's William and Mary, The Bill and Holby City (BBC). Known in British fashion circles for her effortless style, Remi went on to guest co-present Freshly Squeezed with Nick Grimshaw in 2007 but it was in the music industry that she became best known, fast cementing her status as a respected singer/songwriter.Garnering widespread and global acclaim from Vogue, MTV, The Guardian and more, Remi became the centre of an A&R bidding war after releasing her first demo. Signing with Island Records, Remi released her debut guitar-based, frank-talking pop album My Conscience and I in 2007, which encapsulated observational wit and relatable real life tales of dead-end jobs, failed relationships and urban London life.Illustrating her natural passion for singing live, Remi has toured with the late, great Amy Winehouse and performed at festivals, namely Glastonbury, Latitude, Bestival, V and T4 at the Beach. In 2009 she released her second album, Cupid Shoot Me, then signed a new publishing deal with Sony ATV before exploring other creative avenues - launching a clothing line, modelling for international brands including Nike and art directing fashion photographic shoots.Remi subsequently moved to LA where she transitioned into writing and directing and created Lit By The Moon, an eight-part drama television series. The plot chronicles Remi's own experience of moving to California and follows a female British singer with an unfaltering belief in the American dream. Now 37 and a Mother of two, Remi has returned to London and is focussing her creative energy on writing and directing and has a number of projects in development.Happy listening :)SteveSupport this show http://supporter.acast.com/balancing-acts. See acast.com/privacy for privacy and opt-out information.

Do you know the origins of the customs and traditions you practice in society? Halloween, originally known as All Hallow's Eve, is coming up and maybe it may change your view on why we celebrate specific holidays. Copyrights Song: Ghostbusters Artist: Ray Jay Parker, Jr. Writers: Ray Jay Parker, Jr. Label: Arista Licensed: SME (on behalf of Arista); LatinAutor - SonyATV, Sony ATV

Miami's own Erik Mendelson is a mover and shaker in many industries, but now he's tackling one of the hottest spheres in economics: US real estate. And if you're a crypto adopter or investor, he's got some excellent tips on how you can leverage the contents of your wallets to be able to make your next home purchase, even if your credit score is not quite up to par. From using your portfolio as collateral to getting loans using DeFi platforms like SmartFi, Erik talks about your options for getting into one of the hottest markets since the housing bust of '09. Plus, he gives his thoughts on why Florida's housing rules make it such a unique market for both good and ill, and some advice on how to avoid the looming eviction & foreclosure crisis resulting from the coronavirus pandemic.About the Guests:Executive music producer and artist manager Erik Mendelson graduated on the Dean's List with a Bachelor's Degree from Rutgers University and is currently the CEO of Cre8tor.app (formerly RecordGram) & Tune Token.He believes blockchain technology and tokenized ecosystems are going to redefine the music industry by allowing for greater transparency between all of the stakeholders in the creation, discovery and distribution of music.Erik's vast range of tenured entertainment experience comes from stints at Interscope Records, Loud Records, Hot 97, Elektra Records and Jive Records serving in marketing and radio promotion roles for some of the biggest music superstars.In May 2017 Erik's company Cre8tor.app (formerly RecordGram) won the coveted TechCrunch Disrupt Cup which is the most prestigious prize for a startup technology company.During the same year, Erik and his Co-Founder was featured on Apple Music's original content series "Planet of the Apps" which included celebrity mentors Jessica Alba, Gwyneth Paltrow, Gary V and will.i.am.The multi-episode series received ten thousand applications but only 36 apps were selected for the show.Of those 36, only 15, including Cre8tor.app, received funding from globally recognized VC Lightspeed Venture Partners.Cre8tor also received additional funding from the New World Angels which is Florida's largest Angel investor group and Monique Mosley, a tenured music, film and advertising executive.Prior to receiving investment, Erik participated the Project Music accelerator in Nashville which was financially supported by some of the most influential record labels, music publishers and artist management companies.In 2006, Erik started Answerman Management signing his first artist MIMS to a 5 album deal with EMI/Capitol Records, serving as the Executive Producer for the album that grossed over $16 million.Additionally, Erik has signed 2 other clients to major recording deals generating over $18 million in revenue.He's also responsible for signing POP superstar Jason Derulo to his first production deal and assisted with procuring a publishing deal between Sony/ATV and the Grammy award winning production duo Da Internz.Furthermore, he has successfully implemented strategic and progressive marketing initiatives over his career and is a proven leader in developing new revenue streams for ongoing businesses in the entertainment industry.Erik's accomplishments range from negotiating multi million-dollar major recording and publishing deals to booking tours and negotiating licensing deals including a $9 million Microsoft campaign. Additionally, Erik regularly speaks on music industry panels discussing progressive marketing, promotion and advertising strategies. He's considered a pioneer in the digital music landscape helping to create Digiwaxx Media and has executive experience in dealing with content acquisition, contract negotiation and developing cross-functional relationships between internal and external departments including artists managers, booking agents, media personnel and advertising agencies.Erik has strategically aligned his clients and brands with targeted consumers thru the use of integrated marketing campaigns. All of his clients seek his expertise in guiding campaigns that go above and beyond traditional marketing, promotion and advertising techniques.Erik has won numerous technology awards and has received press in Techcrunch, Forbes, Inc, Billboard, NPR, Mass Appeal and many more.Erik is also a licensed Florida realtor and the founder of Crypto Currency Realtors.More Info:Tatiana Moroz '“https://tatianamoroz.comCrypto Media Hub '“https://cryptomediahub.comTuneToken - https://tunetoken.ioCrypto Currency Realtors - https://cryptocurrencyrealtors.comFriends and Sponsors of the Show:Proof of Love '“https://proofoflovecast.comGlobal Crypto Advisors '“https://globalcryptoadvisors.ioYou have been listening to The Tatiana Show. This show may contain adult content, language, and humor and is intended for mature audiences. If that's not you, please stop listening. Nothing you hear on The Tatiana Show is intended as financial advice, legal advice, or really, anything other than entertainment. Take everything you hear with a grain of salt. Oh, and if you're hearing us on an affiliate network, the ideas and views expressed on this show are not necessarily those of the network you are listening on, or of any sponsors or any affiliate products you may hear about on the show

Miami's own Erik Mendelson is a mover and shaker in many industries, but now he's tackling one of the hottest spheres in economics: US real estate. And if you're a crypto adopter or investor, he's got some excellent tips on how you can leverage the contents of your wallets to be able to make your next home purchase, even if your credit score is not quite up to par. From using your portfolio as collateral to getting loans using DeFi platforms like SmartFi, Erik talks about your options for getting into one of the hottest markets since the housing bust of  '09. Plus, he gives his thoughts on why Florida's housing rules make it such a unique market for both good and ill, and some advice on how to avoid the looming eviction & foreclosure crisis resulting from the coronavirus pandemic. About the Guests:Executive music producer and artist manager Erik Mendelson graduated on the Dean's List with a Bachelor's Degree from Rutgers University and is currently the CEO of Cre8tor.app (formerly RecordGram) & Tune Token.   He believes blockchain technology and tokenized ecosystems are going to redefine the music industry by allowing for greater transparency between all of the stakeholders in the creation, discovery and distribution of music. Erik's vast range of tenured entertainment experience comes from stints at Interscope Records, Loud Records, Hot 97, Elektra Records and Jive Records serving in marketing and radio promotion roles for some of the biggest music superstars.   In May 2017 Erik's company Cre8tor.app (formerly RecordGram) won the coveted TechCrunch Disrupt Cup which is the most prestigious prize for a startup technology company.  During the same year, Erik and his Co-Founder was featured on Apple Music's original content series “Planet of the Apps” which included celebrity mentors Jessica Alba, Gwyneth Paltrow, Gary V and will.i.am.  The multi-episode series received ten thousand applications but only 36 apps were selected for the show.  Of those 36, only 15, including Cre8tor.app, received funding from globally recognized VC Lightspeed Venture Partners.  Cre8tor also received additional funding from the New World Angels which is Florida's largest Angel investor group and Monique Mosley, a tenured music, film and advertising executive. Prior to receiving investment, Erik participated the Project Music accelerator in Nashville which was financially supported by some of the most influential record labels, music publishers and artist management companies. In 2006, Erik started Answerman Management signing his first artist MIMS to a 5 album deal with EMI/Capitol Records, serving as the Executive Producer for the album that grossed over $16 million.  Additionally, Erik has signed 2 other clients to major recording deals generating over $18 million in revenue.  He's also responsible for signing POP superstar Jason Derulo to his first production deal and assisted with procuring a publishing deal between Sony/ATV and the Grammy award winning production duo Da Internz. Furthermore, he has successfully implemented strategic and progressive marketing initiatives over his career and is a proven leader in developing new revenue streams for ongoing businesses in the entertainment industry.   Erik's accomplishments range from negotiating multi million-dollar major recording and publishing deals to booking tours and negotiating licensing deals including a $9 million Microsoft campaign.   Additionally, Erik regularly speaks on music industry panels discussing progressive marketing, promotion and advertising strategies.  He's considered a pioneer in the digital music landscape helping to create Digiwaxx Media and has executive experience in dealing with content acquisition, contract negotiation and developing cross-functional relationships between internal and external departments including artists managers, booking agents, media personnel and advertising agencies.  Erik has strategically aligned his clients and brands with targeted consumers thru the use of integrated marketing campaigns. All of his clients seek his expertise in guiding campaigns that go above and beyond traditional marketing, promotion and advertising techniques. Erik has won numerous technology awards and has received press in Techcrunch, Forbes, Inc, Billboard, NPR, Mass Appeal and many more. Erik is also a licensed Florida realtor and the founder of Crypto Currency Realtors. More Info: Tatiana Moroz – https://tatianamoroz.comCrypto Media Hub – https://cryptomediahub.com TuneToken - https://tunetoken.io Crypto Currency Realtors - https://cryptocurrencyrealtors.com Friends and Sponsors of the Show: Proof of Love – https://proofoflovecast.comGlobal Crypto Advisors – https://globalcryptoadvisors.io You have been listening to The Tatiana Show. This show may contain adult content, language, and humor and is intended for mature audiences. If that's not you, please stop listening. Nothing you hear on The Tatiana Show is intended as financial advice, legal advice, or really, anything other than entertainment. Take everything you hear with a grain of salt. Oh, and if you're hearing us on an affiliate network, the ideas and views expressed on this show are not necessarily those of the network you are listening on, or of any sponsors or any affiliate products you may hear about on the show.

THE ROCK ANGELS RADIO SHOW presents ALL KILLERS NO FILLERS: 1.- PRESS PROSPECT – Blame It On The Booze – All Bets Are Off (2021 Rob Mules Records) 2.- DOBERMANN – Shaken To The Core – Shaken To The Core (2021Wild Mondays Music/Horus Music UK) 3.- RHAPSODY OF FIRE – I´ll Be Your Hero – I´ll Be Your Hero EP (2021 AFM Records) 4.- LONG SHADOWS DAWN – Masters Of Illusion – Isle Of Wrath (2021 Frontiers Records/Oyez!/Sony ATV) 5.- BURNING POINT – Blast In The Past – Arsonist Of The Soul (2021 AFM Records) 6.- GUS G – Fierce – Fierce (Single 2021 AFM Records) 7.- REAKTION – Breathing Silence – To Expect Nothing (2021 Self Released) 8.- KILLING – Legion Of Hate – Face The Madness (2021 Mighty Music) 9.- MORPHIUM – Tired – The Fall (2021 Art Gates Records) 10.- STEIGNYR – Everything Silent – The Legacy Of Wyrd (2021 Art Gates Records) 11.- SEVEN SPIRES feat ROY KHAN – This God Is Dead – Single (2021 Frontiers Records/Oyez!) 12.- POWERWOLF feat ALISSA WHITE-GLUZ – Demons Are A Girl´s Best Friend – Missa Cantorem/Call Of The Wild (2021 Napalm Records) 13.- SLIZARD – Caught Up In The Gears – Slizard (2021 Mega Metal Records) 14.- LAURENNE/LOUHIMO – The Reckoning – The Reckoning (2021 Frontiers Music s.r.l.) 15.- DIRKSCHNEIDER & THE OLD GANG – Every Heart Is Burning – Arising (Single 2021 AFM Records) 16.- RESURRECTION KING´S – World´s On Fire – Skygazer (2021 Frontiers Records/Oyez!) 17.- SOCIAL DISORDER – Out Of Love – Love 2 B Hate (2021 AFM Records) 18.- STEW – Heavy Wings – Taste (2021 UPRISING! Records) 19.- TROUBLE IS – Here We Are – Wholehearted (2021 Target Records) 20.- THE UGLY KINGS – Technodrone – Strange, Strange Times (2021 Napalm Records/All Noir PR) 21.- BIG CITY – Dark Rider – Testify X (2021 Frontiers Records/Oyez!) 22.- RIAN – In The Dark – Twenty-Three (2021 Frontiers Records/Oyez!) 23.- NITRATE – Renegade – Renegade (2021 GerMusica/Aor Heaven) 24.- HARDLINE – If I Could I would – Heart, Mind And Soul (2021 Frontiers Records/Oyez!/Tanzan Ed. Musicali/Hinge Neck (ASCAP)) 25.- DRAMAH feat Ana De Tena – Siete Vidas – Alter Ego (2021 Self Released) 26.- VELVET INSANE -Sound Of Sirens – Rock´N´Roll Glitter Suit (2021 Wild Kingdom Records) Directed by Jesús Alijo LUX DON'T LET ANYONE GET AHEAD OF YOU! FEEL FREE TO REGISTER, ENJOY, COMMENT, FOLLOW AND SHARE, THANK YOU.

Welcome to another episode of Action and Ambition. We are joined today by D. Arcelious Harris, professionally known as Swagg R'Celious, a producer, vocalist, and songwriter making an innovative mark on the music industry. Swagg R'Celious, signed by Sony/ATV, the producer and writer, has had career-defining opportunities and his multidimensional, cross-genre music has earned him a top 5 record in France. Swagg R'Celious has a strong passion for music education in music technology and has been a guest lecturer and speaker at high schools, colleges, and universities. You will love this episode!

After contracting a serious case of Lyme and Bartonella in 2014, which was misdiagnosed by a dozen doctors, leading to heart failure, Dana Parish was determined to help change the status quo. She's a chart-topping Sony ATV writer and New York City-based science journalist and the co-author of Chronic, a book focused on exposing the truth of the infectious causes of chronic psychiatric and auto-immune illnesses around the world.Tune in to hear all about her experience with Lyme, how she began the journey of investigating and writing Chronic, and the advice she gives to Lyme warriors struggling right now.Dr. Rawls is a trusted MD whose life was upended by Lyme but was able to heal himself and use his experience to help others on their journeys battling Lyme. He is the author of Unlocked Lyme and the founder of Vital Plans, a supplement line made of herbs that supports the immune system (made especially for Lyme warriors). Dr. Rawls offers a free online survey that can help you get the right supplement protocol and on the track to a healthier life. Go to lyme360.com/DrRawls to learn more about the amazing herbal protocol I have been using.  

Hi there!歡迎收聽Look Back Sunday回顧星期天，在這個節目John老師會彙整過去不同國家與主題的熱門跟讀文章，讓你可以在十五分鐘內吸收最精華的世界時事趣聞！我們這週聽聽音樂相關的文章，Let's get started!   Topic: The Old Pop Music Is Over. Introducing a Playbook for Pop 2.0. What pop means changes depending on what angle you're looking from. It can be a descriptor of audience size, indicating something that's popular, or it can be a genre tag, specifying a sound. But for much of the past three decades, these two definitions have effectively been one and the same. 「流行音樂」一詞的定義取決於從什麼角度去看它。它可以是界定受眾多寡的符號，顯示某樣東西是否熱門，也可以是一張類型標籤，用來指特定的音樂類型。然而卅年來在頗長的時間裡，這兩個定義幾乎合為一體。 You know the sort: Katy Perry's confetti cheer, Justin Timberlake's feather-light chirps, Lady Gaga's exorbitant theater, Taylor Swift's guileless guile. Music that strives for gloss, pep, ecstasy, spectacle. Often an expression of whiteness, too. A one-size-fits-all solution. 你絕對熟悉那種音樂，凱蒂佩芮五彩碎紙般的奔放歡呼，賈斯汀輕如羽毛的滑音尖唱，女神卡卡隆重奢華的戲劇效果，和泰勒絲看似無邪的使壞。那種試圖營造光鮮亮麗、活力充沛、極度狂喜，和壯觀場面的樂曲。這種音樂往往也以白人為主要受眾。一體適用的解決之道。 For a time, in the 1980s, this kind of pop music — think of Michael Jackson and Madonna — was effectively monoculture, which is why the two meanings of pop have been so tightly tethered and so difficult to disentangle. 一九八○年代有段時間，這一種流行樂——想想麥可傑克森和瑪丹娜就好——基本上完全同質。這也是流行樂兩種意義緊密相連、難捨難分的原因。 But in the past couple of years, this framework has been almost completely dismantled, owing in large part to the widespread adoption of streaming. What were once regarded merely as pop subgenres — K-pop, Latin trap, melodic hip-hop and more — have become the center of the conversation. 然而在過去這幾年裡，這個框架幾乎完全被打破，這與串流音樂廣為普及大有關係。過往僅被視為次類型的南韓流行歌、拉丁曲風、旋律嘻哈等樂種，儼然成了舞台上的主角。 This is not an arbitrary agglomeration of styles. This is Pop 2.0 — music that comes from several different scenes but works with its own distinct set of rules. It is the first time in decades that the playbook for pop success has been updated, and it has profoundly reshaped the sound of America. 這可不是武斷的類別區分。這是全新一代的流行樂。音樂來自不同文化背景，卻自有一套清楚的運作規矩。這是數十年來流行音樂的致勝攻略首度更新，而這也大大重塑了美國樂壇。 Previously, when artists from hip-hop, country or hard rock were said to be going pop, that implied they were sacrificing something essential about themselves in exchange for something plastic and transitory. Pop was a softening. A compromise. 在過去，外界若說某一嘻哈、鄉村，或硬式搖滾樂手轉向流行樂風，往往暗指他們犧牲了自己的核心特質，換取更人工化而短暫的東西。流行樂過去是軟化、妥協的同義詞。 Now, thanks to the largely frictionless internet, and the evolution in how Billboard calculates its charts — accounting for streaming data in addition to sales and radio play — these styles top the charts in unfiltered fashion. Hip-hop almost completely dominates streaming. Latin trap and reggaeton thrive on YouTube. K-pop, the dominant sound of young South Korea, has become a live-concert blockbuster and outrageously popular online worldwide. 而現在，由於網路幾乎暢行無阻，告示牌也改變了排行榜的計算方式——除唱片銷售和電台點播數字外，也計入串流量。上述的幾種音樂直截了當地名列前茅。嘻哈樂幾乎獨霸串流樂。拉美和雷鬼音樂在Youtube上隨處可見。南韓流行樂——來自南韓新生代的主流聲音，不僅橫掃全球演唱會票房，在網路上更是紅到不行。 All of that has made for Billboard charts that look vastly different than they did a decade ago and sets the template for how all of pop music will sound moving forward. 凡此種種，都使現在的告示牌排行榜和十年前看來大不相同，也替整體流行樂的前行之路定好了調。Source article: https://paper.udn.com/udnpaper/POH0067/335845/web/#2L-14007387L   Next Article   Topic: Australia wins AI 'Eurovision Song Contest' Dutch broadcaster VPRO decided to organise an AI Song Contest after the country won the 2019 Eurovision Song Contest. The aim was to research the creative abilities of AI and the impact it has on us, as well as the influence it could have on the music industry, according to the official Eurovision website. 荷蘭廣播公司VPRO決定舉辦一場AI歌曲大賽，在這個國家贏得2019年歐洲歌唱大賽後。歐洲歌唱大賽官方網站指出，（比賽的）目標是研究AI的創意能力、對我們的衝擊，以及它對音樂產業的影響。 Thirteen teams entered the contest, with Australia beating out Sweden, Belgium, the UK, France, Germany, Switzerland and the Netherlands to take home the title, giving fans a taste of Eurovision after 2020 contest was cancelled due to COVID-19. 共有13組人馬參賽，最後由澳洲擊敗瑞典、比利時、英國、法國、德國、瑞士與荷蘭等對手，將冠軍頭銜帶回家，在2020年歐洲歌唱大賽因為2019冠狀病毒流行病（COVID-19）疫情取消後，讓歌迷一嚐大賽的滋味。 The winning song, titled Beautiful the World, includes audio samples of koalas, kookaburras and Tasmanian devils, and was made by music-tech collective Uncanny Valley as a response to the Black Summer bushfires. 獲勝曲的題目為「Beautiful the World」，含有無尾熊、笑翠鳥與袋獾的聲音樣本，由音樂技術團體「恐怖谷」製作，回應黑暗夏日的叢林大火。   Next Article   Topic: Slow music- Chord change in Germany of 639-year organ piece Hundreds of fans attended a special kind of musical happening on Sept. 5 at a church in Germany: a chord change in an organ piece that is supposed to last for an entirety of 639 years. The performance of the ORGAN2/ASLSP, or As Slow As Possible, composition began in September 2001 at the St. Burchardi Church in the eastern town of Halberstadt and is supposed to end in 2640 if all goes well. 數百名樂迷在九月五日齊聚德國一間教堂，參加一場特別的音樂活動：預計持續演奏整整六百三十九年的一首管風琴作品，在當天改變了和弦。這首名為《ORGAN2/ASLSP》，又名《愈慢愈好》的作品，從二○○一年九月開始在德國東部小鎮哈柏斯塔的聖布爾夏迪教堂演奏。如果一切順利，演奏將會於二六四○年結束。 The music piece by the American composer John Cage is played on a special organ inside the medieval church. The last sound has been the same one for the last six years and 11 months, and therefore the chord change on Saturday last week was a big event among fans of the John Cage Organ Project. 這首樂曲是由美國作曲家約翰‧凱吉所作，在這座中世紀教堂內由一台特製管風琴演奏。在過去六年又十一個月之間，這首樂曲一直持續著相同的聲音，也因此上週六轉換和弦，對「約翰‧凱吉管風琴計畫」的樂迷而言堪稱一大盛事。 A chord change means that the sound of the organ pipes changes either because new sounds are added or existing sounds end. On Sept. 5, two new organ pipes were added. Organizers say the performance is “one of the slowest realizations of an organ musical piece.” 轉換和弦意味著管風琴音管的聲音改變，變化來自於新聲音加入，或是原本持續的聲音停止。在九月五號當天，管風琴裝上了兩根新的音管。主辦單位則表示，這場演出是「實現一部最慢的管風琴音樂作品。」 A compressor in the basement creates energy to blow air into the organ to create a continuous sound. When a chord change happens, it's done manually. On Sept. 5, soprano singer Johanna Vargas and organist Julian Lembke changed the chord. The new sound reminded some listeners of the metallic buzz inside a big ship's engine room. 教堂地下室有一台壓縮機製造出動能，將氣體吹入管風琴，創造出持續不斷的聲音。當和弦改變時，這個任務則是以手動完成。當天，女高音喬安娜‧瓦加斯以及管風琴演奏家朱利安‧藍布克一起改變和弦。新的聲音讓某些聽眾聯想到大船引擎室裡帶有金屬感的嗡嗡聲。 The next chord change is planned for Feb. 5, 2022, the German news agency DPA reported. When the piece officially started on Sept. 5, 2001, it began without any sound. It was only on Feb. 5, 2003, the day of the first chord change, that the first organ pipe chords could actually be heard inside the church. 根據德國新聞媒體《德新社》報導，下一次的和弦改變預計於二○二二年二月五日進行。這首樂曲最初在二○○一年九月五日正式開演，開始時沒有聲音。一直到二○○三年二月五日，也就是第一次改變和弦那天，第一個管風琴和弦才真正能在教堂中聽到。 Cage was born in Los Angeles in 1912 and died in New York in 1992. He's known not only as a composer, but also as a music theorist, artist and philosopher. 約翰‧凱吉於一九一二年生於洛杉磯，一九九二年於紐約逝世。他不只是以作曲家的身分聞名，同時也是一位音樂理論家、藝術家和哲學家。 The St. Burchardi church has a long, checkered history. It was built around 1050, and was used for more than 600 years as a Cistercian monastery. It was partially destroyed during the Thirty Years' War, later rebuilt, at some point secularized and over the centuries also served as a barn, a distillery and a pigsty, the John Cage Organ Project said on its website. 聖布爾夏迪教堂有著悠久而興衰無常的歷史。教堂大約是在一○五○年間建造，六百多年來被用作天主教熙篤會的修道院。根據「約翰‧凱吉管風琴計畫」網站的介紹，該教堂在三十年戰爭期間部分遭到摧毀，後來經過重建，從某個時間點開始作為世俗用途。好幾個世紀以來，建築被用來作為穀倉、釀酒廠、豬舍。 Chord changes usually draw several thousand visitors to Halberstadt, but because of the COVID-19 pandemic, the number of guests allowed into the church was limited this year. 和弦改變通常會吸引數千名觀眾前往哈柏斯塔朝聖，然而因為武漢肺炎（新冠病毒，COVID-19）全球大流行，今年獲准進入教堂躬逢其盛的觀眾人數受到限制。 Source article: https://www.taipeitimes.com/News/lang/archives/2020/09/13/2003743299   Next Article   Topic: Paul McCartney's Tip to Michael Jackson Pays Off It is one of the twice-told tales of the music business: Decades ago, Michael Jackson received some sound investment advice from Paul McCartney. 這是個音樂事業圈中人盡皆知的故事：數十年前，麥可傑克森從保羅麥卡尼那兒獲得一些很好的投資建議。 Back in the early 1980s, McCartney showed his friend a notebook full of songs he owned, by artists like Buddy Holly. The real money, McCartney suggested, was in music publishing, the side of the business that deals with the songwriting rights for big catalogs of songs. As McCartney himself has told it, Jackson perked up and said, "I'm gonna buy your songs." He did. And it was the smartest deal Jackson ever made. 早在1980年代初期，麥卡尼向朋友出示一本筆記簿，上面盡是他所擁有，出自巴迪霍利等眾多歌手的歌曲曲目。麥卡尼當時表示，真正能賺大錢的是音樂出版，亦即這行業裡處理大規模歌曲曲目創作權的一方。正如麥卡尼本人所說的，傑克森興奮地說：「我會買下你的歌。」 他的確買了，而這也是傑克森一生之中所做過的最聰明的交易。 In 1985, Jackson bought the ATV catalog, which included 251 Beatles songs, along with a few thousand others, for $47.5 million. It proved to be Jackson's most valuable asset, helping to finance a lavish lifestyle even as Jackson's own musical career reached a low point in the years before his death in 2009. 傑克森在1985年時以4750萬美元買下了聯合電視台（ATV）所擁有歌曲的版權，包含251首披頭四的歌曲，以及幾千首其他歌曲。後來證明這是傑克森手中最有價值的資產，儘管傑克森在2009年過世前的最後幾年裡，自身的音樂事業陷入了低潮，這筆資產仍然支撐著他奢華的生活。 Now those songs have helped provide a windfall for his estate. On Monday, Sony said it had agreed to pay $750 million for the Jackson estate's share of what is now Sony/ATV — a collection of more than 1 million songs, with hits by Taylor Swift and Lady Gaga, chestnuts like "Moon River" and "Mona Lisa," and of course the Beatles songs. Sony's buyout caps an extraordinary turnaround in Jackson's finances that began after his death. Jackson died more than $500 million in debt, having drawn on his share of Sony/ATV as a lifeline through a $270 million loan in 2006, years after his last hit but shortly after he was acquitted of child molestation in a trial that damaged his public image around the world. 如今，這些歌曲為他的遺產管理委員會增添了一筆意外之財。索尼周一說，已同意支付7.5億美元買下傑克森遺產管理委員會所擁有的Sony/ATV股權。Sony/ATV手中擁有超過1萬首歌曲，有泰勒絲跟女神卡卡的熱門歌曲、老歌如「月河」和「蒙娜麗莎」，當然還有披頭四的歌曲。 索尼的這項收購使得傑克森死後開始的財務狀況有了不尋常的轉變。傑克森去世時負債超過5億美元，曾利用他的Sony/ATV股權當成救命索，在2006年時貸款了2.7億美元。當時距他上次推出轟動歌曲已過數年，但離他在一場猥褻兒童審判中被判無罪的時間點並不久，而那一場審判也損壞了他在全球各地的公眾形象。 The Jackson estate has long since paid off most of Jackson's personal debts. But the latest deal will allow it to clear its last obligation, a $250 million debt that was tied to Jackson's holdings in Sony/ATV. The deal for the song catalog could now push those earnings above $1 billion, a big return for a financial move that began as a simple conversation between two music legends. 傑克森的遺產管理委員會早已還清他大部分的個人債務。不過，這個最新交易將讓他償清最後債務，一筆與傑克森在Sony/ATV中股份相關的2.5億美元債務。 這筆歌曲版權交易現在可能會將獲利數字推高至10億美元以上，而這對以兩位音樂傳奇人物之間簡單對話為起頭的財務行動來說，是個很大的回報。Source article: https://paper.udn.com/udnpaper/POH0067/295664/web/   每日英語跟讀Podcast，就在http://www.15mins.today/daily-shadowing 每週Vocab精選詞彙Podcast，就在https://www.15mins.today/vocab 每週In-TENSE文法練習Podcast，就在https://www.15mins.today/in-tense 用email訂閱就可以收到通勤學英語節目更新通知。  

Saint Bodhi is a musical chameleon. Having absorbed sounds from her native Los Angeles as well as Atlanta and New York, the singer/songwriter’s unmatched malleability has made her a sought after commodity in the songwriting world. Now, after building an impressive resume to her name, Bodhi is ready to pivot from songwriting into a solo career of her own. Born and raised in South Central, CA, Bodhi realized in her early years that she had a natural knack for storytelling. With a tireless work ethic and an extremely detailed ear, Bodhi became known as a reputable songwriter in R&B and hip-hop, boasting Beyonce, A$AP Rocky, Jaden Smith, Lecrae, T-Minus, !llmind, Erykah Badu, Tinashe, Kevin Gates, and Kiana Lede as just a few of her past collaborators. More recently, after an intense bidding war, management and A&R consulting firm Arketek partnered with Sony/ATV to sign the rising talent to a worldwide publishing deal in May of 2019. Now working on her debut album, Bodhi’s genre-blending talents and ominous yet uplifting style are ready to take the main stage.

Jonathan is a highly regarded music-publishing executive, and the chief creative curator of all the songs you hear on Rocket Songs – he’s got the “ears”.Jonathan began his career at ATV Music, becoming the Manager of Creative Services for the Nashville office, before moving on to become Director of Creative Services for MCA Music, working with such famed songwriters as Glen Ballard, Robbie Nevil, Mark Mueller, and Brock Walsh.Jonathan's success at MCA caught the eye of the legendary Quincy Jones (yeah that guy), who made Jonathan Vice President of Qwest Music Publishing/Quincy Jones Productions, overseeing all aspects of music publishing for Quincy, including A&R for various productions including Michael Jackson, Patty Austin and James Ingram.Jonathan went on to run Windswept Pacific Music Publishing, founded by legendary music publishers Chuck Kaye and Joel Sill, in partnership with Fujipacific Music of Japan, the largest music publisher in Asia.As GM and then President of Windswept, Jonathan guided the company to become one of the largest independent music publishers in the world, publishing the works of Bruno Mars, Kings of Leon, Beyonce, The Spice Girls, Corinne Bailey Rae, Snow Patrol, Pete Townsend, Alice Cooper, Chris Farren, Mike Elizondo, and way to many more to name.Windswept was sold to Bug Music for $175 Million, and Jonathan again joined forces with Fujipacific to form Radar Music, finding, signing and developing new writing talent in all genres of music. Radar struck gold with the signing of songwriter/producer Michael 'Omega' Fonseca, who co-wrote “Centuries” for Fall Out Boy.Jonathan has served on the board of various organizations, including the Board of Directors for the Academy of Country Music.Listen, share, rate and review Spot Lyte On...Learn more about Lyte

Today we are talking about sync! If you were wondering how sync worked before, you will be thoroughly clued up after listening to this episode. This is an in depth and passionate conversation with Chi Chi and Miranda from Sony Music Publishing. Together they make up the two sides of sync - creative and licensing so we thought it would be perfect to have them on the podcast together! Both of them share how their roles differ yet work together, we also cover the differences between working in sync at a publisher like Sony Music Publishing and music supervision at an agency or in-house team. Now, since we recorded this episode Sony ATV has renamed itself to Sony Music Publishing - so whenever we are referring to Sony ATV, we are talking what is now called Sony Music Publishing. Sony Music's publishing arm. If you enjoy the episode don't forget to like, subscribe and leave us a comment! Like all our episodes, this episode was recorded remotely. Hosted on Acast. See acast.com/privacy for more information.

Today's guest is someone I have known since the beginning of my journey in LA. We met working next door to each other when I first moved to LA. We got to talking and realized we both are songwriters and love music. We've been friends and have been supporting each other ever since! This episode is jammed packed with info for songwriters: why are PROs so important? How do you get into a session/writing room? What's the writing process like? We also talk about how important it is to celebrate the little victories and focus on growing each and every day. The main goal should be growth and becoming better than you were yesterday.  Emily Fullerton is originally from Washington DC, moved to Nashville for music college at Belmont and then moved to LA afterwards. She has co-written a finalist song for NBC's 1st season of Songland, called Crowded Places with Rynn. She has been involved in a couple different workshops and pitch sessions with ASCAP, Warner, Sony/ATV etc over the years and has co-written some singles for artists like Zoya, Callaghan Belle, upcoming releases with Bailey Baum, and me!!! And many others :) She is currently working on a lot of songs for pitch, dipping into the Kpop world a little and also a long term solo project. Emily is seriously one of the most talented songwriters I've had the privilege of writing with and I can't wait for you guys to meet her! Let's dive in. Follow Emily Instagram || Twitter || TikTok Instagram:  @drealopz / @thejourneyofpursuit Work With Me: contact@andrealopezmusic.com Show Notes / Take Aways: www.andrealopezmusic.com/journal/ep18 Newsletter: www.andrealopezmusic.com

Emiko is an award winning songwriter who wrote for SONY/ATV, Universal Music Group, and others. She is also a roster artist for brands such as Hammond Organ, Alesis, Baldwin Pianos, Daisy Rock Guitars, On-Stage Stands, Blue Microphones, Lampifier Microphones, and StarrLabs Technologies. Instagram: @emikomusic Facebook: facebook.com/emikomusic Follow 80/20 Records: Instagram: @8020records Facebook: facebook.com/8020records www.8020records.com

Jenna Andrews is a singer, songwriter, and executive producer who has written and collaborated with artists including Drake, Dua Lipa, Lily Allen, Jessie J, Diplo, and Jennifer Lopez.Jenna began songwriting at age 14 and dropped out of college after 6 months to pursue her music career. She moved to Vancouver and was discovered soon after by famed manager Chris Smith (Alessia Cara, Nelly Furtado), who garnered a deal for Jenna at Island Def Jam.Currently, Jenna is an exclusive A&R consultant for the RECORDS label, founded by industry veteran Barry Weiss. She recently partnered with Weiss to launch TwentySeven Music Publishing in a joint venture with Sony/ATV. Jenna boasts an impressive creative roster at RECORDS, lending her music industry knowledge and creative expertise to rising artists like Noah Cyrus and Lennon Stella.-------------------------------------------Mind of a Mentor is produced by Ossa, a women's podcast network on a mission to increase the visibility, influence and earning power of women in the podcast industry.Are you a woman in podcasting? Apply to join Ossa and get free access to podcast monetization opportunities with our in-house ad booking service. We also offer our members a community of women in podcasting, promotional opportunities, exclusive offers, and resources for podcast growth and development. To apply or for more information, visit joinossa.com.Is your business interested in podcast advertising opportunities? On Ossa's proprietary ad booking platform, you can find podcasts that fit your criteria and budget in just a few clicks. Ossa is uniquely positioned to help you reach the world's most powerful consumers: women. Visit joinossa.com to get started.For lots of great podcasting content, head to ossacollective.com.You can find more information on the guest featured in this episode and on every episode of Mind of a Mentor on ossacollective.com.Mind of a Mentor is hosted by Marla Isackson, Founder & CEO of Ossa. Connect with Marla on LinkedIn: https://bit.ly/2zq3W59Questions? Email support@ossacollective.com.Follow Ossa on Social Media:Facebook: @ossacollectivenetwork / https://bit.ly/2NEf9roInstagram: @ossacollective / https://bit.ly/30HozpETwitter: @ossacollective / https://bit.ly/34bradNLinkedIn: @ossa-collective / https://bit.ly/2ZGBACNEnjoying Mind of a Mentor? Please rate & review our show! https://apple.co/2Knky3wMind of a Mentor is an Ossa original show hosted by Marla Isackson, Founder and CEO of Ossa Collective women's podcast network. For more information about Ossa, visit: https://ossacollective.com/Follow Ossa on Socials- Instagram: https://www.instagram.com/ossaforpodcasters/LinkedIn: https://www.linkedin.com/company/ossa-collective/Facebook: https://www.facebook.com/ossacollectivenetwork

Zöe Keating lost her husband and business partner in 2015, leaving the cellist extraordinaire a single mother.  But what happened next was astonishing: Keating soldiered on, determined to continue her unlikely success as a touring and recording avant-garde classical cellist.  But it was her fans that made it impossible for her to leave.  Keating die-hards started donating heavily to their favorite artist, and cheering her on at packed shows. But aside from her music and self-sustaining career, Keating is also an activist on Capitol Hill.  Currently, she's stumping for the American Mechanical Licensing Collective (AMLC), a group that's taking on potentially serious conflicts of interest among major publishers like Sony/ATV and Universal Music Publishing Group. (Also, Keating is asking anyone who's listening to vote on the upcoming MLC selection process with the U.S. Copyright Office.  The link to comment is here: http://bit.ly/2ZjYCMH. Comment now, as the submissions process ends on April 22nd!)

The Total Tutor Neil Haley will interview FX's American Horror Story Star CHEYENNE JACKSON. CHEYENNE JACKSON was most recently seen as Will Drake on FX's American Horror Story: Hotel. His numerous Broadway credits include The Performers, Finian's Rainbow(Drama Desk nomination), Xanadu (Drama Desk & Drama League nominations), All Shook Up (Theatre World Award, Drama League & Outer Critics Circle nominations) Aida andThoroughly Modern Millie. Off Broadway: The Most Happy Fella, The Agony & The Agony, Altar Boyz, 8, The 24 Hour Plays, and Damn Yankees. Television: “30 Rock,” “Glee,” “Royal Pains,” “Curb Your Enthusiasm,” “Ugly Betty,” “Full Circle,” “CSI: Cyber,” “Mockingbird Lane,” “Lipstick Jungle” and “Law & Order.” Film: United 93, Behind the Candelabra(with Michael Douglas and Matt Damon), Lola Versus, The Green, Love Is Strange, Beautiful Now, Six Dance Lessons in Six Weeks, Opening Night, Mutual Friends and the upcoming Bear With Us, Day out of Days and Hello Again opposite Audra McDonald. In addition, Jackson is a Grammy-nominated singer/songwriter with Sony ATV. For his self-penned album, I'm Blue, Skies, Cheyenne collaborated with Sia, Stevie Aiello, and Charlotte Sometimes. www.OfficialCheyenneJackson.com      

Abstract: In this fifth episode, a bonus MJAS Exclusive, Elizabeth and Karin discuss the recent sale of the Sony/ATV catalogue by the Michael Jackson Estate. They use a range of sources to explain exactly what the Estate is, how it functions, and go on to reach new conclusions on Jackson's posthumous resonance from an academic perspective. REFERENCE AS: Merx, Karin, and Elizabeth Amisu. "Episode 5 - MJAS Exclusive: The Business of Michael Jackson's Estate." Podcast, Michael Jackson's Dream Lives On: An Academic Conversation2, no. 2 (2016). Published electronically 7/04/16. http://sya.rqu.mybluehost.me/website_94cbf058/episode-5-mjas-exclusive-the-business-of-michael-jacksons-estate/. The Journal of Michael Jackson Academic Studies asks that you acknowledge The Journal of Michael Jackson Academic Studies as the source of our Content; if you use material from The Journal of Michael Jackson Academic Studies online, we request that you link directly to the stable URL provided. If you use our content offline, we ask that you credit the source as follows: “Courtesy of The Journal of Michael Jackson Academic Studies.” Episode 5 - MJAS Exclusive: The Business of Michael Jackson's EstateBy Karin Merx & Elizabeth Amisu 'Milton's bones, for instance, were dug up at the end of the eighteenth century for souvenirs, just as fragments of his early poems had been exhumed and confiscated by minor poets. Neglected at first, eventually competed for, like Homer, by contending cities, the poet goes to meet his shades. But not unsung. With his dying breath, frequently, an industry springs up around him – memorialists, literary undertakers, chisellers, epitaph-makers. The custodians of his fame take charge of manuscripts and the will. He enters his tomb.'– Lawrence Lipking, The Life of the Poet: Beginnings and Endings All Our References and Where to Easily Find Them1. Statement From Michael's Estate(MJWN)2. Michael's Estate Sell Sony/ATV Catalogue - Press Release (MJWN)3. Key Concerns Of Trust And Estate Lawyers- Forbes.com4. 'Interview with author, Lynton Guest' In Episode 27 -Sony/ATV Purchase Roundtableby The MJCast (1:12:30-1:37:00)5. 'Even After $750M Sony/ATV Deal, Michael Jackson Misconceptions Abound' by Zack O'Malley Greenburg.6. Artist, Michael Jackson's Last Will and Testament.7. Zack O'Malley Greenburg, Michael Jackson, Inc.(Atria, 2014): 225-226.8. ——— 'Michael Jackson's Career Earnings' In Michael Jackson, Inc.(Atria, 2014): 250-251.9. Comprehensive and clear analysis on the Sony-ATV 'buy-sell clause'by Nonlocal Universe.10. Michael Jackson, "Radio Interview." By Jesse Jackson. Keep Hope Alive(27 March 2005).——— "Anti-Racism Speech" (Harlem, 2002)——— "Killer Thriller Speech" (London, 2002)11. Joseph Vogel, "Chapter 9 - The Final Years" In Man in the Music: The Creative Life and Work of Michael Jackson. Sterling, 2011.12. Sir George Herbert, early modern poet (1593 – 1633) famously asked his friend, Nicholas Ferrarto burn his work, The Templeposthumously, however, Ferrar went on to sell the work.13. Professor Rivkah Zim, Lecturer of Early-Modern English and Comparative Literature at King's College London. See Elizabeth on the course video here.14. 'Chapter 20 – The Power of the Editor and Michael Jackson's Posthumous Releases' In The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife (Praeger, 2016).15. Lawrence Lipking, The Life of the Poet: Beginning and Ending Poetic Careers.Chicago: University of Chicago Press, 1981.16. 'Goodbye Neverland' by Elizabeth Amisu (2014)17. Profile of poet, John Milton, author of Paradise Lost.18. Profile of poet, Homer, author of The Iliad. Karin Merx BMus, MA, is editor of The Journal of Michael Jackson Academic Studies, and author of  ‘A festive parade of highlights. La Grande Parade as evaluation of the museum policy of Edy De Wilde at the Stedelijk Museum Amsterdam'. Elizabeth Amisu, PGCE, MA,

#Rule008 Former Creative Director for Sony ATV and SO SO Def, Stone Stafford joins the show to discuss publishing, ownership, hard work and, his new artist Beth Spangler.