Podcasts about steeltown

As free agency comes to a close, we've got the winners, the losers, and the one team that will look completely different when next season kicks off! Then onto the NBA ...We will dive deep into how Halliburton crushed their spirits last night in Indy, like only we can!. Meanwhile, the clock is ticking and the drama is building — we'll reveal the key reason they're still stuck in Steeltown, and it could be huge! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Time to Get Up with an unimaginable ending! We'll break down as only we can how Halliburton broke their hearts last night in Indy! Meanwhile - the clock ticks and the plot thickens - we'll tell you the one big reason they're still stalling in Steeltown - this could be big! Plus - as free agency winds down, we've got winners, we've got losers, and the one team you won't even recognize when next season begins! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today we dive back into the pool of time once more to revisit the first true crime episode we ever did do. If the taster, containing anecdotes of both Australia and Birmingham, primed you for a delve into a Welsh serial killer then click here for the full episode.

Port Talbot in Wales is defined by its huge steelworks. But in January Tata Steel announced it was ending primary steelmaking there. George McDonagh charts a year that could change the town for ever. Help support our independent journalism at theguardian.com/infocus

Time to Get Up with a Steeltown stomping - Russ cooks while the Jets burn the soufflé. The quarterback looks old, the defense is overrated - is it over for the high hopes of the guys in green? Meanwhile, does Wilson give the Steeelers a chance that Justin Fields did not? Is Pittsburgh suddenly in the Super Bowl conversation thanks to their coach? Plus, revenge, thy name is Saquon - mister Barkley busts his former team and so called fans - have the Eagles found the formula to get where they want to go?  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Time to get up with the two best friends anybody could have reunited, will it feel so good? Meanwhile, the D in big D stands for diatribe. Jerry is going off! Why does this time feel completely different in Dallas? And, a sudden switch in Steeltown. Is Pittsburgh really about to let Russ cook?  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Reunited does it feel so good? Aaron and Devantae will be the judge of that. Jerry is going off! Why does this time feel completely different in Dallas? And, a sudden switch in Steeltown. Is Pittsburgh really about to let Russ cook?  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Time to Get Up and Go! The desperate Jets make the desperate decision! Is there any conceivable chance it doesn't end in disaster? And speaking of decisions - Davante! It's his turn next, does he get dealt into this debacle and if so does it happen today? Meanwhile - a different decision - is Mike T ready for Russ? Waitll you hear what he said about QB1 in Steeltown!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Time to Get Up with a late night thriller - an unbelievable Sunday in the NFL finishes with a desperate Dak dive! You've got to see how this ended! Meanwhile - the agony on the other side - and the suggestion that change is coming in Steeltown off a devastating defeat! Plus - there will be worse losses in the NFL this season but there won't be a dumber one! What the actual heck was that from Buffalo?  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Time to Get Up with a late night thriller - an unbelievable Sunday in the NFL finishes with a desperate Dak dive! You've got to see how this ended! Meanwhile - the agony on the other side - and the suggestion that change is coming in Steeltown off a devastating defeat! Plus - there will be worse losses in the NFL this season but there won't be a dumber one! What the actual heck was that from Buffalo?  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Time to Get Up with a pair of Thursday night thrillers! Incredible finishes, dramatic jolts - oh what a night! Plus, the clock ticks on the trade that will change everything. Graziano will tell you exactly when to expect Davante to be dealt! Spoiler alert - it's soon! And, Sunday night is in Steeltown. Dak is talking about Superman, but will Justin lead Pittsburgh to fields of glory?!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Nachdem sie es letzte Woche auf den letzten Drücker in Michaels Quartalsliste geschafft hat, hat jetzt auch Rüdiger "Nobody wants this" (4:28) gesehen, weshalb die beiden noch einmal ausführlich über den Netflix-Rom-Com-Hit sprechen, schließlich sind Kristen Bell und Adam Brody zwei der wichtigsten Serien-Stars aus Rüdigers später Jugend. Was macht die Serie so besonders? Anschließend widmen wir uns dem ersten Versuch von Apple TV+ das deutsche Seriengeschäft zu beleben. "Where's Wanda?" (28:21) mit Heike Makatsch und Axel Stein will eine Art schwarze Krimikomödie sein - und zeigt, dass auch Tim Cooks Streamingdienst nicht über Nacht deutsche Serienschaffende inspirieren kann. Zum Abschluss holen wir mit neun Monaten Verspätung noch "Steeltown Murders" (45:21) nach, die nach ihrem Januar-Start bei Magenta TV jetzt in der Arte-Mediathek zu sehen ist. Die wahre Geschichte um den ersten walisischen Serienmörder, der erst nach 30 Jahren über drei Ecken durch DNA-Analyse überführt werden konnte, ist der krasse Gegenentwurf zu den beiden True-Crime-Serien aus der letzten Woche. Ist er damit auch besser? Cold-Open-Frage: "Wer sollte bei MGM+ der neue ,Robin Hood' werden?"

Send us a textIn the past two CFL seasons, the Winnipeg Blue Bombers only lost a combined seven games. Two of those defeats happened in Hamilton against the Ticats. On this Sportsline Podcast, play-by-play broadcaster Derek Taylor offered his thoughts about Friday night's showdown and the Bombers bad luck in Steeltown.

A special guest comes on the show! After a couple of weeks off, the Huckin' Eh Podcast returns with a full episode. WUC commentator Hannah Pendlebury joins Theo to dicuss Worlds and all three Canadian teams. Get perspective from someone who had boots on the ground in Australia. In the news, Theo talks US regionals and in the second main event, hear about the two university tournaments happening this weekend.

Time to Get Up with the leasts of the East! The Dallas D is so bad Jerry Jones wants you to think it's a good sign - wait until you hear this! And then in Philly - this second verse looks the same as the first - we'll tell you exactly what the fallout will be from a devastating defeat! Plus - has Justin stolen the starting slot in Steeltown? Wait'll you hear how Mike Tomlin is handling this one today!!!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Time to Get Up with the leasts of the East! The Dallas D is so bad Jerry Jones wants you to think it's a good sign - wait until you hear this! And then in Philly - this second verse looks the same as the first - we'll tell you exactly what the fallout will be from a devastating defeat! Plus - has Justin stolen the starting slot in Steeltown? Wait'll you hear how Mike Tomlin is handling this one today!!!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 12 of Fragile Juggernaut turns the lens on the situation and activity of white-collar, professional, and creative workers in the 1930s and 1940s. Together with guests Nikil Saval (state senator from Pennsylvania and author of Cubed: A Secret History of the Workplace) and Shannan Clark (historian at Montclair State University and author of The Making of the American Creative Class: New York's Culture Workers and Twentieth-Century Consumer Capitalism), Alex and Gabe dig in on a few key sectors: office workers, journalists, academics and scientists, and workers in the culture industries—art, film, radio, theater, and publishing. How did the labor movement and the left conceptualize these kinds of workers and what role they might play? What was the relationship between their organization and struggle, on one hand, and the content and function of their work, on the other?Sonically, this episode is a bit of a concept album, interspersed with excerpts from Marc Blitzstein's 1937 musical play The Cradle Will Rock (actually a higher-quality 1964 recording). Inspired stylistically by the plays of Bertolt Brecht and institutionally sponsored by the WPA (until it panicked and backed out), The Cradle Will Rock is set in Steeltown, USA: a sex worker is thrown in jail after refusing a cop free service. There, she meets academics, artists, and journalists who have been arrested in a police mix-up at a steelworkers' rally, which they were monitoring as members of the anti-union Liberty Committee of steel baron Mr. Mister. While these anti-union professionals and creatives wait for Mr. Mister to come clear things up and bail them out, they explain how he recruited them to the Liberty Committee. Also with them in jail is steelworkers' leader Larry Forman, who warns them that the cozy “cradle” where they sit will soon fall.A correction: Gabe says in the episode that the Disney strike was in 1940. In fact, it was in May 1941.Featured music (besides The Cradle Will Rock): “Teacher's Blues” by Pete Seeger.Archival audio credits: “I Want to Be a Secretary,” Coronet Instructional Films (1941); Dan Mahoney Oral History, San Francisco State Labor Archives and Research Center; Oppenheimer (2023); “WPA Helping Theaters All Black Production of Macbeth”; Isom Moseley oral history, Federal Writers Project (1941); Dumbo (1941).Fragile Juggernaut is a Haymarket Originals podcast exploring the history, politics, and strategic lessons of the Congress of Industrial Organizations and the rank and file insurgency that produced it. Support Fragile Juggernaut on Patreon and receive our exclusive bimonthly newsletter, full of additional insights, reading recommendations, and archival materials we've amassed along the way.Buy Ours to Master and to Own, currently 40% off: https://www.haymarketbooks.org/books/366-ours-to-master-and-to-own

Time to Get Up with the beloved game show. Deal or no deal, quarterback version, two of them break the bank, one definitively does not! Meanwhile, is Justin Fields feeling it in Steeltown? The door is open, does he have the stuff to bust on through? And then the story that fans of the Packers are gonna Love. Is Jordan Love about to put the title back in title town? Those are the questions! Learn more about your ad choices. Visit megaphone.fm/adchoices

Will remembers a great member of the Toronto Argos fanbase in Jennifer Mulder, who left the game too soon. The Argos upset the Champs in Montreal, the guys look ahead to the first meeting of the year against the Hamilton Kitty team. Manning exits stage left plus the greatest Fantasy advise you never asked for.

The Today in Manufacturing Podcast is brought to you by the editors of Manufacturing.net and Industrial Equipment News (IEN).This week's episode is brought to you by Oil Eater. Oil Eater cleaners and heavy duty degreaser were specifically designed to replace dangerous solvents and are used by industries throughout the world. The company's “Ultra” concentrated formulas are perfect for light, medium or heavy cleaning and can be used with parts washers, shop floors, equipment and more. For a free sample, visit: IEN.com/oileaterEvery week, we cover the five biggest stories in manufacturing, and the implications they have on the industry moving forward. This week: Sale of U.S. Steel Kicks Up Political Storm, But Pittsburgh Isn't Steeltown USA Anymore Another Fatal Accident at Troubled Tank Cleaning Business Sony Layoffs Signal the Death of Recordable Blu-Ray Southwest Jet in 'Dutch Roll' Incident Was Parked Outside During Severe Storm Automatic Ammo Vending Machines with AI Begin Operating at Grocery Stores In Case You Missed It Dune-Inspired Spacesuit Upgrade Allows Astronauts to Recycle Urine into Water @Demand for Rare Elements Could Help Clean Up Abandoned mines Angry Birds Fight Drones Patrolling for Sharks and Struggling Swimmers on NYC Beaches Please make sure to like, subscribe and share the podcast. And to email the podcast, you can reach any of us at Jeff, Anna, Ben or David @ien.com, with “Email the Podcast” in the subject line. Subscribe to our daily and weekly newsletters.

Send us a Text Message.Embark on a sonic time-travel with the revival of Steel Town Records, as we uncover the stories etched in the grooves of music history. Feel the pulse of the label that once gave rise to legends like the Jackson 5, now rekindled by Kenneth Joseph and his dedicated team. Together, we'll stitch the threads of past triumphs with future dreams, weaving a narrative that reconnects us to the roots of an iconic sound. The episode is a vibrant tapestry, featuring the voices of Kenneth, his dynamic team members Bonita, Britt, and Merv, and those who witnessed the original magic of Steel Town Records.Our conversation illuminates the unsung heroes of an era that defined more than just a generation. Discover the influence of Gordon Keith and Raynard Jones, and the seeds they planted in the Jackson 5 saga, as we converse with Maurice Rodgers and other key figures from the period. As the past's hidden tales unravel, we pay tribute to the legacies that have been overshadowed yet were absolutely essential in sculpting the landscape of music as we know it today.Finally, we spring forward into Steel Town Records Inc.'s present endeavors, diving into the energy of new projects and the search for talents to embody the legends in an upcoming film. We share the buzz around the soundtrack creation, offering a chance for independent artists to resonate with history through their music. We also address the challenges and creative opportunities in independent filmmaking, while inviting listeners to become a part of this rebirth. Join us for this enriching exploration that promises to reignite the spirit of a bygone era through the passionate efforts of those committed to Steel Town Records' enduring legacy.Welcome to The CJ Moneyway Show Podcast! The Podcast Show where we Unlock Potential, One Dream at a Time. Today, we have another guest whose journey is truly worth hearing. Sit back, relax, and enjoy the Moneyway experience. Don't miss out on CJ Moneyway's book, "Both Eyes Open and Both Eyes Shut." And get ready to pre-order his upcoming release, "The Issues of Life," coming soon. Moneyway aiming to inspire! Thank you for listening to The CJ Moneyway Show! Don't forget to share this episode with your friends, leave a comment, and drop a review. Be sure to tune in every Tuesday and Friday for more inspiring journeys. Who knows, your story might be next. Support the Show.The C. J Moneyway Showc.jmoneyway@gmail.comFacebook: Author Corwin JohnsonInstagram: c.j_moneywayYouTube: https://www.youtube.com/@themoneywayshow8493https://podcasts.apple.com/us/podcast/the-c-j-moneyway-show/id1707761906https://open.spotify.com/show/4khDpzlfVZCnyZ7mBuC4U1?si=kNrejibvQH-X3dOpRmu6AAhttps://youtube.com/playlist?list=PLVMwsp-9xLNaTBO4U97He0Ct_HldYbnAp&si=bmlctXwgxJe0cjzdWhether you're an entrepreneur, aspiring author, or just someone looking for a dose of motivation, this episode is packed with valuable insights and actionable advice. Don't forget to subscribe, rate, and review The CJ Moneyway Show on your favorite podcast platform. Your support helps us bring you more amazing guests and content each week! Support this podcast at — https://redcircle.com/the-c-j-moneyway-show/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Take a look back at another week that was in Steel City Football with a recap of the happenings of another busy week with Bryan Anthony Davis in for Dee from Dee Loves Sports on FFSN and The Steel Curtain Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hall of Fame receiver Darren Flutie discusses the BC Lions and his decision to sign with Edmonton, his relationship with quarterback Danny McManus, joining with McManus and Head Coach Ron lancaster to sign with Hamilton in 1998, the 1998 and 1999 Grey Cups, then ending his playing career in Steeltown, joining the CFL on CBC, and his life after football (part two of two) (recorded March 15, 2024). (game audio recordings courtesy CFL on CBC)

Take a look back at a quieter but still active week that was in Steel City Football with a recap of the happenings of another busy week with Dee from Dee Loves Sports and new to FFSN and Steel Curtain Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Emmanuel Baptist Church San Jose, CA www.emmanuelbc.org

There's a popular misconception that the Steelers Receiver Room is sparsely populated. But that's not exactly the case. On a new day and time, Bryan Anthony Davis and Roy Countryman discuss the Steelers moves and the other names of men that will be catching passes from either Russell Wilson or Justin Fields in 2024. BAD Language and Steel Curtain Network are courtesy of the Fans First Sports Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Steelers are at the combine. What else is going down in Steeltown? Take a look back at the week that was in Steel City Football with a recap of the happenings of another busy week with Dee from Dee Loves Sports and new to FFSN and Steel Curtain Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

About 10 years ago, a stranger unwittingly revealed facts about Tom Wilson's adoption, pointing the singer and guitarist with Blackie and the Rodeo Kings towards life-changing truths about his identity.His origins had been hidden from him for more than five decades, even though a sense of not belonging and a recurring dream had made him suspect things were not exactly as they appeared. Growing up in Hamilton, he'd come to think of himself as "a big, puffy, sweaty Irish guy, when I'm actually a pretty big Mohawk guy," Wilson tells cohosts Jessica Vandenberghe and George Lee. "Now I can continue in my life, knowing the blood that runs through me, and that only strengthens my intent creatively," says Wilson, a member of the Kahnawake Mohawk Nation in Quebec.  "My job now is to bring the Mohawk culture into the light, to battle whatever way I can, artistically or with my voice, or through  standing as a land defender, or through starting an Indigenous scholarship, which I did at McMaster—all those ways are fighting colonialism."Find out more about Wilson, his thoughts on Canada, colonialism and identity, and his way of living a Mohawk life in this episode of Unsettled: Journeys in Truth & Conciliation.The Tom Wilson Indigenous Bursary in Honour of Bunny Wilsonhttps://tomwilsononline.com/scholarship/Beautiful Scars: Steeltown Secrets, Mohawk Skywalkers and the Road Homehttps://www.penguinrandomhouse.ca/books/531052/beautiful-scars-by-tom-wilson/9780385685672Beautiful Scars TVO Documentaryhttps://www.tvo.org/video/documentaries/beautiful-scarsThe Art of Tom Wilsonhttps://tomwilsononline.com/art/Kahnawake Mohawk Nationhttp://www.kahnawake.com/Thunder Bay Podcasthttps://www.canadaland.com/shows/thunder-bay/Thunder Bay on Cravehttps://www.crave.ca/en/tv-shows/thunder-baySupport the Show.Join our Facebook community: www.facebook.com/UnsettledJourneys/Check us out on Instagram: https://www.instagram.com/unsettledjourneys/Become a paid subscriber: https://ko-fi.com/unsettledjourneysQuestions, comments, suggestions, offers to volunteer:unsettledjourneys@gmail.com

Ticats kicker Marc Liegghio Legs discusses his re-signing with Hamilton and his excitement to be back in Steel Town. He talks about the passionate fan base and the unique energy of playing in Hamilton. Liegghio also shares his thoughts on the coaching staff, including the familiarity of working with Paul Boudreau.

Auf Paramount+ könnt ihr den Helfern und Helferinnen aus der Serie „SkyMed“ bei heiklen Rettungsmissionen zuschauen. Die True-Crime-Serie „Steeltown Murders“ auf MagentaTV arbeitet Verbrechen der 70er in South Wales auf und auf Freevee gibt es jetzt das Historien-Drama „Die Ausgrabung“. Hier entlang geht's zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/was-laeuft-heute >> Artikel zum Nachlesen: https://detektor.fm/kultur/was-laeuft-heute-skymed-steeltown-murders-die-ausgrabung

Auf Paramount+ könnt ihr den Helfern und Helferinnen aus der Serie „SkyMed“ bei heiklen Rettungsmissionen zuschauen. Die True-Crime-Serie „Steeltown Murders“ auf MagentaTV arbeitet Verbrechen der 70er in South Wales auf und auf Freevee gibt es jetzt das Historien-Drama „Die Ausgrabung“. Hier entlang geht's zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/was-laeuft-heute >> Artikel zum Nachlesen: https://detektor.fm/kultur/was-laeuft-heute-skymed-steeltown-murders-die-ausgrabung

With the Bye Week over, the Steelers refocus on the AFC North and beyond. Join Bryan Anthony Davis on the latest edition of BAD Language from Steel Curtain Network and FFSN. Sign up with MyBookie using our link to receive your welcome bonus → https://mybookie.website/SteelersCurtain Learn more about your ad choices. Visit megaphone.fm/adchoices

The Steeles went down hard in H-Town. Fingers are being pointed, and many are aimed at Matt Canada. But do the Steelers have a bigger problem than the OC? Join SCN's Coach K.T. Smith and Bryan Anthony Davis looking for answers after the 30-6 drubbing in Space City on Sunday. Sign up with MyBookie using our link to receive your welcome bonus → https://mybookie.website/SteelersCurtain Check out HelloFresh today!! http://hellofresh.com/50steel -- Promo Code: 50steel Learn more about your ad choices. Visit megaphone.fm/adchoices

Note: After this episode was recorded, St. FX has withdrawn from taking a CUC Division 1 bid and a second open bid has been given to CEUUC (Easterns). Bids, Bids, Bids! Four Canadian teams have booked their tickets to San Diego! Find out who they are and how they got there in the club regionals recap. Bids also got handed out at Steeltown and CQUUC so get caught up on who is going to CUUC and who just missed out on a bid. Danie and Theo got you covered for all four college regional tournaments happening on the weekend as they preview each and every one!(0:00) Intro(4:38) News(6:51) Club Regionals Recap/North Central Preview(24:23) College Recaps and Regional Previews

Time to book those tickets to San Diego! A total of 14 Canadian teams will be fighting for berths to USAU Nationals this weekend! Find out all you need to know about pools, formats and past results in the regionals mega-preview. BUT that's not all. Theo breaks down the upcoming college tournaments happening this weekend as CUUC bids will be handed out in Hamilton and Sherbrooke. Enjoy the mega-preview as Theo breaks down who are the big time recruits, transfers and departures and which teams he has punching their ticket to Brampton. In the news, Danie talks about the WUC east tryouts and the big GGM tournament that happened in Montreal this past weekend.(0:00) Intro(2:37) News(8:26) USAU Regionals Mega-Preview (28:19) Steeltown and CQUUC Mega-Previews

Bubba O'Neil is joined by Grey Cup Champ Eddie Steele now appearing on Sports 1440 Edmonton and 620 CKRM as part of the Riders' Pregame and Dan Ralph, Sports Reporter and Editor for The Canadian Press to chat about the big stories coming off of Week 15 in the season including Hamilton beating Winnipeg on Saturday, BC pulling off a miraculous comeback against Ottawa, Tre Ford drawing comparisons to a CFL Great and 124 yards gets the Ticats 2 points.

-This episode covers incidents that include domestic abuse, rape and murder-Not to steal Netflix's thunder by capitalising on real life tragedies but this one did happen in Wales and it was in the past so we reckon that falls firmly in our wheelhouse.Hit play and listen to us dip our toes for the first time into the true crime pool by talking about Wales' first recorded serial killer.What did you think? Shall we do more Welsh crime episodes or just shut up and talk about older stuff? Let us know on our socialsFancy donating to the noble cause of spreading Welsh history and supplying us with cans? You can donate here, sweet bambinos.

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

We have poetry on this week's show (yes, really), plus Kay explains (if explanation were needed) why James is a moron and the team ponder the most memorable TV needle drops in recent years. Elsewhere we get our grim on in true crime drama Steeltown Murders on BBC1, have an eye for Patricia Arquette PI in High Desert on Apple, and see if No Escape floats our boat on Paramount+.

Steeltown Murders, with Philip Glenister - The Dublin Dance Festival, Catherine Gaudet - Werner Herzog, German director - Soundwalk, Ellen Reid

The newest member of the Steelers just landed in Steeltown, but how significant of a move is it. Visits are still trickling in but it seems like they are coming to a close. Truth is that the Steelers are kind of in a holding pattern. But not for long. This will be just one of the subjects that will be discussed on the Scho Bro Show, the brotherly love entry of the Steel Curtain Network's family of podcasts. As always, it sure is a good time to get on the airwaves and discuss the black-and-gold. On this show, Dave and Big Bro Scho break down all things Steelers, still talk stats, and also answer questions from fans! Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of Our American Stories, today, Henry Mancini is recognized as one of Hollywood's greatest composers, creating the 'Pink Panther Theme' and 'Moon River' from Breakfast at Tiffany's among other pieces. Lesser known, however, is that Henry's life started in a steel town outside of Pittsburgh, Pennsylvania. Here to tell his story, and the story of their life together, is Henry's wife, Virginia Mancini. Support the show (https://www.ouramericanstories.com/donate)See omnystudio.com/listener for privacy information.

We are LIVE from Row House Cinema for our first ever mystery movie! We put 11 movies on a big ol' wheel, and it landed on a Pittsburgh classic! We're just some Steel Town girls on a Saturday night (really, recorded on a Saturday), and we're revisiting the montages, the leg warmers, the erotic shellfish and the unacceptable power dynamics of this toe-tapping hit! Note: We picked up some static here and there in recording, so you'll here some microphone noise on the recording. Sorry about that!

Date: January 11, 2023Name of podcast: Backstage Pass RadioEpisode title and number:  S4: E1: Tony Carey (Rainbow, Planet P Project, Pat Travers, Joe Cocker) A Musical Magician From Hawkeye Rd.Artist Bio -Tony Carey & Planet P Project Tony Carey first appeared on the international stage in 1975, playing keyboards for Ricthie Blackmore's Rainbow. Carey played on the classic albums ‘Rising' and ‘On Stage', in the Rainbow lineup including Ronnie James Dio, Cozy Powell, Jimmy Bain and Ritchie Blackmore, touring the world for 2 years. A California native, Carey relocated to Germany in 1978 to pursue a solo career. Learning-by-doing, he recorded several instrumental albums, playing the lion's share of the instruments: keyboards, bass, guitars, and drums. He tried his hand at singing in 1980, recording his vocal debut album, ‘In the Absence of the Cat', followed by ‘I Won't be Home Tonight', which was signed by fledgling (and scandal-ridden) label Rocshire Records in Anaheim, California. ‘I Won't Be Home Tonight' was a radio sensation in America in 1982, with the single reaching #8 on the Rock Radio Billboard chart. The prolific young songwriter was in the studio daily between 1978 - 83, recording in different styles.His science fiction - themed ‘Planet P Project' caught the attention of Geffen Records, and the eponymous album containing the single ‘Why Me' was an MTV smash, followed by the album 'Some Tough City', which yielded 2 Top 40 singles in 1984: ‘A Fine, Fine Day' and 'The First Day of Summer'.This was followed by the now-classic ‘Pink World' double pink vinyl release by Planet P Project.A more detailed discography/biography appears here: http://en.wikipedia.org/wiki/Tony_Carey​Hampered by serious illness in 2009, Carey made a full recovery and has spent the last years recording and touring in Europe and Scandinavia. Carey has recorded and released over 40 records, and produced records by John Mayall, Chris Norman, David Knopfler, Joe Cocker, and Peter Maffay (Germany's top-selling rock artist). He has done several film scores and published well over 1,000 songs.​Carey's 2013 release 'Steeltown' (Planet P Project') reflects his love of and appreciation for Norway, thematically exploring the history and struggles of this fascinating country.​2019 marks Carey's 50th Anniversary as a Beat Poet/Still Hippie/Not- Dead- Yet Person, and will be commemorated by the release of 'Lucky Us', his first non- Planet P  Project Record in, well, a very long time - and the re-release of 12 Catalog albums, which include five 'PPP' records, two albums of other folks' songs (Stanislaus County Kid I & II), a Christmas record (!), and a movie-soundtrack-without-a-movie, in addition to 3 solo albums.Sponsor Link:WWW.ECOTRIC.COMBackstage Pass Radio Social Media Handles:Facebook - @backstagepassradiopodcast @randyhulseymusicInstagram - @Backstagepassradio @randyhulseymusicTwitter - @backstagepassPC @rhulseymusicWebsite - backstagepassradio.com and randyhulsey.comArtist Media Handles:Instagram  - https://www.instagram.com/tony_carey_official/Facebook - https://www.facebook.com/teecee68Call to actionWe ask our listeners to like, share, and subscribe to the show and the artist's social media pages. This enables us to continue pushing great content to the consumer. Thank you for being a part of Backstage Pass RadioYour Host,Randy Hulsey 

When the Steelers hosted the Las Vegas Raiders on Christmas Eve at Acrisure Stadium, the real-feel wind chill factor was -10 degrees, but Steeler Nation were fevered. But when George Pickens snagged a beautiful pass from Kenny Pickett to go ahead of Vegas late, when Cam Sutton pulled down the third Derek Carr interception, and when Connor Heyward iced the game with a 21-yard run, Steeler Nation was breathless in the best way possible. Join Bryan Anthony Davis (@btscbad) preaching his own gospel of the hypocycloids on a Victory Monday episode of BAD Language. Learn more about your ad choices. Visit podcastchoices.com/adchoices

ROBOTS, COBOTS AND PHARMA 4.0Robots and cobots,  more and more, are beginning to exert an outsized impact on life-saving and disease-preventing new drug discoveries, medicines, and therapeutics. From drug discovery, to the manufacturing and packaging of new pharmaceuticals, the marriage of AI and robotics has been crucial to the process.In what's now being called Pharma 4.0, a new world is emerging for robots and cobots, and they are proving themselves up to the task, and then some. NEW WORKPLACE LAW: NYC LAW 144UPDATE: NOVEMBER 2022. New workplace law: NYC Law 144, which takes effect in 40 days or less, January 1, 2023. The new law covers the use of AI in hiring and promotions. Businesses in NYC will hire approximately 90,000 people in 2023 and all hiring will have to adhere to Law 144. There are over 200 robotics, AI and automation companies in NYC, which this law will most definitely impact. An adverse impact will have a definite ill-effect on innovation. What can be done, if anything, to avoid trouble?And as with many laws emanating from New York, they have a habit of going nationwide, followed by worldwide implications as well.The details: Confusion Reigns over Approaching New York City AI Bias Audit Law TIME MAGAZINE'S BEST 200 INVENTIONS FOR 2022WHAT'S NEW IN ROBOTICS? Time Magazine is out with its Best 200 Inventions for 2022. It's got 25 separate categories, and robots are everywhere! Robotics,        now quickly integrating with AI, has seeped its way into a vast swarth of technology. And the future forecasts even more! Join us for a look. Read it all here: Robotiq: What's New in Robotics? 18.11.2022HOMAGE TO PITTSBURGH: BACK FROM THE BRINK!The Fall & Rise of Pittsburgh: From Dying Steel Town to Global Robotics Hub. The inspirational story of America's Steel Town collapsing and going bankrupt in the 1980s, and its fight to regain prominence as a great city and world renown as a global robotics hub.Former Pittsburgh Mayor Bill Peduto said that during the 1980s and early 1990s, when every politician was saying how they were going to bring the mills back, there were people in Pittsburgh who were building out an entirely new economy based upon technology and education. “It was not an overnight success; it was 30 years of work!”Join us for this heartwarming Thanksgiving tale of a city refusing to give up. It's become a fan favorite worldwide and an instant holiday classic here at This Is Robotics.Read more: From Dying Steel Town to Global Robotics Hub

For today's THIS DAY ROCKS we're focussing on the number 1 album in the UK on this day in 1984! You'll hear from the bands guitarist who explains how it felt to hit the top spot, knocking off their good friends U2!

By late spring in 1937, the Federal Theater Project was under intense scrutiny for staging what some felt were too many left-leaning labor plays. In Washington, there were rumors funds would be cut. At the same time, Welles and John Houseman were rehearsing a production of The Cradle Will Rock. The play took place in "Steeltown, USA.” It followed the efforts of Larry Foreman to unionize the town's workers. This was to combat the wicked Mister Mister, who controls Steeltown's factory, press, church, and social organizations. Less than three weeks before the play was to open on June 23rd, The WPA shut down the project. Welles went to Washington to argue his case. He failed. Next, he threatened to open the play himself. The government's response was severe. A dozen uniformed guards took over the building. They stood at the front entrance, the box office, and in the alley outside the dressing rooms to ensure no government property was touched. But, John Houseman discovered an out. As U.S. citizens, the actors were free to enter as audience members and rise from their seats to speak their lines, so long as they weren't on stage. The Cradle Will Rock played in the aisles. The next day everyone was fired, but it was front-page news. That summer NBC featured a series of Shakespeare dramas with John Barrymore, while CBS aired Shakespeare adaptations featuring Humphrey Bogart and Leslie Howard. To battle for listeners, Mutual scheduled a seven-week take on Victor Hugo's Les Misérables, hiring Orson Welles to write, direct, and star in the production. Les Misérables debted on Friday, July 23rd, 1937 at 10PM, over WOR in New York. The production also marked the radio debut of the Mercury Theatre troupe. Martin Gabel was Javert. Alice Frost, Fantine. Virginia Nicolson, the adult Cosette, and it also featured soon-to-be radio mainstays like Ray Collins, Everett Sloane, Betty Garde, Hiram Sherman, Frank Readick, Richard Widmark, and Welles' good friend, Agnes Moorehead. From July 23rd through September 3rd, Les Misérables captured public interest. In a press release, Welles referred to the broadcast as a “projection” of what radio could dramatically evolve into. The series had begun solely on the east coast, but audience reaction induced Mutual's officials to give it full coast-to-coast coverage. It cemented Welles as someone who could write, produce, direct, and act for radio.

Welcome to episode #300. Jeff and Elliotte recap the Heritage Classic (4:35), discuss the elephant in the room — Toronto's goaltending (7:20), give credit to the Buffalo Sabres (16:40) and talk about the atmosphere in Hamilton over the weekend.They also touch on — troubles in Vegas (23:30), Dallas not moving John Klingberg and their push for the playoffs, what the latest on Claude Giroux and Colorado (32:20), update on Tomas Hertl (35:55), Vancouver's interest in John Marino (37:05), if Jakob Chychrun's injury complicates Arizona's deadline (40:30), and Jeff's provides us with some pretty big news from the PWHPA (42:45).Lastly, the guys take your emails and voicemails to wrap things up (51;30).Special thanks to Stephanie, Max, Claire, TJ, Brody, Jojo, Joanna and Noah for being so supportive.Music Outro: Holy Hive - RunawaysListen to their self-titled sophomore album on SpotifyThis podcast is produced and mixed by Amil Delic, and hosted by Jeff Marek and Elliotte Friedman.Audio Credits: ESPN, Sportsnet, Vegas Golden Knights, WBNS-FM and WXDX-FM.The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Sports & Media or any affiliates.