Podcasts about universal republic

This Oregon native has toured with John Mayer, Sheryl Crowe and Train.  He's also recorded for Columbia and Universal Republic records over the course of his remarkable career over two decades.

There are plenty of songs about the promise, mystery and darkness of the night. This week, hosts Jim DeRogatis and Greg Kot share some of their favorite songs about night. They also review new releases from The Handsome Family and Lydia Loveless.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Kid Cudi, "Day 'n' Nite (Nightmare)," Man on the Moon: The End of the Day, Dream On, GOOD, Universal Motown, 2009The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967The Handsome Family, "The King of Everthing," Hollow, Loose Music, 2023The Handsome Family, "Skunks," Hollow, Loose Music, 2023The Handsome Family, "Mothballs," Hollow, Loose Music, 2023The Handsome Family, "Good Night," Hollow, Loose Music, 2023Lydia Loveless, "Sex and Money," Nothing's Gonna Stand In My Way Again, Bloodshot, 2023Lydia Loveless, "Toothache," Nothing's Gonna Stand In My Way Again, Bloodshot, 2023Lydia Loveless, "French Restaurant," Nothing's Gonna Stand In My Way Again, Bloodshot, 2023Lydia Loveless, "Summerlong," Nothing's Gonna Stand In My Way Again, Bloodshot, 2023DJ Shadow, "Midnight In a Perfect World," Endtroducing....., Mo' Wax, 1996Ray Charles, "(Night Time Is) The Right Time," (Night Time Is) The Right Time (Single), Atlantic, 1958The Weeknd, "Wicked Games," House of Balloons, Universal Republic, 2011Patti Smith Group, "Because the Night," Easter, Arista, 1978Harry Styles, "Late Night Talking," Harry's House, Columbia, 2022Lucy Dacus, "Night Shift," Historian, Matador, 2018R.E.M., "Nightswimming," Automatic For The People, Warner Bros., 1992Tesla Boy, "Spirit of the Night," The Tesla Boy - EP, Mullet, 2009Paul Simon, "Late In the Evening," One-Trick Pony, Warner Bros., 1980The Police, "Bring On the Night," Reggatta de Blanc, A&M, 1979Bauhaus, "Dark Entries," In the Flat Field, 4AD, 1980Phil Collins, "In the Air Tonight," Face Value, Atlantic, 1981Françoise Hardy, "La nuit est sur la ville," Mon amie la rose, Disques Vogue, 1964Wednesday, "Chosen to Deserve," Rat Saw God, Dead Oceans, 2023See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Everybody's got something to say about Cash Money Records and the brothers who co-founded the label —Bryan “Birdman” Williams and Ronald “Slim” Williams. To paint the full Cash Money full picture, good and bad, I brought on Zack O'Malley Greenberg who has interviewed the brothers at-length while working at Forbes.Cash Money has one of the deepest catalogs in the game with several classics. And unlike some other upstart hip-hop labels, Birdman and Slim maintained control as they rose up. Their 1998 distribution deal with Universal is hip-hop's Louisiana Purchase.But we can't ignore Cash Money's lows either. There is a long, long list of artists who claim they were not compensated fairly by Birdman and Slim.Zack and I go through 30 years of Cash Money as a business, its competitive advantage, and what comes next now that Drake and Wayne are gone from the label. [1:44] Is Cash Money the greatest hip-hop record label of all time?[7:34] What people sleep on about Cash Money[11:01] Cash Money's history of not paying artists [16:52] Did Cash Money succeed because of Birdman and Slim or despite them? [19:29] Biggest signing? [20:29] The 1998 Universal-Cash Money deal [25:31] Lil' Wayne's mixtape run[29:03] The benefit of partnering with Republic Records[31:49] Bidding wars for Lil Wayne, Drake, and Nicki Minaj[33:21] Connection with New Jack City [40:56] Cash Money catalog valuation ?[43:00] Lil Wayne's beef with Birdman [45:48] Can Cash Money strike platinum again? [50:44] Birdman's love for music [56:08] Hopes for a Cash Money reunion tour and biopic [58:24] Who “won” the most in Cash Money's history?Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Zack O'Malley Greenburg, @zogblogEnjoy 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.Transcription[00:00:00] Zack: You know, some of the subsequent deals that they worked out with Universal, you know, maybe some of the deals where they were able to get universal to, to tackle some of the back office stuff. I mean, it's very unsexy, but you know, that's clearly an area where they needed to improve. So, let's say,to give some cash in terms of like higher distribution fee in order to have Universal, you know, cover some of this stuff. It's kinda like a boring, dark horse candidate, but you know, I mean, you could say that, that's probably useful in terms of buttoning things up.[00:00:37] Dan 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.[00:00:57] Dan: All right. Today's episode is all about the one, the only cash money records. I got the one and only Zack Greenberg here who has reported on this company many times before we ran to this company and the business moves they did in our Top 10 Revolutionary list last year. So Zack, welcome back. I'm excited for this one.[00:01:18] Zack: Always good to be here with you, Dan. [00:01:19] Dan: Yeah. So for the folks listening, we are gonna do this in a few ways. We got a bunch of categories here that we're gonna run through, just evaluating Cash Money as a business, some of the highs, some of the lows, and just where they stand overall. But I think it'll be great to kick it off with the question that we often hear from folks is Cash Money, the greatest hip hop record label of all time? What's your point? What's your take?[00:01:44] Zack: How, man, you know, I mean, I think it's sort of like, any of these greatest ever are you talking about, overall body of work or sort of like, you know, The label at its peak. But you know, I think you gotta take it in an overall body of work, you know, type of thing. You know, it's hard to top Def Jam, I think, you know, if you were gonna go with an overall body of work, hip hop, legacy. But, you know, I don't know other than that, I mean, it's hard to say that there's anybody who you'd put above cash money, I'd say. Especially something that is, you know, really artist founded in that same way. I mean, you could talk about Bad Boy, you could talk about Rockefeller. But I think that, you know, Cash Money has staying power. You know, through Drake and Nikki and Lil Wayne and so forth, you know, in a way that, you know, I would argue that a lot of these other labels haven't, and, you know, who else can say that they've had Drake for that long? And I guess he's not there anymore. But man, that was pretty recent development and it's been a pretty great run. So, you know, to go all the way from the early nineties, you know, through basically now being relevant, stacking up all that catalog, you know, it's certainly, if not number one, it's, you know, gotta be top three, if not top two.[00:03:00] Dan: Yeah. So my answer is Def Jam as well, and we'll get to Def Jam in a minute. But, the case for Cash Money is this, and I know a few people have said it. Irv Gotti recently said it. Russell Simmons himself said that Cash Money was the greatest hip hop company that has come through. But the case for cash money, you mentioned it earlier, the fact that they did it while owning the core asset and the music and still doing that moving forward says a lot. Not something that can be said about Def Jam, many of the others that would be even in the conversation. I think even with a newer label at Quality Control, they've still done it while owning it. Well, at least up to this point from some rumors that are happening. But I think that's one case for Def Jam. But then I think of the continued run of success from everything that happened in the nineties from I guess we could start with like juvenile drop in HA in 98 and then pretty much everything from Drake's last Cash Money album, which I believe was Scorpion. So if you're looking just at like that run from everything there, that is such a strong hit rate. And I think that's the thing too that I would give them over Def Jam is the hit rate of who were the artists we signed and what was their likelihood of success and they were just able to do it. Even with the imprints, I mean, I think major record labels. So wrong with so many imprints. I just never worked out and for them to have, whether it's Young Money or even the smaller moments with the best music or with Rich Gain, there was always something there. And even though there was some conflict, and we'll get to that, I think that's the Cash Money case. The Def Jam case though, I think this is where I think of course Def Jam did end up becoming a major record label, so it's a little bit nuanced there, but I do think you have that eighties run Beasties LL Public Enemy. You got the nineties run with all those artists too. Especially looking at what Red Band met the man DMX. I feel like they had New York on Locke and then two thousands, the Rockefeller partner. Murder Inc. The video games, I mean, it's, I know the last decade hasn't been there, but it would be tough to not put Def Jam up top, but I understand if some people would consider Def Jam a major as opposed to, you know, an independent. So, I get the nuance there. [00:05:10] Zack: right, right. And, and being, you know, fully owned by a major as opposed to Cash Money, which really has distribution agreement. You know, and you could look at, you know, I guess Def Jam was sold in chunks, but the total amount that sold for, you'd have to adjust for inflation and stuff. But I wonder how that would stack up against the current value of cash money today, which, you know, it's incredibly driven by the copyrights that they still control and, you know, definitely hundreds of millions of dollars. You know, if you look at, Lil Wayne kind of quietly sold his The Young Money, Cash Money Partnership for a hundred million bucks a couple years ago, that was before the catalog boom, got really crazy and then kind of died down again. So, you know that that's valuing what Birdman and Slim Own, you know, just on the Young Money, Cash Money side of the business, you know, at nine figures. So there's, you know, there's a lot more to the company than that, although that's, you know, that's kind of the gold line. But still, you gotta think that, you know, this is still, you know, sent a million dollar business and, you know, I'd be curious to see what a proper valuation, you know, what it would look like against the total value that Def Jam got, you know, in terms of dollars over the years. But, you know, when you think about who was hottest and what record label was hottest at any particular point, Yeah, I think probably the peak was there was that year that Def Jam was, you know, getting sold or the second half of it was getting sold. And, Lyor basically said to Jay and D M X, like, let's have two albums this year. And, you know, because the valuation is gonna be based on revenues, not earnings. And like, the more you can sell, the more we get. And so, you know, that moment at D M X at his peak, and you know, Jay, I think, I'd say at least at his commercial, you know, record Sales Peak, you know, as an individual artist, you know, that was about as hot as, as it could ever get for, for any record label, I think. [00:07:08] Dan: That's a good point. So I guess if we were to compare Def Jams 98 and 99, like that run to Yeah. Cash Money, and I know there's a few runs you could put in there, but from an overall commercial perspective, it would have to be 0 8, 0 9 20 10, I would probably assume, because you get. Carter three, and then you get, you know, Drake's debut, Nikki's debut. I feel like it would probably be somewhere in there. [00:07:34] Zack: Yeah, that's probably pretty close. I mean, that was a lot, you know, that was a lot of concentration within a couple year period as well. You know, and I think the other thing about Cash Money, that maybe people sleep on to some extent is, you know, just like the efficiency of the label, especially in the early days. And, you know, of course we can get into some of the issues with paying producers and so forth, but, you know, they really had a system and you know, it was going and finding artists that were bubbling up, you know, first in the New Orleans area. I mean, this is in the nineties, and, you know, and then kind of just plugging them into the machine. Right. You know, put them with stable producers in-house, get Manny Fresh on there and, you know, it was not like a, you know, high expense kinda situation. Like maybe you would've seen with Def Jam or, you know, some of the New York, LA labels, it was just like, you know, you know, probably low, low cost, high output. You know, like there's a high margin business, low overhead, you know, it's lean and mean. So I think from, in that regard, Cash Money, you know, it might have been, it might have been the best business, you know, out of any record label. Right. In terms of sort of like efficiency and profitability and stuff like that.[00:08:47] Dan: That's a great point because if you look at that vibe, I think that was the vibe for the South overall. We saw that with no Limit as well, just with in-house production sheep, that production does almost everything and the music videos aren't flashy and the fact that I think they stuck with what they do and what they work with well, and eventually I think collaborations came, but that was something that they were hesitant about as well. Just thinking about juvenile dropping 400 degrees, and I'm going back to that just because that's the first album that comes after that 1998 Universal deal, which we'll talk about soon, but, that album, I'm pretty sure the entire production value for those music videos probably costs less than one of the suits that Puffy and Mace wore in the music videos. or, yeah, Jay-Z's Sunshine Music video, which I know has been talked about for years on end, but that's what the vibe was. There were no Hype Williams music videos coming through Cash Money. Right. At least at that point. I know they came later when Wayne blew up further, but that's what they did. They stuck to what they did and it worked. It worked so well. [00:09:55] Zack: Warren Buffet would love Cash Money. [00:09:59] Dan: Oh yeah. He loves little cost.[00:09:59] Zack: Cash Value. Value, cash value investor. Right. Early cash money would be the Warren Buffet play.[00:10:06] Dan: Yeah, absolutely. Definitely. And the thing is too, you talked about it earlier, just some of this things leading up to the big deal that they had, but even back in those early days, even before the Universal deal, Birdman and Slim, the co-founders of Cash Money Records had a history of legal issues with artists and not paying artists on time. And I actually have a list here, and it's probably an incomplete list, but artists that have had some type of dispute or issue with Cash Money records when it comes to payments. So I have Lil Wayne, Pharrell, Clipse, David Banner, Bangladesh, the producer, at least five or six artists before 1998, Wendy Day, who's not an artist, but one of the attorneys and people that helped make this deal happen. Behi Turk and Shal and Jazz Prince, of course himself. Tiger, Manny Fresh, and I'm sure I'm missing people from that list. [00:11:01] Zack: Yeah, absolutely. I mean, it's a long and storied list of people to have disputes with and, you know, it really is something that goes, you know, hand in hand with success.You can't ignore that history. So, you know, I think it is important to remember some of the context. You know, these guys were coming out of a completely different world. You know, and they were hustlers. They were legit hustlers in New Orleans. And, you know, in doing some reporting, you know, I verified it. I mean, you know, they were the real deal. They moved things over. They went legit. They became record moguls and Bird Man's Case became a rapper himself. And, you know, they were not people who had dealt with, you know, sets of books, right? There was not really necessarily like bookkeeping apparatus in their form of business. So, you know, I think there was an adjustment period that, you know, let's say perhaps went on for too long in terms of, you know, getting things papered up and straightened out. But, you know, I wrote a big story on them in 2019 for Forbes, where I went down to Miami and spent some time with Birdman and Slim. I talked to their lawyers a lot. I talked to Wendy Day. Spend some time in the studio with them and you know, I mean, everybody of course has, if you ask people in the Cash Money camp, they're gonna have their side of the story. If you ask whoever they're having the dispute with, you know, they're gonna have their side of the story too. And you know, obviously when there's smoke, there's fire, there's a hell of a lot of smoke when it comes to not getting paid on time. But… [00:12:29] Dan: What would you say is the Cash Money side of the story, though? The Cash Money is this it?[00:12:33] Zack: They, you know, started out as people who had not had formal training in business, doing business with a lot of other people who had not had formal training in business, who were represented by people who had not had formal training in business. And so when you go back to some of these early documents, it was not properly papered over on either side. And so there's a lot of question over, you know, who owns what, you know, I don't know that anybody who was involved in some of those early deals really, you know, had a full grasp of sort of, you know, music copyright and publishing and, and master recordings and all that. I mean, you know, it's not like an intuitive business, you know, it's like, wait, what? There's two writes to every song. They've like, there's a publishing and a recorded music. It's separate. How does that work? So I think a lot of that was, you know, kind of like if you go back the nineties and early nineties, especially when they're getting started, you know, before the Universal deal there was just really like, you know, I would imagine a lot of handshake deals, a lot of just, you know, kind of like, let's see how, how it goes sort of stuff. A lot of, you know, here we're gonna give you a bag of cash and you do you give us this beat or you give us a verse or whatever. So, you know, it makes sense to me that it might not be papered up properly. But, you know, the fact that that's continued, you know, so far into the future, you know, that's another story. So, you know, what they did say was that, you know, after, and we can talk more about this Universal deal, but after the Universal deal started and then, you know, as it continued to evolve, you know, to where Universal got an even bigger cut of, you know, distribution fee or like an even bigger distribution fee than it had signed up for in the beginning. Universal took on more and more of sort of the back office function. And so, you know, some of the more recent stuff is, you know, a little bit more papered up properly. So that's the Cash Money side. But, you know, it's funny, I mean, when I did this story and I reached out to all these folks, you know, what I got was like a no comment, which says to me that, you know, things have been settled up and they kind of don't want to get into it anymore. Right. Or maybe there was an NDA involved. But yeah, a lot, a lot of smoke. A lot of smoke in that area, for sure. [00:14:42] Dan: Yeah, the NDAs are key. I remember there was one of the people that I had mentioned earlier that I was going to have on the podcast of Trapital, the interview timing didn't work out, but that was one of the first things they said. If you have any questions for us about Birdman and his relationship with this artist or anything like that. No, we're not answering it. And I was just like, all right, noted. Like, and I feel like that's kind of RANE with a lot of this, but I think they and Birdman and Slim specifically in an odd way. It wasn't even just to them alone. I feel like there was this ethos of, you could almost put Suge Knight into this same category as well, but these people that were cut throat with business folks that they were doing major deals with, whether it was Suge Knight with the folks at Interscope or Birdman with Universal, I'm like, Hey, I'm gonna take what's mine. And rightfully so. They kept ownership over what worked for them and they did that, but they kept that same energy with a lot of the people that like worked with them on the other side too. And that's the piece of it that while it was frustrating to see there are actually some other sides of this too, because even the fact that I think we can get into it in a little bit, but just some of the artists, they were able to sign how they went about that. As frustrating as it was about them not paying artists, like there not every aspect of the business was and is predatory. So that's one thing that you know started to come up more and more as once you get past the salacious parts of the details and stuff, you're like, okay, no and no different than why you went down there to report them. Right. There is nuance and there are a number of things to dive into. For sure, for sure. So shifting here, one of the other things that I've thought about, we talked a little bit about what set Cash Money apart. We talked a bunch about the backstory and the bad rep, but the next thing up here is about Cash Money itself and whether or not you think that it succeeded cause of Birdman and Slim or it succeeded despite them. So thinking about this hypothetical world, if it even is possible, other folks that would've had this label in their hands and what things would've looked like, what's your take there? If we're really isolating them as business leaders.[00:16:52] Zack: I absolutely think it succeeded because of them. I mean, did they get in their own way some of the time? Absolutely. But I think, you know, anybody who can run a business that goes from like the early nineties in an informal economy, you know, in like the Louisiana area to being this global thing, to this day that is still, you know, very much at the forefront of an industry. I mean, you know, like they gotta be doing something right. You know, 30 plus years on the staying relevant and, you know, from like the early days Hot Boys to like the late nineties and, you know, remember Big Timers and Oh yeah. Still flying, all that, you know, heyday as we were alluding to, and sort of like the late s apparently, you know, 2010s, you know, of Cash Money, Young Money with Nikki and Drake and Wayne. Even coming through to, you know, to you to say Scorp. I mean, that's a really long run of relevance and you know, have that, I mean, yeah, like I said, they gotta be doing something [00:17:53] Dan: Right. Yeah. I think it's because of them too. I will. Because as much as there are issues, and we've talked about a lot of them here, There's so much of this that would've succeeded with folks, other folks in charge, because there are a lot of record labels from the South that tried to do what Cash Money did as well. And a lot of them came and then most of them went. And the fact that we're having this conversation and not having it about them is part of it. And a lot of those record labels had talented people as well, but things just didn't carry over. They may have taken, you know, a bigger deal to get more money upfront, but then the hypothetical is, let's say it was in the hands of someone else that wouldn't have been able to push it forward, then it becomes part of the Island Def Jam conglomerate and then just kind of gets mixed and mixed. And then it becomes one of the many labels that you hear about where it's like, oh yeah, whatever happened to this one or that one. And I think it took what could have been easily, because there would've been enough meat on the bone if we just talked about Cash Money from the early nineties up until, let's say the mid two thousands. Right. And I think that's, inflection point that we can talk about in a little bit. Even that itself was a great run itself. And then you look at the second half of the career from like the mid two thousands on, that's a whole other historic record label. They have two of those under the same house. I think it's because of them and as much as it can be frustrating to hear and see and, you know, unlikely there's some critical things. But let's jump into that now though, because I think one of the questions we have here is the biggest signing that this record label has had. What do you think is the biggest signing for Cash Money?[00:19:29] Zack: Oh man. You know, I think probably easy answer is Drake, but you know, I would actually say Lil Wayne because if you don't have Wayne, I don't think the Drake thing happens, you know, and really Lil Wayne from such a young age going all the way back to the hot boys and, and you know, coming through. All those Carter albums, you know, like he's the backbone of this whole operation, you know, musically, sonically. And I think without him you don't get everything else that comes along. What do you think?[00:19:58] Dan: Yeah, it's Wayne too. That's who I have. I know that Drake is the highest commercial artist. If you were to look at all of the numbers and I think without him, the past decade would've looked very different. But we would still be having this conversation in some form. Likely if it wasn't for the past decade of Drake, it may be a bit more truncated. But we may not be having this conversation at all if it wasn't for Wayne. So I think it has to be Wayne there. What do you think is the best business move for Cash Money?[00:20:29] Zack: You know, I'm gonna go back to that first deal that they struck with Universal. I was in the early nineties at Wendy Day, who he mentioned earlier. It was sort of like a go be who helped, you know, really get them, you know, kind of set up properly with this deal. But you know, they negotiated it and they wouldn't take anything less than something that they felt was an incredible deal. And, I remember the story that Slim told me as they went in, they sat down some mid-level executive at Universal and low-balled them to straight up buy half the company. And so he and Birdman just got up to leave. Then Doug Morris walks in and he was the head of Universal at the time. Comes in with another colleague, Mel Lo winter and Slim members, you know, Doug saying, Hey, if I were you, I wouldn't sell my company. He comes in and offers him 30 million advance just for the privilege of doing business. And, what does Universal get a 7% distribution fee, which is not a lot. So kind of almost doesn't make sense from Universal's perspective unless you think about it in terms of market share. Market share is so important when you're the biggest record label because there are all these great things that happen when you have the most market share. There are all kinds of rights that are assigned based on market share. Like anytime there's, you know, a mislabeled song that gets played or gets spun,and this happens a lot, the metadata in music is a disaster. So if, you know, there are these huge pops of sort of like unresolved money and you know, what they eventually do is they get resolved down by market sharing. So if you're Universal, you know, you get the land share of that and there's a lot of other things, a lot of other places where calculations are done based on market share. You can also brag and say that you're the biggest stuff like that. So, you know, certainly it was worth it for Universal to come in and especially, you know, you think about at the time, You know, hip hop was still at a nascent stage and particularly hip hop in the South was like, not even really on the map for Universal to be able to come in and have this connection was really great for them. But, yeah, I mean, what a great deal. 30 million bucks. You don't have to give up anything. You just give, you know, just give a distribution fee and frankly, you would want your stuff to be distributed by this, you know, enormous record label anyway, so that you could expand and get bigger and better. So I think hands down, that's it. You know, that didn't stop, that there were rumors, you know, that they were even bootlegging their own music, like out the back or wherever, so that they didn't have to pay the 7%. But I, you know, I don't know. I mean, that's that talk about, you know, efficient business. But, you know, I think you go back to that deal that kind of laid the groundwork. Cause if they had given up half of their company way back then, I mean, you see what happened, Jay-Z he up, you know, a huge chunk of Rockefeller early on and. And I think was never really that incentivized, you know, to make that his main thing anymore because, you know, he'd given up such a big chunk early on.[00:23:29] Dan: Yeah, it's one of the best deals we've seen in music and one of the best deals we've seen in hip hop over the past 30 years without question. And the fact that they were able to get everything you mentioned, plus 2 million advance for three years. They kept ownership of the Masters too. And that's the thing that, as we talked about, Birdman and Slim are still collecting on that year after year. So it's up there. It's incredible. And I know that there were other labels that tried to do the same, but just couldn't. I think part of the reason is that this goes back to them focusing odd, what works for them. They had a unique sound. Universal saw this as their entryway to the south in an authentic way because back then, you know, the south was still vying for dominance. And I know that, you know, things were happening at LaFace, but this was different. The New Orleans sound was different from what was happening in Atlanta at the moment. And this gave you an entry path into that. So it was big time. [00:24:27] Zack: Yeah, yeah, yeah. And, I think, you know, also 30 million back then, I mean, probably more like 50, 60 million when you talk about inflation. But you know, I would, to our earlier point, you know, did Cash Money succeed? You know, or despite Slim and Birdman, you know, that's situation where, you know, obviously I wasn't there and there wasn't a video of it, but, you know, when you sit down with Slim and Birdman, like you can get the sense that it would be tough to negotiate with that.You know? I mean, Slim's sitting there, he's like 10 feet tall. He doesn't really talk very much, you know, and Birdman, he can get pretty loquacious, but like, uh, he, you know, when he wants to, you know, be kind of stone based, you know, I mean, he can, he can have a great poker face. So I think, you know, if you're some executive, you're going in and you're trying to get them to sell, and they have really no incentive to sell, and they're sitting. Just like, Nope, we're good. You know? I think that that leads you to offer them some crazy deal, like the one that Universal offered and so I really would chocolate up to some very good negotiating, on their part as well. [00:25:31] Dan: Yeah. You need to be able to negotiate to pull off hip hop's Louisiana purchase. Got to at least one half. Absolutely. At least one half of it. Yeah. So, yeah. The other thing that I did have was a dark horse move and a move that doesn't get talked about as much, and as much as that move does get focused on the one dark horse that I did have is the, well, I guess too, but let me focus on this one. I would say that the mixtape strategy that they had with Lil Wayne in the mid to late two thousands, even though cash money had ownership of the music, even though this, I think that worked so well. One of the questions that we have is just how well did this company record label transition from different stages of music, whether it was from the CD era, ringtones or ringtones, to streaming it, Cash Money knocked it out of the park. With each of their albums sold, especially when they did this deal at the height of the CD era, when the music industry was struggling in the mid two thousands and they were trying to get people to buy CDs. They were just like, Hey, let's give away the music for free. And Wayne was rapping over other beats. He was in his bag more than anyone, and from dedications to Drought, all of those, just so many classics in there that I think real Hip Hop fans and folks that were following Wayne were following even more so than the next album. So all of that speaks. Lil Wayne being able to sell over a million albums in the first week when the Carter three drops in 2008, which is still a very tough time for CD sales to even happen. So that whole run and just the thought to do that. And granted, I think some of this may have been a bit more on Lil Wayne's push himself, especially because at that point he had his own young money imprint. But all of this is happening and you know, Birdman and Slim had a problem with it. They could have said no. But I think the fact that they leaned into the change that was happening, you already saw what 50 Cent did with his mixtapes in the mid two thousands. You get drama, you get the other folks in the south to be able to help make this happen. And I think it worked out well for them.[00:27:34] Zack: Yeah, absolutely. That's a really good point too. So, you know, I mean, I guess when you have a label that has been that successful, that long, Yeah, there should be a couple different options for what the best move was. Yeah, I like that as a sleeper pick. [00:27:47] Dan: Yeah. And Lollipop is the best selling ringtone of all time too. over 5 million ringtones sold, and I mean, ringtones, were selling for like three bucks each to that point. So I mean 15 million just from folks wanting to, you know, have, you know, that little jingle on there, Motorola razors or whatever the hell people were using at that point. But, what was your dark horse? Oh [00:28:10] Zack: Oh man, that's a really good question. I don't know. I mean, I guess it was just so clearly the Universal deal to me. But, you know, and Drake wouldn't really be considered a dark horse candidate, I guess you could say. As time went on, you know, some of the subsequent deals that they worked out with Universal, you know, maybe some of the deals where they were able to get Universal to tackle some of the back office stuff. I mean, it's very unsexy, but you know, that's clearly an area where they needed to improve. So, let's say,to give us some cash in terms of like higher distribution fee in order to have Universal, you know, cover some of this stuff. It's kinda like a boring, dark horse candidate. But you know, I mean, you could say that that's probably useful in terms of buttoning things up and you know, there was a lot of smoke, like we said, but you know, nothing ever, like the house never burned down. So, you know, maybe, maybe those kinds of arrangements really kind of help prevent something like that from happening.[00:29:03] Dan: And I think that back office piece also just makes me think about the broader partnership and the expertise that they were able to lean on. And a question that I actually didn't explore, but now I'm thinking more about it, is how different do we think that the Universal partnership would've been, let's say Cash Money had partnered with another label under the Universal umbrella? Because obviously part of this is very close. There was Universal Republic at the time and they've been hand in hand working with Monte and Avery Lipman ever since, and they are two of the most highly regarded executives in the game that have now being, year after year after year, the label with the number one market share. And part of that is because of Cash Money itself, but it's also because of all the other stars, even outside of that label, they have been able to bring it to, as opposed to many of the other labels in the Universal Umbrella or the umbrella of Universal Music group labels that have not had that consistency. So I also think there's a dynamic there where, let's say there's another world where cash money was under capital or cash money was under some of these other labels that have struggled to stay relevant, what that would've looked like.[00:30:10] Zack: Yeah. I mean, I think if you, if you kind of need to go back to Def Jam, you know, some of the back and forth that Def Jam has had over the years. It gives you an idea of, or even as like a top label, the kind of trials and tribulations you might go under. But you know, when you're coming in, you know, going directly to Doug Morris, you know that that gives you a lot of leeway, a lot of leverage. You got that line straight to the top. And, you know, even with somebody like Jay, it took him, it wasn't until, you know, I don't know, when he was dealing directly with Doug Morris, when Doug, this is, I think around the time of Blueprint three, and Jay had that line. I gave Doug a grip. I lost the flip for five stacks. He could have the album. They bet 10 million on a coin flip and like, you know, one way or the other. So, you know, but Birdman we're doing that like, you know, 15 years earlier, having that kind of direct line. So, you know, again, I think going straight to serve them incredibly well.[00:31:09] Dan: Definitely. Yeah. Another, another piece too. So, two other, like sonically three other dark horse candidates, I'll bring 'em, but they're all under the same thing, was Bird Man's ability to win bid wars and win huge bidding wars, I think is an underrated piece of this record label. So I'll bring up three of them. First one, go back to 2004. So this is around the time thatCarter came out and Wayne was considering to leave Def Jam, and this was around the time that Jay-Z had just became president and Jay-Z pushed hard, make that happen and couldn't leave cash money for Def Jam. That was the thought, right?[00:31:43] Zack: Yeah. Yeah. Carter boys, and there were all these, you know, kind of …[00:31:49] Dan: Yeah, they're trying to push the whole Carter board thing and yeah, Birdman was like, all right, come through. I'll give you your own imprint and you are the president of that imprint and let's continue this thing. And that obviously sets up young money and then the next 15 years after that, right. So he does that. Yeah. And I think that's huge because then that sets the stage for the bidding war for Drake, because Drake drops so far gone beginning of 2009. And this is like, you know, everyone is trying to, it's like when Yaba sweepstakes we're seeing in the NBA right now everyone wants this person and everyone is going after them. I mean, truly Greenwall Lior, everyone was trying to get 'em. And it was that connection that Drake had with Cortez, Brian and Jay Prince Ja Prince and that whole crew that I think eventually helped keep him on the cash money roster there. So that was a huge one. And I think we saw something similar with Nicki Minaj as well. A couple months later. Everyone wanted her to beat me up. Scotty the mixtapes were hot and he and Wayne, Wayne was like, no, I want her to be the, the first lady of the label. That was the whole thing in the two thousands, right? Everyone wanted to have the first lady. You saw it in the nineties, right? But like everyone wanted to declare and elevate this person and rightfully so, but like that's who we had. And then we obviously saw the beginning and the middle part of that next decade. Just go on one of the all-time runs. So Bird Band's ability to win against the biggest people in the industry for record label that his men, you know, his brother own is really impressive for sure.[00:33:21] Zack: And you know, it served Lil Wayne well in the end because Young Money became something that he was able to sell for, you know, about a hundred million dollars for his stake later on too. So, you know, keeping that ownership as opposed to just chasing the biggest advance time and time again we see in hip hop. You know, it's so important. But, you know, I was thinking the other night, it is funny, like everyone has watched New Jack City, and it had been ages, ages, ages. And if they reminded me, I mean, how much of the whole Young Money, Cash Money situation is modeled after elements of that movie. I mean, even just like, The name Cash Money or C M B Y M C M B. The shirts, like the shirts, are incredibly similar that, you know, a lot of the lines, even the Carter, you know, the albums are named. I mean, the Carter was the building, you know, where Wesley Stein's character was like running this whole operation you know, that's kind of like another interesting element to the whole, you know, to the whole narrative. Like, you know, these guys coming out of Louisiana, you know, had their eyes up on this very New York kind of, you know, almost role model, for a business. And, you know, they had been hustlers. They were kind of modeling themselves after these, you know, fictional hustlers in New York and, you know, and then in a way out hustled sort of like the New York record label establishment. So I thought that was kind of an interesting, you know, little side bit of color to the whole story. And, like a bit of irony as well, you know, when you talk about, South versus, New York kind of situation too. [00:34:59] Dan: And I think that also speaks to some of that mentality too, because here you have Birdman that was getting inspiration from a black crime movie. And I think a lot of the ways of him doing business are very much central on, okay, I wanna support and uplift the black community, do what I can here and grid. And I think, you know, part of how he was able to do that has, you know, been quite controversial just with certain artists he's had on. Yeah. But still, I think that ethos stems back from ownership in trying to keep things in-house as much as you can. And it took them a lot to even partner with other artists from other parts of the countries and stuff like that, that I think you saw with Dino Brown and how he was in that movie and how he carried versus I think someone like Jay-Z who record label Rockefeller named after one of the great white business magnets that you had in this country. Right. And so many Jay-Z bars, whether it's Black Axl, Rose Black, Kirk Cobain called me this. I feel like, you know, people always get on Kanye for some of that. Like always trying to like be okay. I'm, you know, the black version of whatever X person. But I think Jay-Z, you know, also had a lot of that too. And then I think also looking at his business mentality, a lot of his success came from his huge and lucrative partnerships with established companies in this space. So the inspiration I think also became kind of telltale sign for the type of businesses these types of folks ended up creating too. [00:36:23] Zack: Yeah. And you know, I mean, you know, brown was a really ruthless character. And you know, I think there's like the money and the success that's glamorized. But you know, it's a gritty movie. I mean it seems like he is not a likable guy in the end. You know, without giving too much of the plot, I'm sure everybody's seen it, but like, I was like, wow. Yeah. I don't know if I'd be wanting to model myself after this dude. You know, he's pretty brutal. But, you know, even on the, you know, kind of the lighter side, there's a scene where he's like giving out turkeys at Thanksgiving. Yep. And you know, the Cash Money guys always give out turkeys in New Orleans at Thanksgiving and I wonder if they got that directly from the movie. You know, cuz so many of you know, from the Carter. You know, the c n b kind of, kind of like whole, you know, ethos there. I wonder how much of that they just pulled directly from the movie, so…[00:37:16] Dan: Oh, yeah. I could definitely see that mentality too. And speaking about it, you know, full circle. I could also see Birdman having a bit of that cancel that bitch mentality too, in short situations.[00:37:28] Zack: Right, right, right, right. Exactly. So, yeah, I mean, and they won't talk about that part of it, the interviews maybe, but you kind of get the sense of like that's where the negotiation and the cash element of the Cash Money comes in. Yeah. [00:37:42] Dan: The aita literally held people over the balcony of a building to get what he wanted. Right. Yeah. Yeah. A lot of that came through to fruition. But next category up here. So missed opportunity. Is there anything that you look at that you're like, man, obviously it's an overall successful company. Is there anything you look back on about what if they did this differently or what if they did that differently?[00:38:02] Zack: I think the number one thing I wonder is what if they had sold the whole thing, you know? A year and a half ago, could they have gotten just an insane multiple? I mean, you know, you're seeing like Springsteen staying and all these guys getting hundreds of millions of dollars for their catalogs. So, you know, I get it. And there's, you know, catalogs, hip hop catalogs are valued differently from rock catalogs. And also one of the benefits of rock catalogs is they're usually, you know, written and owned by, you know, all the rights are with the band. There's not like a million different producers coming in. It's not as complicated. So like, you know, they can sell the whole thing, you know, a hundred percent of the rights and you don't have to, you know, it's not like you're just buying like, you know, I don't know, 30% of this and 50% of that and whatever. It's, it's not this complex web, let's say there may not be as many things that haven't been papered over as there were with Cash Money, but man, you know, there were some pretty insane, numbers flying around and I really wonder if, you know, if they had, been applying some of, you know, 20 or 30 x multiple. To whatever they were pulling in, you know, which is, you know, they can just sit there and make, you know, tens of millions of dollars a year, just off of this catalog. I mean, so what would the market have been if they had went and sold the whole thing at the peak of the catalog? Boom. That's what I really wonder. [00:39:21] Dan: That's a good one. So I guess some high level back of the envelope math on that. So let's say that the peak of the catalog boom was like December, 2020 maybe, and then like, you know, into the spring of 2021 and we definitely saw some 30 x multiples there and at least the last public number I saw, and I think you had this in one of your latest articles as well, but that Cash Money's Masters generated around 30 million annually, or 20 to 30 million. Was that the number?[00:39:49] Zack: Yeah, I think it was at least 30. And you know, cuz Bird, like most of hey Birdman, you know, has been making like close to 20 million a year, for a while, give or take. And you know, most of that is just, you know, the catalog. So yeah, I mean that's just his cut. And then if you figure you double that for Slim, yeah, probably, you know, it was around 30, 35, something like that, so, you know. Yeah. I mean, are they gonna get a 30 x value even at the peak? I don't think so because just hip hop wasn't getting that kind of valuation. I don't really understand that because everybody's like, oh, rock and roll music gonna stand the test of time. It's like if you ask the average 20 year old who Bruce Springsteen is, they're not gonna know. I mean, so I would argue that hip hop is actually gonna be more valuable down the line. But just the valuation, you know, that's not what people have been paying for. So even at the peak, you know, I, I don't know that I saw any valuations anywhere near 30. I think Kanye was shopping his catalog at one point and wanted a 30 x multiple, but, you know, didn't get any bites. So I think it comes down to like, yeah, what kind of multiple could they actually have gotten? [00:40:56] Dan: Yeah, because even more recently, so yeah, we're recording this now. January, 2023, there was a report that just came out about Dr. Dre selling a collection of music assets that I believe are worth different multiples. But the number that I heard from that was, They generate around 10 million per year and that he wanted 250 and he's getting just over 200 million or somewhere between that. So that's around a 20 x multiple for a deal. That sounds like it was still coming underway in 2022. So if you were to put that multiple on, let's call it 35 million for maybe what Birdman and Slim have collectively, then that is you're talking $700 million. So that's a pretty sizable number, not a billion. But maybe if there are some concerns about, maybe there's a bit more of a split of who owns what. We didn't even talk about publishing right now, but there may be a split too, especially if everything was captured. and even thinking about quality control, for instance, and I think they got around 400 million, 300, got 400 million, but this was last year. So I would assume that 500 to 750 sounds, if I heard a number there, I would be like, sounds about right. If I heard a number lower than that or higher than that, I would probably be surprised one way or the other. [00:42:15] Zack: Yeah. Yeah, I mean I think that makes sense. And it's not just one artist, you know, obviously it's a whole bunch of artists and a bunch of pieces of different artists. But I think another thing, and this is maybe one of the reasons why the hip-hop valuations are lower, is like when you have all those producers, it might not be as easy to get, you know, to get clearances for using stuff in commercials and that sort of thing. Whereas if you buy a hundred percent of the rights, there's no question. Right. And so I'm not even sure if somebody owned 1% of, of something, whatever. Like I don't think they would have some, like, veto right. About the song being played in a commercial. But, you know, when you start to have so many different parties owning bigger stakes, a particular song, it can get a little convoluted and, you know, I do wonder if that's a big part of it as well.[00:43:00] Dan: Yeah, no, that's a good point. Yeah. Cuz I think sampling also is a huge piece of that as well. The missed opportunity for me, this is a bit more of a specific one from like a timeframe, not like a specific move, but Birdman and Little Wayne not settling and squashing the beef, the issues that they had in the mid 2010s. I think we lost out on Wayne. I know Wayne was in prison during part of this, but we lost out on his momentum. We lost out on a lot there because I feel like a lot happened from the Carter four coming out in 2011 to the Carter five coming out in 2018. I believe. There was so much back and forth. There was so much drama. You know, Drake was going on his all time run at that point. Nicki was doing the same. And the fact that the signature biggest artist is literally tweeting out, I want off this label, but it's not that easy. Or sending these messages out in the middle of Wayne and Drake having their tours and him still being on albums and trying to figure out how to drop things.I think it was obviously a great decade in run, but I think it could have been even greater if they were able to solve some of that stuff and figure it out. [00:44:11] Zack: Yeah, a hundred percent, you know, that that was like, it's a long time to be going between, proper albums, you know, so, and I think that was a really interesting time in the music business. And, I mean, the music business changed completely right from, from 2011 to 2018 from being, you know, oh, this new streaming thing is gonna be important to like, you know, it is the entire business basically. So, you know, and I think that an artist like Wayne, you know, as somebody whose music translates really well to, you know, to that medium. And, you know, as we know, hip hop is a monster on streaming and, you know, tends to do really well. So I would've been really curious to see if he had been able to continue that momentum, you know, just how much bigger he could have gotten in that period of time too.[00:44:57] Dan: Yeah, definitely. The next piece we add too, I think we talked a little bit about this just in terms of how did the label handle the transitions? And I think you just mentioned it there. They were able to do a lot of it well, especially the mixed day piece and the ring toes. And then I think a lot of it laid the work for streaming and Drake is streaming, did a lot of that, the Cash Money labels. So I think that worked. But this next question is interesting though, because it's been around three years, I think it's been at least three years since you did your deep story, the Forbes cover story on Cash Money, where you went down and interviewed them. And then I know it's been four years since I had written a piece around the time that Drake had completed Scorpion and we knew that it was going to be, or at least I thought the future may be bleak. And I think the question that you pose into the piece was, can they strike platinum again? It's been three years since now. What do you think? [00:45:48] Zack: You know, I don't know. I mean, the rules for platinum, like what constitutes platinum have changed so much that, you know, all it takes is, you get, you know, one hot signing and they do really well on streaming and suddenly you have a platinum whatever. And, you know, it's like, okay, I think that, you know, Drake is gone. Wayne is gone. When I went down there, they were really big on blue face and Jack Reese, you know, I don't know what either of them are turning out to be like, I mean anywhere near Drake, Nikki, Wayne, et cetera. Jack Reese is the king of R&B though, right? That was the whole thing too. So what I'm gonna go with, no, I don't think they will begin Drake Platinum. But I would caveat that by saying it doesn't matter because they can just sit back, and collect these checks. And that's gonna happen. That'll happen even if, you know Drake and Nikki and Wayne retire. I mean, their back catalog stuff is still gonna be a gold mine. And you know, when I was down there, what they said was that they're forever in business with Drake. But they wouldn't get more specific. And so what I took that to mean was, you know, at the time, you know, he was kind of an ex extra kidding himself. But even once he's gone, they're still sitting on these, you know, their share of the copyrights that will be, you know, Drake is a streaming king and they have a big piece of that. So, yeah. Do I think they'll strike platinum again? You know, probably not, but I don't really think it matters. I don't think so, what are they gonna do? Like what are they gonna do? They're gonna sit back and collect those checks. Yeah. [00:47:26] Dan: Yeah. I came to the same spot as well. I guess platinum in the purest sense of having a chart hit. Sure. There could be a legacy hit that gets, you know, some viral thing on TikTok and then that becomes a hit. Like, I don't know, I don't know if I like slow motion singles, like juvenile when platinum, but I feel like that's the type of song I could see go viral and some TikTok thing and then bring new, that's one of my cat favorite Cash Money songs. And I feel like I could see something like that happen. But I feel like you were kind of posing it more so in the moment of looking at these runs of like late two thousand, late nineties, early two thousands, that Cash Money is like a platinum moment or mid two thousands. Wayne's mixtape ran late two thousands, early 2010 or to mid 2010s. Young Money rises to the highest of heights. I don't think we'll see that moment again. And it's crazy cuz I think there's times where maybe things could have happened. You had the rich gang moment where he looked like he was so close with Young Thug. And I feel like especially in 2014, people expected Thug to go on to that superstar level and still be very successful. But I think that the stock for Thug at that moment was a little higher than it may be actually reached. And I think some of Thug's proteges kind of reached the heights that we thought Thug would've reached at one point, just in terms of a commercial success perspective. But it just never quite happened. But again, they own this. It's not like they missed some opportunity. This is something that is literally generating tens of millions per year and that's not changing anytime soon.[00:48:54] Zack: Yeah, yeah. Absolutely. So, you know, it's funny, they have, I guess just to sort of like switch gears a tiny bit, but you know, last moment when they said when Birdman and some said they're forever in business with Drake. It wasn't in Miami, but I met with them for some follow-up questions in New York. and they have, like within Universal's building in Midtown, they have a Cash Money conference route. Like there are actually these, I mean I don't think it's diamond play, but the door handles are giant dollar signs, like the Cash Money logo. And, and it looks like they're diamonds in the dollar sign and whatever it is. But, you open up the thing and you go in and there's like all these plaques on the wall and it's just a conference room that's always there. And it's sort of like their designated conference room when they, when they cut the tat. And I remember, yeah, we sat down in that conference room and I really tried to press them on the Drake thing. And I mean, if you dig up the Forbes story, we did a video too. And there's this great kind of tense moment where I'm like really kind of pushing them about it and they're like, we're forever in this with Drake. And like, that's it. And it's clear that's all you're gonna get out of that. But, you know, so, in terms of striking platinum again, yeah, I mean, I could almost envision a scenario where Drake like does the Super Bowl and he plays some, you know, catalog hit that never went platinum. And just purely by the exposure of people hearing it be like, oh man, listen that again, it just suddenly goes platinum again. You know, or for the first time. But yeah, short of that, I know I'm gonna agree with you. I think probably not again, but that it doesn't matter anyway. [00:50:32] Dan: Yeah. So we have a couple questions left here. This one, and I think it's maybe similar to the fourth you're bringing up, but if you were in Birdman and Slim's shoes today, is there anything that you would be doing differently?[00:50:44] Zack: You know what, I think I go back to that question of like, would you sell the whole thing? Especially if the prospects are kind of dimming a bit and, you know, it's like, I don't know though. I mean, you know, it's like if you're getting up there in age, like would you sell you, you know, you got this great house that you bought, you know, you got this great penthouse apartment in New York that you bought. For like, you know, a hundred thousand dollars in, you know, 1982. And, you could probably get, you know, I don't know, 10 million bucks for it. And then you could just like rent and do whatever you want and you know, for the rest of your life. But like, you don't really need the money. Like, you're fine as it is, like you sell it. Like what would you even do with the money that you got? You really love living in that apartment. Maybe you just stay. And I think that's kind of the point. Like, just remember being in the studio with Birdman and he doesn't need to be doing this. Like, he doesn't need to be running around with Jack in Miami trying to make him the, the king of r&b or whatever. But he truly loves it. Like you, you can tell that he's passionate about it and. After the interview was over, and I wish I had this on tape, but we're just like a dozen of us sitting there in the room. And, Birdman, he goes, Zack, why do people think I'm scary? And I remember he said, he was like, really pointy moment. He's like, I'm respectful. You know, I'm not a clown. I don't turn tables over. I don't scream and yell. I'm respectful. Why are people so afraid of me? And I thought for a minute and I said, you know, as like, look man, like, to be honest, I think the base tattoos really are kind of like off putting some people who are not used to that sort of thing. And, he was like, yeah, I've been thinking of getting them removed. You know, I think it'd be better for business. So, you know, it's like there's still this element of, you know, even though he's made it and he's got everything he wants, there's still this part of him that came from a different world. That, you know, he's kind of like still stuck between two worlds, between the world that he came up in and the world that he can afford to live in. And, I think, you know, where he feels at his best is in the studio. So why would you sell that whole thing? Why would you, you know, I mean, why would you kind of give that up? And I think Slim likes it too. And you know, they have this really funny relationship and, you know, Birdman's in the studio and Slim does live the business. And that's kind of the breakdown of it. And I just remember, like after this interview, you know, after leaving the studio, I went and we were all supposed to have dinner together and I went off with Slim and we waited for like a half an hour in the parking lot for Birdman. And he just never showed up. And then we went to dinner and he just never showed up. And it's cuz he wanted to stay in.He just stayed in the studio all freaking night. Cuz that's what he really loves. So, yeah, I guess it's a long way of saying, what would I do if I were them? I mean, you know, probably like the financial advisor advice would be. Sell this big thing and then you're totally set for the rest of your life. But you know, if it's throwing off enough, more than enough money, tens of millions of dollars every year for you to live on, what's the point? You know, why not just do that and do what makes you happy?[00:53:59] Dan: I think that's a piece that often gets for guys and understands what some of this stuff is, that some people really just love the craft. It makes me think too about someone like Martin Scorsese or Steven Spielberg and these directors that are now in their seventies or eighties, they're not doing these movies to try to make more money. Well, granted, yes, I think they're bought into the financial success. They want fair terms. But this is what they enjoy doing. They've been doing it since they were kids and they wanna just find outlets to be able to do this in the best way possible. And I think the same could be said about Birdman of wanting to be in the studio and just wanting to have that energy. And if you sell that, then what do you do? I think especially for someone like him that's stuck to the thing that he does well. And you know, like he isn't out here like Jay-Z trying to be mogul in the sense of having different things. I mean, there's a mogul aspect in terms of media ownership, but not in the sense of like, yes, I own this, I do this, I do that as well. Sure. Maybe there's some smaller things that are in the, you know, new Orleans or, or the Louisiana area, but not in that same way. So I do think that speaks a lot to that. [00:55:06] Zack: Yeah. And I think they have dabbled in other stuff for sure. And you know, real estate, and I think there was some period of time where they had like some oil rigs or something like that.They had a vodka called G T V. They were trying to really build up Y M C M B as like, as a clothing line type of thing, rather than just merch. But, you know, none of that really kind of like ever went viral in the way that any of their artists did. So, you know, and maybe because it was that they just didn't have the passion for it that they have for music. Like that example of Birdman. So, you know, Jay clearly has the passion for the business. He clearly has the passion for, you know, doing the champagne thing or, you know, doing the VC thing. And you can tell cuz he's out there doing it. He's doing it cuz he loves it, and he makes money. But, I think it's hard for something to do well if you aren't truly passionate. Because consumers can kind of see through that. And also, you're not gonna go the extra mile for something if you don't truly care about it either. Definitely. [00:56:08] Dan: Definitely. And mine is a little different. And this may be more so from a selfish perspective of what I would do, but that's part of the question, right? Yeah. As someone that is such a fan of the vibe and the culture that they were able to create, I want to be able to relive that in different ways. I wish that Birdman and the team could patch things up and there could be a true Cash Money reunion tour that goes across the country. I know there's been different things here or there, but the same way that Didat did the Big Bad Boy Arena tour in 2016. I wanna be able to see that. I'd love to be able to do that. And I also wanna see a music biopic and the same style and the same budget and energy of Straight Outta Compton. I would love to see that about the Cash Money story. And to be honest, I feel like, I know there's a lot of energy around these biopics, but like I may be biased because it's the genre I like since Street Outta Compton came out, I just haven't seen one that's, you know, as good as that. And sometimes it's a bit frustrating when I see movies like Bohemian Rhapsody or Elvis, which I think they're fine, but I don't think they're as good as Straight Outta Compton and they're getting all these awards and stuff. And it makes me think that okay, I don&#

Forming in 2002, Anberlin released their sophomore record Never Take Friendship Personal in 2005, garnering praise for its ample hooks, sweeping melodies and accessible sheen. Eventually the band would go on to be signed by major label Universal Republic, experiencing significantly improved record sales, radio play and bigger touring opportunities, but it is Never Take Friendship Personal that represents Anberlin's time in the scene the best. Horsell Common were a 3-piece rock band from Melbourne, Victoria releasing their one and only full length record The Rescue in 2007, before calling it a day in 2010. The Rescue features high octane tracks like Good From Afar, delicate duets like Annie, If You're Listening and a guest feature by Anberlin's Stephen Christian on I'm Dead. The Rescue remains a criminally underrated release, by a criminally underrated band - owing in part to their untimely demise. Follow us on Instagram and Listen to our Companion Playlist --- Send in a voice message: https://anchor.fm/violenceandsunshine/message

Javier Colón is an American singer-songwriter and musician. He is best known as the winner of the inaugural season of the U.S. television show on NBC, The Voice, receiving $100,000 and signing a recording contract with Universal Republic Records. Javier Colon eventually decided to part ways with Universal Republic. He has referred to his style of music as being "acoustic soul." He was a member of EmcQ and The Derek Trucks Band, and worked with many musicians before going solo. From 2002 to 2006, he was signed to Capitol Records, known as artist Javier. In 2006, however, the contract was terminated and Javier Colon became an independent artist with his own label, Javier Colon Music. In 2014, Javier signed with Concord Music Group and released his fourth album, Gravity in 2016. We discuss his journey to The Voice, life during the pandemic and how golf is the key to success. Follow Javier Colón on Social Media Instagram, TikTok & Facebook @javiercolonmusic Episode brought to you by Duke Cannon Supply Co. www.dukecannon.com Promo Code: BBWEXAPRIL for 10% off. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/wexappeal/support

Joey is an Entrepreneur who creates Custom Theme Music and Creative Consults/edits for 7+ Figure Businesses. He went from having a record deal through Universal Republic, doing a nationwide tour with Bone Thugs N Harmony, made it to Hollywood, but quitting it all to follow his calling in life and starting his own business in his back yard. He went from making music just for himself to creating theme music for the world's most prominent entrepreneurs! And this week, you better believe it, that this week he is coming to the show to put his melody to your message!

What if you were 16 years old and a semi-finalist on a worldwide phenomenon?Xenia was on Season 1 of The Voice, back in 2011 when we weren't sure if this show was going to make it or not.Xenia was able to parlay her success into a record deal with Universal Republic and has continued to evolve since that time.What most folks spend a lifetime trying to achieve Xenia was able to do early in life, but what lessons did she learn, how does she quantify her success, and what happened After the Encore?Check out this bonus episode for Volume 2: This is The Voice ft. Xenia.Volume 2: This is The Voice explores stories from artists who competed on the tv show. We chart how they got to the show, what their experience was like on the show, and where their career has gone since then.After the Encore is a long-form, career retrospective podcast that takes you behind the music of some of your favorite artists. After the Encore is also a "2020 Music Podcast of the Year" award nominee over at PodcastAwards.comIf you enjoy the music be sure to go follow the official spotify playlist for Volume 2: This is The Voice here - https://spoti.fi/3iIkpWE'After the Encore' is powered by Roberts Media Group. For more programming and advertisement opportunities, please visit www.robertsmediagroup.co

In our 29th episode, we're joined by rapper Spose. In addition to rapping, Spose also runs his own record label - P Dank. We dig into Spose's music path —- starting as an indie artist, making the transition to a major label (Universal Republic), and then back to indie with P Dank. Spose has always been one to push the envelope — releasing an album within a video game app, writing and recording an album in 24 hours (with a full band), and many others. This conversation underscores Spose's ability to continue to move the needle in an industry where creatives are often held back by the machine. All of this has manifested into more than 200,000 monthly listeners on Spotify (you read that right....listeners!) This was a kick ass conversation that we really enjoyed. (On this episode: (0:00) Episode and guest introduction. (2:36) Interview with Spose starts. (77:15) Post interview thoughts and reaction to the episode).

How do you find purpose in your pain, and turn it into your passion? Joey YAK is an Entrepreneur who puts his melody to your message. Joey creates Custom Theme Music and Creative Consults for 6+7 Figure Businesses to create brand awareness and strategic direct response selling. Before Joey packaged his passion and presented it as a product he was on a nationwide tour with Bone Thugs N Harmony and had a record deal through Universal Republic. Recently Joey became Director of Organic Marketing for Garrett J White & Wake Up Warrior for 2019 to create their media department. Here are a few key secrets we talked about in this episode: Joey shares how he traded in Hollywood and fame for his family and entrepreneurship How rock bottom and humble beginnings turned Joey into a “dealer of hope” How Joey prevented rejection by taking action, being patient and always providing value FIRST Why you need to stop “pitching from your pocket” and get comfortable asking for the money you deserve How treating your cubicle like your corporation will help you find success, no matter what you do or where you work The huge opportunity Joey said NO to that ultimately led him to his purpose and his vision The one thing you should do right now if you’re struggling or unhappy in your work or business Joey shares the one thing he would tell his younger self. If you are ready to get in touch with who you really are and find your passion and purpose, this episode is for you!   Connect with Joey: Instagram LinkedIn Facebook Special thanks goes out to Joey for taking the time to chat! Enjoy, and thank you for listening and tuning into Success Unfiltered! To share your thoughts: Email The Pitch Queen @ hello@thepitchqueen.com Ask a question over at www.ThePitchQueen.com Share Success Unfiltered on Twitter, Facebook, Instagram, & LinkedIn  To help the show out: Please leave an honest review on iTunes. Your ratings and reviews really help and I read each one. Subscribe to the show on iTunes.   Music produced by Deejay-O  www.iamdeejayo.com

Shan Dan Horan  graduated with a degree in Marketing, with an emphasis on Commercial Advertisement he moved to Chicago Illinois to work for a Michigan Ave marketing company. During his employment he worked on Campaigns for Barack Obama to International Fortune 500 companies. After working on multi-million dollar corporate marketing world, Shan Dan decided to get back in touch with the music industry.Working with/at labels such as Century Media records, Sony BMG, Universal Republic, Nuclear Blast, to name just a few. He has Solidified himself as an expert in his field with his outside the box marketing approach earning a slew of awards, magazine features, and work published in hard cover publications.

Joey Yak asked me how I was doing mentally after a career transition. I let him know that no one else had even asked me that, it meant a lot. He then hit me back with 3 powerful Facebook Messenger audio clips that lifted me out of a dark funk I was in. I share those clips for you here in this episode, in hopes, it will impact your life as much as it did mine. Joey Yak is a creative consultant who creates custom theme music and video for entrepreneurs to increase brand awareness and Revenue. Before Joey became a branding consultant, he was on a nationwide tour with Bone Thugs N Harmony and had a record deal through Universal Republic. Joey Yak has done theme music for Grant Cardone, Billy Gene, Ryan Stewman, Zachary Babcock, and many more. sponsored by StratoSaaSALL THINGS TELESALES WEBSITE ► AllThingsTelesales.comLINKEDIN ► https://www.linkedin.com/company/64255888/FACEBOOK ►https://www.facebook.com/allthingstelesales/YOUTUBE ►https://www.youtube.com/channel/UCRQ98JUE1Mm3K9ez2DOxVhw/FOLLOW JAKE LYNNLINKEDIN ► https://www.linkedin.com/in/jakelynndotcom/FOLLOW JOEY YAKFacebook► https://www.facebook.com/joeyyak/Instagram► https://www.instagram.com/joey.yakLinkedIn► https://www.linkedin.com/in/joey-yak-a7375b141/Support the show (http://www.allthingstelesales.com)

Platinum selling R&B singer Adrian Marcelhit the Billboard charts in 2014 with the anthem, “2AM” featuring Sage The Gemini. The single has sold over 1 million copies with over 68 million views of the music video. In 2017, Adrian released his debut album, “G.M.F.U. (Got Me F**d Up)”. The critically acclaimed project was followed by interviews with Charlamagne Tha God & The Breakfast Club as well as a feature on VIBE. Adrian has captivated audiences worldwide with his stage presence. Beloved internationally, Adrian performed throughout Australia, New Zealand and Fijiin 2018.  Following the virality of his new single, “Slow Burn”, Adrian was invited to be a special guest during the Oakland stop of the wildly successful, “Millennium Tour” which featured B2K, Pretty Ricky, Bobby V, and more. In addition to being a singer/songwriter, Adrian is also a talented actor. His immense versatility garnered him a leading role in the film, “The Bobby DeBarge Story” which aired on TV One in June. Taking heed from his experiences when signed to Universal Republic, Adrian decided to be fully independent for his second album, “98th”and form his own record label, “Third Voice Music Group”. Released in May 2019, Adrian ventured into production as the project’s executive producer. 

We are celebrating our 100th Episode by bringing you portions of the best podcasts selected by the FCM Team. Stacey, X, Jerricho, Logan, and Seth are all interviewed regarding their favorite FCMS episode and share why that guest was the most memorable for them. We want to thank all of our listeners for their continued support. We will return all new and all fresh on Monday, March 26th with our MADE IT IN MUSIC Podcast.————————————Episode 100Full Circle Music Show– Hi, I'm Seth Mosley from Full Circle Music, and man am I excited, this is episode 100 of our Full Circle Music Show podcast, and not only that, the day that we're making a massive announcement. And what is that announcement? It's that we are re-branding. Yes, we're changing the format, the title, everything of our podcast to make it even more packed with value, for free, for you guys. And the new title, drum roll please, is the Made It in Music Podcast, by Full Circle Music. It's resources for music makers just like you who wanna go full-time in music, and stay in. So I just wanted to do something a little special on this episode to go along with the announcement of the Made It in Music Podcast, episode 100, and what we're doing this week is we're bringing you a best of episode. We picked our very favorite moments from the Full Circle Music Show and broke down just some really key points, things that we think you would get a lot out of, things that we personally got a lot out of. I'm Seth Mosley, thank you so much for listening. Here with Stacey Willbur, VP of publishing and A&R here at Full Circle Music. Man, I loved that you picked the Ginny Owens episode, 'cause it was one of my favorite not only podcast episodes, but what a lot of people who're maybe gonna go back and listen to this clip don't realize is that it was recorded at one of our Full Circle Academy songwriter retreats. And man, if I haven't told you already, the people that you have relationships with that you've been able to bring in to pour into our students is just absolutely incredible. So Ginny was one of those, she was at our last one, and I feel like I probably got more feedback on her than a lot of speakers that come in. That's where this podcast was recorded at. So what stood out to you about that, what made you pick that as your favorite moment?– Well, it was my favorite moment because, obviously 'cause we were there, we were actually in the moment, it was an experience. It was Ginny talking about very simple things, three key elements of songwriting. But what I loved about it is that she weaved her own story into all three of those elements. I loved hearing her story wrapped up into all of that.– Yeah, she talked about it being, something that I had not heard, and I think you said the same thing, that she compares songwriting to being a journey with a friend.– A journey with a friend, that was like an a-ha moment, I think, for so many, because I don't think everybody looks at it that way. It's a job, it's this, but as a friend, and the closer you get to a friend, you get to know each other, you get to know their hearts, you get to know their stories, and the same thing with songwriting. The more you spend time… Writing every day, getting to know your craft, understanding the different elements of songwriting, the better you become and the better you know yourself as a songwriter.– Yeah, and she talks about how it is a sought after treasure, too, I thought that was such a cool way to put it. What did she mean by that?– Well, it was interesting 'cause she said it was a sought after treasure pursued by an enemy. Which, the enemy, as she describes, are distractions. The distractions in your life that keep you from doing the thing that you love doing. So what are those things and how do you keep those distractions from keeping you from doing what God's plan and purpose is for your life, which is songwriting.– Yeah, and I think, man, she just… There's podcast episodes that we've done that I feel like I just kinda wish I had like a notepad the whole time, 'cause she just kinda drops quote after quote after quote, and one thing that you shared with me, that I totally agree with is that good is the enemy of great, and perfection is the enemy of creativity. That was, I thought that was brilliant when she said that.– Yeah, and I think, especially in this industry, we hear a lot of, oh, that's a good song, that's a good song, that's a good song. And we tend to leave it there, and we don't encourage each other to strive for the great. I think striving for the great is harder. ‘Cause it takes going back and rewriting, it takes time and effort. The good is, yeah, this is good, you know. But the great, I think, is you dig it in a little deeper. And she really shares that in the podcast, she shares the struggles that she went through as an artist. And just in her life personally to get to that point.– Yeah, so good. Well I'm really glad you picked it 'cause it's one of my favorite moments too.– Awesome.– Here's a clip from Ginny Owens on the Full Circle Music Show live from the Full Circle Academy songwriter's retreat.– [Ginny] I want to offer, just based on my experience as a songwriter over the past billion years, I wanna offer three key elements of a life of endless songwriting bliss. So three key elements to maintaining a songwriting life. So the first one is, songwriting is a journey with a friend. Show up every day so that you can go a little further together. Songwriting is an art form. The more you know the rules and master the skill, the freer you will be to let your heart guide the process. And, songwriting is a sought after treasure guarded by an enemy. In order to capture it, you must fight every day of your life. Listening, like, two different types of listening that I call active and passive listening. So, I really love pop music, so active listening for me is like, when I work out in the mornings, just rolling the Apple, new Apple, like whatever, pop playlist, or what they're playing at Apple List or Spotify, you know, playlist, and learning. What are they doing in the songs that you're hearing that you like? How are they creating hooks? What do the rhythm things sound like that they're doing. Things like, Chainsmokers came along and they sort of created this chorus, where you don't have to soar up in the top, you just do this, like, ♪ Baby hold me closer in the backseat — ♪ I probably shouldn't be singing that at the Christian — But you know, it's just this tiny little space of a chorus. So there are trends that you start to see as you listen to music. If you're a songwriter-ish type person, more of a James Taylor type person, then you can listen to current people that do that, like James Bay or John Mayer. Hear what they're doing, sort of study their technique. But the other thing is passive listening. And what I guess I mean by that is falling in love with music. One of the things I've recently discovered about myself is that I'm too busy thinking about… Analyzing songs, and I actually need to go fall in love with music again, 'cause it's just too easy to be critical. And so what I've learned is, probably the easiest way to do this, which is not something that streaming really lends itself towards, but to go get people's albums. And just listen to the full album and continue to immerse myself in it, and be patient. ‘Cause I'm sure, maybe some of you guys are like this too, I'm so impatient. I'll listen to half a song and then I flip to the next song. That does not create and inspire love for music. I think those things are key for deepening our skillsets, growing our skillsets, educating ourselves. And then there's another aspect, just as we talk about kind of this skill of songwriting. It's really simple, but I think it's really important, especially for new writers, and I kind of call it the accessibility scale. So on one end you have the more cerebral, the more personal kind of songs. Those are the songs you write for your grandma, or your brother, or a wedding. And then on the other end are the more super-commercial songs. So like, Bon Iver is super cerebral. Taylor, super commercial. Andrew Peterson is pretty cerebral. Tomlin, Jordan Feliz, super commercial. And so the more cerebral a song is, the more it's kinda written to please the writer. So most of those things fall kind of more in the middle, they're not generally purely one or the other. But the more cerebral, form matters less, it's kinda in the writer's head, and obviously the more commercial a song is, the more singable it is, the more melodic, the more many people can kinda follow what you're doing. You gotta know the difference. If you wanna write commercial, study it, learn the techniques, listen to the Full Circle podcast every week, because there's an art to expressing yourself that way. But if you're gonna write about family, if you're gonna write something super personal, don't let that out for critique, 'cause you don't want to hurt yourself in that way. You know what I mean? Protect the things that are really personal to you. And the more you kind of know the skill and the art of songwriting, the more you're gonna know how to do that. Skill, taking the journey, ultimately helps with our biggest challenge as songwriters, which is fighting for your songwriting. And if you don't believe me, I bet you do. Everybody probably believes that it's a fight. Songwriting is a treasure that's guarded by an enemy. And so in order to capture it, you must fight every day of your life. Not to be all dark and wage war-ish, but, we gotta wage some war. The hardest part of songwriting is what? Songwriting. You know, you always got something else to do. Or there's always a voice in your head that says not to do it. And I promise, lest you think it only happens to new writers I have this happen every day. I've just finally learned, oh, this is part of it. This is what I'm gonna fight every day. And especially when you've been doing it a long time, you can kinda even get more in your head, 'cause you're like, what if I don't know how to do anything current? So if you give up, then the enemy will win. So what exactly is the enemy? I do like how Kevin Pressfield, who wrote the Legend of Bagger Vance, but he has a book called The War of Art which I would highly recommend you all read. There's some swearing, but read it anyway. But he calls the enemy resistance. And he says any act that entails commitment of the heart is a reason for resistance. In other words, any act that rejects immediate gratification in favor of long term growth, health, or integrity, or any act that derives from our higher nature instead of our lower, will elicit resistance. Resistance cannot be seen, touched, heard, or smelled, but it can be felt. And the more important – get this. The more important a call or action is to our soul's evolution, the more resistance we will feel toward pursuing it. Ouch. And resistance takes all different forms. Sometimes it's you, right? It's the lack of discipline. That's what it is for me, a lot. I just wanna do all the other fun things. And I wanna think about songwriting, really I do. But, maybe I'll get to it. That's why scheduling is so key. And there are voices in your head, and that's why scheduling and showing up every day is so key. It diminishes the voices, I promise you. Sometimes it's 'cause you got a eat, and so you gotta work. So that's also why finding that time every week and putting it on a calendar can be so awesome to do. Another key in fighting resistance is knowing the people who are in your space. Knowing the people who are awesome and can hold you accountable, like probably some folks you've met here, and learning the people who are not safe for you to play music for. Another way to protect what you're writing, and who the safe people are not, when you're fighting resistance. Now, for those of us who are believers, who are people of faith, we know there is a deeper resistance from an enemy that is full-on against you. And especially when it comes to pursuing a gift that God has given you to inspire others.– X O'Connor. I love it, we're here in the studio on this exciting day, episode 100.– 100.– Recapping some of our favorite moments from the Full Circle Music show, and… Tyler Bryant.– Tyler Byant, man.– Good choice.– Man, my favorite, dude, we sat down with him, I remember it was kind of last minute, I got a call early in the morning like, hey, I think we're gonna do some Tyler Byrant interview today. So I remember driving down, and I was super pumped, I'd loosely known him from being in bands around Nashville and I was like, I love this dude's music, I'm excited to talk to this guy. And to sit down with him, he's a young kid, you know, and he's just got his head on in a way that very few other artist, songwriters, any musical person does, he just realizes that hard work comes above all else, everything in life. And this guy, his band is successful, but not necessarily at radio. No real radio number ones, no nothing like that, but he plays hundred thousand seat venues. It's like, that blows my mind. And to just hear him speak about hard work. No one's gonna work harder for you than you're gonna work for yourself, so take every opportunity that you've got and just make something out of it.– Yeah, I love it, and I think he even shared in the episode something about, they do a lot in Europe.– Yeah.– And I think a fan, they were playing somewhere in Spain and a fan had like, tooken a night train like across…– Across the continent, literally.– The entire continent to get there, and they were so pumped about it. And you can just tell that when an artist is engaged, and the fans can tell that you really care, as the artist, they're gonna care.– Yeah, absolutely, and… that was something that he also spoke about a lot in this interview is relationship building. Not just with the people around you, but with the fans. The fans can feel that level of commitment that you have to them. But then on the business side, too. They've been around labels and all that stuff a lot, and I just love the mentality of, be honest with the people you're with. Even if it's a hard conversation to have with somebody, the honesty is gonna preserve that relationship in the future. I think he talked about them leaving their label to kind of go out on their own, and the conversation he had with the label after the fact, like, hey, you guys are still always on the list at a Shakedown show, come out any time, you guys worked hard for us, just, it's time for us to go do something else. And I love that mentality.– Yeah, and we went and saw them in Nashville at… Was it 12th?– 3rd and Lindsley.– 3rd and Lindsley, which is a really cool venue. And it was one of the best live shows I think I've ever seen.– Yeah, they go for it. It's so tight, but it's just raw rock and roll. It was a fun night, I hadn't been to a show like that in a while.– No click tracks.– No click, it's just guys on stage just going for it, rock and rolling. I loved it, man, it was so much fun to just sit there and just, be like, yep, these guys own it. This is great.– Inspiring.– Inspiring, for sure.– Well here's a clip from the Full Circle Music show episode with Tyler Bryant of Tyler Bryant and the Shakedown.– [Tyler] We've talked about it a little bit, but I come from a blues background, I learned to play from an old bluesman in Texas. Even as a kid, I was offered a record deal, and it was like, we're gonna set you up with other kids and we're gonna start a band, and I was like, no, man, I just wanna play the blues. I wanna make, like, I remember Lyric Street records gave me a little $10,000 check to go make some recordings. I think they were legitimately upset when I handed them back like three Freddie King covers that I had made. You know, it's like, what did you expect, man? And I still kinda have that mentality where, I don't know if you guys ever have dove into this on your show, I'm sure you have, 'cause it's something that I feel like a lot of artists struggle with. It's mixing art, something that really moves you, and commerce. Let's eat and let's survive, and so all we try to do in our band is have a little bit of both, you know?– [X] Yeah, yeah. So touring has been your bread and butter. Let's just talk about that, how do you get invited out on a AC/DC or Guns ‘n Roses Tour without radio, without big number one chart topping songs?– [Tyler] It's hard to say, honestly. I think one, you gotta believe in what you're doing, you have to be convicted every time you put on a guitar. Whether it's in a writing room, whether it's in a coffee shop. That's what, you know, I have kids ask me at our shows who have bands, like, how do you get on these tours, how do you get these shows going? And it's like, you literally play every show you get offered. Whenever I was starting out, I had a fake email account. And I was the band's manager, my name was like Sarah, or something like this, and I represented, this was before the Shakedown, I represented Tyler Bryant.– [X] What's the Spinal Tap manager?– [Tyler] Yeah, and it would, there was another time where it's like, I literally called the box office of the House of Blues. This is when I was younger, I called them every single day until they finally told one of the booking agents, this guy won't stop calling, he wants to play. And he called me and was like, dude, you can't call the box office and book a show. And I was like, but, can you book me?– [X] Yeah– [Tyler] And he's like send me some recordings. So I sent him some recordings and some videos and he put my band on for Dickie Betts. And then I called the Dallas morning news, and I was like, my band's playing, opening up for Dickie Betts of the Allman Brothers, I think you should come film it and do a story. And they did, and it's that kind of hustle that I think is, what I've learned that we have to do because it's, any time we've waited on someone else to do something for us we fall short, and so it's, I think those, it's funny because we were at CAA, the booking agency for a long time, and they did great things for us, and after about a year and a half of not touring as much as we'd like, we thought, let's make a change, let's move agencies. But we had such a good relationship with our agent that he'd become family, it's a guy named John Huie. And so we left. We were on the road supporting Billy Gibbons from ZZ Top and I get a call from Huie going, he's just like, I love you guys and I wanted to know if it would be okay if I pitched you for the AC/DC world tour. And, of course we said yes, but this is someone who's not our agent. So that's where… Maintaining relationships, and always shooting people straight, and even if it's a tough conversation going, like, I think we have to move somewhere else, because we're not getting the love here. They kill it with country acts out of Nashville, and I'm sure that the rock department does great, too. We just weren't getting the love that we needed. Because maybe what we were doing didn't move them there, but I think even when a relationship has to stop, it doesn't – professionally, it doesn't have to stop emotionally and I think that's, you know. We're all from the South and believe in Southern hospitality and shooting people straight even when it's a tough conversation, and I think that's helped benefit our band.– [X] Well I love that, because there's so many bands that we come across that are just constantly complaining about their teams. They're like, my label's not doing this, my manager's not doing this, we don't have our publisher getting songs on sync, our publicist is not scheduling – it's just excuses and complaining about people not doing stuff for them. And what I'm hearing you say is like, screw that, do it yourself.– [Tyler] Oh yeah, absolutely. We just made our own record, and I called a few of the people from Universal Republic after we got out of our deal, and it was sort of an, I think both parties were like, this isn't really working for us. We weren't giving them what they need to do what they do best, and they were like, you guys just aren't setting yourself up to win. But I talked to a few people from the label who were like, wait, you guys aren't with us anymore? It's like hey, listen, you're always on the guest list at a Shakedown show, you guys come out, thanks for putting in the work, man. Because it's hard to find people to work for you, and it's hard to find people who will work as hard as you will, so you have to do it yourself. Or at least, even like when it comes to making music videos or setting up photo shoots, or finding the direction. I feel like that has to come from the artist, because I feel like a lot of artists fall short when they're waiting on someone else to show them the direction.– Here at Full Circle Music studios with Jericho Scroggins.– Hey, hey.– Thanks for being on the show today, buddy.– Thank you for having me.– I love the clip that you picked, it was a Michael W. Smith interview, it was honestly one of my favorite ones to do. Why don't you talk just a little bit about what stood out to you from that, and why people should go back and listen to it?– Yeah. The initial part of it is how he was talking about the start of his career, and even how that's when he got married with Debbie, that was like in '81. So when the Amy Grant thing and all that kind of stuff, it was a very busy time for his career. And so they saw a bunch of marriages around that time falling apart. And so he does think it's hard for people to tour 200, 250 shows a year and keep a healthy marriage. So it was super cool to hear how he… One thing I didn't know about Michael and his career was, he was never away from his family more than two weeks. And it was just, like, mind-blowing to me thinking about that, just knowing his career and that kind of stuff. And so just how he goes through and talks about the priorities of that. You do have a career, but you also have family, and making sure they know where priorities lie and stuff like that, and his family always came above his career.– Yeah, and we get to interview a lot of super achievers on the show, so it's always cool to see that, you know what, they've not only got their stuff together on a career level, 'cause obviously Michael W. Smith's the top of the top, but he was really good about keeping accountability in place, as well.– Right. Yeah, that was definitely another part of it that I really liked, because, it's not only, like, when you go out and do your thing and that kind of stuff, still keeping a good group of, a team around you, that makes sure you're still doing what you're supposed to be doing. Whether it's heart-wise, faith-wise, even mind-wise, you know what I mean? Like making sure it's, even having them help him keep accountable to making sure he makes it home every two weeks. Or being a servant on the road, and things like that.– Yeah, and another really cool thing that I think you mentioned was this idea about talking to the younger you. What did you mean by that?– Yeah, there's this cool part where, it's the giving the advice to the younger you part. And it really stood out to me when he said, if I could tell the younger me, I would say it's not about you. And what he means by that is like, just earlier on realizing… Yeah, you're given these gifts and stuff like that, but realistically the gifts help other people, it's being a servant, making sure you're using the gifts for the right reason. Everybody wants to be successful, but it's like, how you wanna be successful dictates a different way in the way you look at it, and that kind of stuff, and that's his thing. Earlier on he looked at it a little bit differently, like, how many CDs does he sell, how good was the merch and that kind of stuff, and he realized pretty early on after that, he's like, it's not about that. It's not about you. Is he reaching the lives, is he reaching other people, and I think that goes across anything we do. The stuff we work on, even we don't go out there and tour with it, but it's still putting in the 100%, because at the end of the day, it's not about me.– That's right.– It's about that.– Yeah, that's good. Well here is a clip from our Full Circle Music Show episode with Michael W. Smith.– [Seth] Thinking back over all the years being an artist I think one of the things that I struggle with and a lot of young artists, or writers, or producers struggle with is the whole balance of being a creative versus being a good family man. How have you found balance over the years to kinda keep all of that together, what's the secret for that?– [Michael] Well, we made the rule, Deb and I, when this thing started really taking off, in the Amy thing, and then did the Friends tour, Big Picture tour, we started having children.– [Seth] So you were married early.– [Michael] I got married in '81 to Deb, so it'll be 35 years this year.– [Seth] Congratulations.– Thank you.– That's amazing.– [Michael] She's awesome. But we knew, I think we probably really knew, probably when I did the Lead Me On tour, which was… Probably the most successful, other than the Change Your World tour it was probably the most successful tour I've ever been a part of, 'cause we sold out arenas, me and Amy, all around the country, and in other countries, as well. And we just started seeing people in our genre and in other genres, when it came to being entertainers and all that sort of thing that marriages were falling apart left and right. And so we, I remember just having a talk with Deb and just going, you know… If we don't make some rules, there's probably more chances of us being a casualty than not. And we're not gonna be a casualty. And so we just made the rule, I'm not gonna ever be gone more than two weeks from my family, ever. Even if I had to cross the pond, and come back, and cross it again. And I was never gone from Deb and the kids for more than two weeks. Had a little aircraft, and I don't talk about that much, it was worth every penny, I thought, I've gotta get home to my family. And a lot of times I'd do a show and I would literally walk off stage, and got in a car, and I was on the jet and I was home at midnight and I'm driving carpool at 7:15. I did that for twelve-and-a-half years. And I think if you talked to my kids, I think, I think if you could have a private one-on-one, I think they would all say, we were more important to my dad than his career was. And now I got all these young bands, I got some of these young kids are all starting to come to me and ask me exactly what you asked me. And I think that's part of my role in the future is to sort of be a fatherly role and try to help kids. I just don't think you can do 250 shows on the road and keep a family together. And they say, well, we gotta pay the bills, we gotta make the house payment. My response is, then buy a smaller house.– [Seth] Wow. Is there anything that you would kinda say to the younger you when you were first getting into it that you're like, okay, you might wanna do that a little differently. Is there anything that kinda comes to mind like that?– [Michael] Well, I think heart-wise, I mean, obviously, we all grow up, we all make mistakes. If we really are seeking the Lord, we all get a little wiser as we get older, but I'd probably go back and tell myself at 23, 24 years old, I'd probably just say dude, it's not about you. That's probably the first thing I would say. I was so, like, how many records did we sell, and did we sell any t-shirts, and it was just so like… And it's hard, 'cause you're excited, and you wanna be successful and I think I just wish I'd have seen the bigger picture a little bit. And that's probably what I'd say to these young kids going, why are you here? Reconnect with why you're here, because you're not here to be a superstar. But there's nothing wrong with being successful, at all, but it just can't drive you, it can't just encompass everything that you do, it just can't. I always say, what's your contribution, think about… Even in the hard times, and trying to get the thing off the ground, are you making a contribution, are you changing somebody's life? So, it's that kind of stuff I'd probably say, and then, if I had to say something on the musical level, I'd say it all starts with a song.– X O'Connor sitting here with Mr. Seth Mosley, founder of Full Circle Music. Getting ready to talk a little podcast action. So, your favorite episode out of the, we're at episode 100 now.– Crazy, absolutely crazy.– Yeah.– And your favorite one was with Chris Houser under very interesting circumstances, from what I remember, kinda spontane, spontaneous.– It was very spontane, I like that slang.– You know, it's kinda like pre-Fontaine, that runner guy, but it's spontane, it kinda flows off the tongue.– This was a spontane moment, we were in the car, actually on a radio tour, and one thing that I've learned by doing a podcast is, we're really, as sort of journalists, trying to bring interesting stories to our audience about stuff that they'll actually care about, you kinda just have to be ready at all times. So I've got this little pocket recorder and a couple microphones, I stuck it in the bag 'cause I felt like we might have some interesting conversations on this Matt Hammitt radio promo tour. I went out with him at the beginning of the year to promote his first single, ‘Tears', off his record. And so I just brought it with me, and we were spending a lot of time in the car, so I was like, okay, there's gonna be something good. So it was under interesting circumstances, but I think, what I've loved about our podcast is when our guests kinda just go off the rails a little bit and just feel free to tell stories, and just crazy. And Chris is such a great story teller. So it was one of my favorite episodes. And not only because of the episode itself, but really because of my story and how I met Chris in the first place. And one thing that he did that stuck out to me that I'll never forget, we touch on that in the podcast, as well.– I love it. And he's known for hitting as many radio stations as humanly possible in a very brief time. I believe you said he has a record. Do you remember what the record is?– He does have a record, he said he hit 13 stations in three days.– Now, were you a part of that 13 stations in three days?– I think we did, maybe, we might have done eight in two days.– Eight in two, that's still rather impressive.– It was a decent few. But I love it because, so often in this business we think about the result more than the relationship. And one thing that he drove home that you'll hear in this clip is that he talks about, really what he does for a living is to get to go talk to his friends about music that he loves. He actually cares about the people. And there are very few people that I know in life, let alone in music, in anything, that have spent three decades serving one group of people. And that's just dedication.– Man, you said it right there.– Yep.– It's powerful.– I'm ready to go back and listen to the episode myself.– Me too.– So let's jump into this episode with Chris Houser.– [Seth] You talked about you started tapping into your skillset which, I don't even know if you remember this but when I first moved to Nashville, I talk a lot about this on our podcast that my first record that I got was Newsboys, Take Me to Your Leader, and my first label record I produced was this one called Newsboys Born Again which you were working on.– Yes.– [Seth] And I think I met you once, maybe at Wes' house. Then I saw you, I don't know, a month later or something and you were like, hey, Seth, it's good to see you, and the fact that you even just remembered my name —– Oh, wow.– was huge.– [Seth] To me, your competitive advantage is you actually care about people and you're great with relationships.– [Chris] Thank you, man. That means a lot, and again, it's a, this is a small industry we're in, and I'm in my 30th year of promotion, radio promotion. And I think I'm starting to get it figured out, but every once in a while something comes along and surprises me, but I've seen a lot of people come in and go out from this industry, and one of my favorite clients, Brash Music, who had Aaron Shust, and Gunger, their MO was life's too short to work with jerks. And I also believe very strongly that you reap what you sow, and whatever you sow, you reap way more, and you reap way later. It's just the way it is. You can go out to a field with a handful of seeds and throw it out into the field, you don't go out the next day and say oh my gosh, look at all the growth. It takes a long time, but all the growth that comes into a field from one handful of seeds. And so I've always tried to be about sowing good seed, doing my best to love people well, and not losing myself in the process, which at times has been a challenge for me. Yeah dude, I don't remember meeting you, and I wish I did, but it's been an amazing thing to watch your trajectory as well, and to be doing this. We're on a promo tour right now.– [Seth] Yeah, that's the fun thing right now, we're out with an artist named Matt Hammitt.– [Matt] Yeah, what's up?– [Seth] We're actually promoting his new single, Tears. So this is what you do all the time, right?– [Chris] Yes, so these radio stations, we're visiting six, seven radio stations in two days, my record is 13 stations in three days.– [Seth] Wow.– [Chris] That was up in the Midwest, that involved taking a high-speed ferry across Lake Michigan, from Muskegon, Michigan over to Milwaukee, Wisconsin, dropping off one rental car, picking up another rental car and continuing to go. But these radio stations have a hard job, they've got 50 to 75 singles getting work to them every week by 30 to 35 record promoters, both between labels and indies. And so one of the ways that we get noticed is by bringing artists directly to them. And Matt is so beloved for, you know, radio stations are gonna play Lead Me every day until Jesus comes back. It's just a matter of fact, no one's gonna get tired of Lead Me by Sanctus Real. And so I never worked a Sanctus Real record, I've watched them from afar and been so impressed with them and their ministry, and so, there are other people you could go to. But you came to me to take this record to radio, I'm very honored by it, but in addition, I'm moved by it. I have to love, this is what I tell people. I make a great living talking to my friends all day long about music I love.– [Seth] That's a pretty good job.– [Chris] So I turn down the records I don't love. I take the records that move me, and the records that I love, by artists that I respect. And, I'm calling my friends, I'm not calling adversaries, I'm not talking to people at radio that I have to buffalo, or steamroll, or belittle, or slam a phone down and swear, and call them jerks behind their backs. I love these people, these are my friends, so I get to just go bring Matt and you, Seth, to my friends for the next two days. And these are people who work hard, like me, back in the day, they do it way better than me but none of them are making major amounts of money. They're doing this for love and calling, and yet, they're the venue, they're the avenue that we will go through to get this song on the air. And it's already impacting countless, thousands of people around the country in a very, very short amount of time.– [Seth] Yeah, well even, on the Sirius Highway, or Sirius XM The Message, they debuted the lyric video, we were just looking on the way up here and it's already at 37,000 views and 893 shares, which is a pretty substantial metric for a brand new label, essentially relaunching an artist.– [Chris] Yes.– [Seth] So that's a huge thing.– [Chris] Yes.– [Seth] Are you ever surprised and shocked with like a song that you think is gonna work doesn't work, or a song that you don't think is gonna work just blows up?– [Chris] Yes. I would say, my joke on that is, through years of therapy I've been able to mellow out a little bit. But there were times 10 and 15 years ago that I was sure a song was gonna be a smash, and nobody wanted it. It's like these 115 radio PDs got together in a smoky room somewhere and all decided what they were going to tell us promoters for the next year, and then they'd all go like, break! And they'd clap hands and they'd walk out. And so when I would get this massive pushback on a song, in the early days of this kinda promotion, I would go like, I don't know what a hit is anymore, I've lost it. And then I would go to the next step, I'm like, Am I even a Christian? And then I'd go all the way to like, God, are you even there, if I can't… And so, again, years of therapy have helped mellow me out, and life experience, just to get into a better spot of going, you know what, sometimes I'm wrong, a lot of times I'm right, and sometimes it's the radio stations that will say, oh, no, that's not a hit. I try to slow the no, I try to slow them down, because it's like, if you make a pronouncement, a negative pronouncement on a song this early, it's gonna be that much harder for you to admit you're wrong eight months down the line, six months down the line, let's just calm down, you tell me no now, that's fine. I'm just gonna find 20 people that you respect and get them to play the song, and we'll come back around, we'll just keep talking about it.– [Seth] And those people they respect, is that other radio promoters?– [Chris] No, no, other radio stations.– [Seth] Radio stations.– [Chris] Other radio stations. So then they're watching around to see who else, 'cause it's all defensive posturing and maneuvering. It's all, they don't wanna add a record, a radio station will say, we'll never be hurt by a record we don't play. Do you get that?– [Seth] Wow.– [Chris] We can never be hurt by a record we don't play, meaning, we might be hurt if we go too early on a song that our listeners end up not liking. So we'd rather watch the landscape and see what people are playing out here, and it's like, okay, that's fine. There are leaders, there are followers. If you need to be a follower on this, no harm, no foul, we're just gonna keep working this.– So I'm sitting here with Logan Crockett, VP of marketing for Full Circle Music and, man, what a ride it's been, we're on episode 100 on the Full Circle Music Show and we're talking about our favorites, favorite moments, and why listeners should probably go back and listen to some. And I love that you picked the Tony Wood episode. So what stood out to you about that, and why should people go back and listen?– Yeah, for sure. So with me, my perspective on the podcast is probably a little bit different from a lot of the rest of the staff. I've been around for just over a year, now actually working for Full Circle, but initially, listening to this podcast, I was, completely from the outside looking in, I was just, kinda like a lot of the people probably listening and/or watching this, someone just trying to kind of find their lane, their path in the music industry. And this episode with Tony Wood and this clip that we're about to play just really stuck out to me as something that I've never, ever forgotten. For so long, I mean I've been pursuing the music industry for years. And it always felt like, man, if you can just get kinda that one meeting with that publisher or that record later, or whatever company, just meet that right person and get that connection. If you can just do that, that's kind of hopefully the gateway to greater things, that kind of, getting that meeting, basically. But in this clip, Tony explained that it was so much more about getting meeting number two than about getting meeting number one. Because it really does make sense, getting meeting number two means that, if you had meeting number one, they have to like you enough to invite you back. And the way that Tony explained it in this clip, it was just, it was such a massive mindset shift for me because it just, it reformed my entire strategy for what I was trying to do with the music industry. It became so much more about okay, yes, meeting one obviously has to happen, but actually that's the easy part. So my goal was how do I get meeting number two? Meeting number one kinda flew out the window, and everything became about how do I score meeting number two, no matter what relationship I'm building, no matter what opportunity I'm pursuing. The goal became meeting number two.– Yeah, and in music, it's often about finding someone who is really where you want to be. And kind of emulating them. Wasn't there something that stood out in the episode about that, in particular?– Yeah he, Tony had kinda got his start thanks to someone named Tom Long, who was kinda that first person who really believed in him and helped introduce him to other people. And that was another big mindset thing for me, too, was this idea that, there's a lot in the music industry that you can control, there's a lot of things that you can do yourself to push yourself forward, but, it's going to be really, really, really difficult to get where you ultimately want to be if you're not finding someone else who can kinda elevate you. You need to find a champion, or a guide, someone who can get you further along the steps that you need to go.– I love it, and there's also this concept of, do your homework that Tony hits on, what did you mean by that, 'cause you were saying that that stood out to you.– Yeah. So yeah, again, all this stuff is in the clip that we're about to play, but Tony, it's a very kind of quick comment that Tony mentions, but when he was first meeting these other writers around town, and other publishers, he said that he did his homework on who they were and what they were up to. So basically, that really stood out to me 'cause now working for Full Circle, we have a lot of people who come through a lot of our events and things like that, but it feels like a lot of them haven't done their homework. A lot of them don't know like even, who is Full Circle and what are the different things that we do, what songs have we been working on, things like that. Normally I'm on a lot of calls with people through our academy and things like that, normally I have to completely explain almost from ground zero, what it is that we do, who we are, things like that. Not the case for everyone, but all that to say is if you are pursuing the music industry, before, and this kinda goes back into meeting one versus meeting two but before you get meeting one, make sure you do your homework, so that way you're giving your best first impression, and you're having amazing talking points when you do finally have the opportunity to sit down and have those interactions.– That's good. One thing that I love that we get to do with the academy, with our events, with courses and all of this stuff that we're doing is that we're helping dreamers, essentially. And there's kind of this common thread that we've heard, and I think you mentioned that Tony hits on this in the podcast. But this concept of, just trying, just giving it a try.– Yeah.– And why is that important, do you think?– Towards the end of the clip that we're about to play, Tony mentioned kind of his ultimate motivation towards, the big jump to moving to Nashville and pursuing all these opportunities. And his whole thing was like, you know, there's so many great opportunities in life. You don't have to be in the music industry, not everyone is meant to be in the music industry. The music industry is very competitive, not everyone who wants to be in it is going to be in it. But Tony's whole point was, that just really resonated with me was this idea of man, like if I don't just try and kind of give it everything that I have, a no is okay. Like if I meet the right people, and if I'm perfecting my craft and it's not good enough to be where it needs to be for the industry, then at least I tried, and I can live with that. But his big thing was like, man, if I don't try and give it all that I have, I won't be able to live with that. And that just resonated so much with me at the time, 'cause again, this was like, I think early 2016. So again, at the time, my involvement in the music industry was a little limited, I'd recently gotten out of college with my music business degree. I had a really great marketing job, but I wasn't that involved in the music industry, I was like running sound with my church and some things like that. But I knew that… In my being, I'm like, the music industry is where I ultimately want to be. And I was in a place where I kinda had a good job and all that sort of thing, but it was like, man, can I live with it if I don't do all that I can to get myself down to Nashville, to pursue these opportunities. And Tony just saying that, it's like, it was like he was speaking for me in that moment. Like yes, like that is ultimately where I'm at and I decided, there is no way that I will be able to live with it if I don't try, and give it all that I have, no matter what the outcome is.– And here you are.– Indeed.– Fruit of the podcast, that's awesome. Well here is a clip from Tony Wood interview on the Full Circle Music Show.– ASCAP was real helpful to me early as a songwriter, there was a conference that they offered like about five or six Monday nights in a row in October, where they brought in writers, producers, publishers, some great instruction. Something in that that was so significant, songwriter Dwight Liles said, the hardest meeting to get in Nashville with a publisher is not the first meeting, the hardest meeting to get is the second meeting. And it just killed me in that moment, 'cause I am such an introvert. And they would use the word networking and I hate the word, 'cause networking feels like, walk across this room and introduce yourself to this stranger, and tell them why they need to get to know you. And it's like, it's against everything within me, I'd rather just take a beating than do that. And I was like oh, no, if the hardest meeting to get is the second one, I'd better be ready when I get that, when I finally get the nerve up to go introduce myself, I gotta know that I'm ready. So that sends me into a month or so of panic about what do I do, what do I do. And I came up with this idea, Tom Long was the head of membership at ASCAP at that time, and he had put the conference on. The conference had happened three or four months earlier and I'd been stewing on that. And so here was the first professional initiation for me, I picked up the phone and I called Tom. And I said Tom, in the course that you moderated, somebody said the hardest meeting to get with a publisher is not the first, the hardest is the second. I need to be ready, I need somebody to tell me if I'm ready. And here comes the ask, Tom, will you be that man for me? And Tom says well, nobody's kinda ever asked me that, but okay, I tell you what, every couple of months, give me a call, bring me some of the lyrics that you're writing, and I'll take a look at them and tell you. I can't tell my story without such gratitude to Tom, Tom Long, for that. So I take the first meeting with Tom Long, walk in, the three current pieces of paper that I've typed up, put them on his desk, sit there, quietly feeling my organs separating while he's reading them all, just the tension, just dying right there. And Tom reads three and says, I've got some people you need to meet, get in the car. Drove me around to four publishers. I had done my homework, I knew who the publishers, I knew these people, I knew who their writers were, I knew the songs that they were having success with at that point. The first three dismissed me pretty quickly and go, eh, thanks but no thanks, and the fourth one was Michael Puryear who was with a small company, Lorenz Creative Services that was going at the time. They had just signed Steven Curtis, though before his first record, that was his first home, and they had recently signed Marcus Hummon who wrote God Bless the Broken Road. So it was kind of this small little boutique thing that was going, and Michael is more of a lyric guy, and he said, oh, why don't you start hanging around here some, and let me see if I can get some of our guys to write with you. And that was… The life changing moment for me, I'm so grateful to Michael for early belief in me.– [Seth] Sure. So, backing up, 'cause just the move to Nashville is such a huge leap of faith in the moment, I don't wanna gloss over that, for you and your wife. I'm sure that was just like a monumental thing. How does somebody know when they're ready to do that.– [Tony]Nobody knows, there is no knowing, there is nobody that's gonna say the time is right. It is that line between faith and foolishness. That's so close in there, you don't know. But I remembered, there was a point when I was finishing up school and still writing frantically, accumulating lots of sheets of paper. And they were in a box kinda under a bed. Early 20s, and I remember thinking, I can't imagine hitting 50 and not knowing, and not trying. I could live if I dared to show those to somebody and they said, ah, thanks but no, there's really not a place for you. But I couldn't live with myself if I didn't at least try. I remember sometimes feeling almost claustrophobic at that thought like, if I hit 50, and I've never at least tried, I almost couldn't breathe thinking about that. So that was some of the motivation that, you know if they had said, no thanks, go away, I could've lived with that, I could've gone and gotten, I could've worked at a church and been real happy with that, knowing that I tried. But not trying just was killer.– [X] Hey everyone, this is X O'Connor and you've been listening to the Full Circle Music Show, they why of the music biz, hope everyone enjoyed our episode 100, the special episode. It's impossible to believe that it's been 100 episodes already. And again, this is our last episode for a little bit, we're gonna be coming back at you with our brand new, re-imagined, rebranded podcast, the Made It in Music podcast, it's gonna be starting Monday, March 26th. It's so exciting, we're so pumped. So again, remember, March 26th, that's a Monday, that's gonna be the official beginning of the Made It in Music podcast. And we have some huge names already lined up for this, you guys are gonna be super excited about what we've got to come. It's gonna be more great content, for free, for you. We're looking forward to seeing you Monday, March 26th.The post Episode 100: The Best of The Full Circle Music Show appeared first on Full Circle Music. See acast.com/privacy for privacy and opt-out information.

This Week on A Waste of Time with ItsTheReal, we welcome our great friend and digital marketing guru, Alex Ciccimarro AKA The Bald God, to the Upper West Side! Alex discusses growing up in Brooklyn, his parents' van being stolen on a weekly basis, calling Bad Boy Records as a 10 year old, getting into music management as a teenager, dedicating himself to the idea of working in the record business and simultaneously giving up on high school, going to Full Sail University, passing out fliers at 3am outside clubs in Orlando, Florida, working at a store in Walt Disney World called Once Upon a Toy, and eventually building up a resume through digital marketing relationships with the hip-hop blogging universe. Alex talks about linking up with Al Lindstrom, working his way into Sirius Satellite Radio with Tony Touch and Statik Selektah, hanging out in the studio with Just Blaze, road managing Two-9 around the South, going to Fadia Kader's Broke and Boujee parties in Atlanta, mastering online monetization, and spending his last money to catch a flight back to Brooklyn to do digital marketing for Rich Homie Quan. Alex gets into independence, mentors, working for HotNewHipHop, and his big break with Atlantic Records, where he worked with Gucci, Cardi, Kodak Black, PNB Rock, Meek Mill, Jill Scott and many more before moving to Universal Republic. All that, plus the funniest stories about Ron Browz, Jack's 99 Cent Store, shooting a video with the Dolla Boyz in Philly, and much, much more, including news about his brand new work opportunity, which was announced today! AND TO ALL OF OUR NEW YORKERS, DON'T FORGET: WE'RE PEFORMING LIVE ON WEDNESDAY AT SOB'S, SO GRAB YOUR TICKETS NOW AT ITSTHEREAL.COM See acast.com/privacy for privacy and opt-out information.

Bass legend Bunny Brunel has performed and recorded with a “who’s who” list of music industry giants. Notables include Chick Corea, Herbie Hancock, Wayne Shorter, Tony Williams , Jack Dejohnette, Al Jarreau, Natalie Cole, Stevie Wonder, Stanley Clarke, Dizzy Gillespie, Ziggy Marley, Gloria Estefan, Larry Coryell, Al Dimeola, Mike Stern, Joe Farrell, Michel Polnareff and many, many more. www.espguitars.com/bunny-brunelKaylene Peoples is what you call a quadruple threat. She was a runway model and a former Miss California; she is a vocalist with a rare 5-octave range, a multi-instrumentalist, and a prolific composer/arranger/conductor. Kaylene graduated from UCLA with a B.A. in Composition and Ethnomusicology, and completed an elite Masters program in Film Scoring under the direction of Academy Award-winner composer Walter Scharf. She also studied with Academy Award-winner composers David Raksin and Henry Mancini; and has even played piano side by side with Oscar winner film composer Jerry Goldsmith. Kaylene has written and conducted countless string arrangements for record labels, including Capitol Records, Polygram, Warner Bros., EMI, and Universal/Republic. Her dossier doesn’t just stop there. She has written huge bodies of musical works including neo-classical symphonies and composed and conducted a ten-Act ballet titled Apocalitica. Her orchestration skills can be heard on several movie sound tracks, including American Pie 2, Serendipity, Ruby, and her own multi-award-winning feature film she directed, Redemption. She is also an award-winning L.A. Music Awards producer for Best R&B Album of the Year and Best New Artist Christina Fasano’s Spiritually Wet.http://kaylenepeoples.com/

One hundred and forty-five years ago this week, the French state massacred thousands of its own people during the semaine sanglante (bloody week) of the Paris Commune. Kristin Ross’ Communal Luxury: The Political Imaginary of the Paris Commune (Verso Books, 2015) pushes readers to consider Communard thought and actions in a frame that moves beyond the 72 days that traditionally define (and confine) the Commune as an event. This is a Commune that begins with the meetings and reunions of the 1860s rather than the states attempted seizure of the cannons protecting the capital in March 1871. Extending the spatial and temporal bounds of the Commune to include the lifetime of its participants and supporters within and beyond Paris, Communal Luxury opens up new possibilities for our historical understanding of 1871. It also renders visible and analyzes a neglected archive of Communard thought as a resource for contemporary political struggles and activisms in the 21st century. Liberating the Commune from both the French national republican histories that have attempted to incorporate it, and histories of state communism that have cast the Commune as the failed precursor to 1917, Ross pursues the lived and conceived history of a set of events that have gained mythological status in the century and a half since their unfolding. The book directs our attention to the ideas and perspectives of a range of actors and thinkers: Elisabeth Dmitrieff, Eugene Poittier, Elisee Reclus, Peter Kropotkin, William Morris, and Karl Marx. From the Communard call for a Universal Republic, to new programs for education and the arts (including an aspiration to the public beauty of communal luxury), to shifting visions of the possibilities of revolution and solidarity into the future, the book explores what Marx referred to as the working existence of the Commune. More a study of the theory and political praxis of the movement than a history of the Paris Commune in a traditional sense, the book illuminates the past while speaking to the present in profound ways. Learn more about your ad choices. Visit megaphone.fm/adchoices

One hundred and forty-five years ago this week, the French state massacred thousands of its own people during the semaine sanglante (bloody week) of the Paris Commune. Kristin Ross’ Communal Luxury: The Political Imaginary of the Paris Commune (Verso Books, 2015) pushes readers to consider Communard thought and actions in a frame that moves beyond the 72 days that traditionally define (and confine) the Commune as an event. This is a Commune that begins with the meetings and reunions of the 1860s rather than the states attempted seizure of the cannons protecting the capital in March 1871. Extending the spatial and temporal bounds of the Commune to include the lifetime of its participants and supporters within and beyond Paris, Communal Luxury opens up new possibilities for our historical understanding of 1871. It also renders visible and analyzes a neglected archive of Communard thought as a resource for contemporary political struggles and activisms in the 21st century. Liberating the Commune from both the French national republican histories that have attempted to incorporate it, and histories of state communism that have cast the Commune as the failed precursor to 1917, Ross pursues the lived and conceived history of a set of events that have gained mythological status in the century and a half since their unfolding. The book directs our attention to the ideas and perspectives of a range of actors and thinkers: Elisabeth Dmitrieff, Eugene Poittier, Elisee Reclus, Peter Kropotkin, William Morris, and Karl Marx. From the Communard call for a Universal Republic, to new programs for education and the arts (including an aspiration to the public beauty of communal luxury), to shifting visions of the possibilities of revolution and solidarity into the future, the book explores what Marx referred to as the working existence of the Commune. More a study of the theory and political praxis of the movement than a history of the Paris Commune in a traditional sense, the book illuminates the past while speaking to the present in profound ways. Learn more about your ad choices. Visit megaphone.fm/adchoices

One hundred and forty-five years ago this week, the French state massacred thousands of its own people during the semaine sanglante (bloody week) of the Paris Commune. Kristin Ross’ Communal Luxury: The Political Imaginary of the Paris Commune (Verso Books, 2015) pushes readers to consider Communard thought and actions in a frame that moves beyond the 72 days that traditionally define (and confine) the Commune as an event. This is a Commune that begins with the meetings and reunions of the 1860s rather than the states attempted seizure of the cannons protecting the capital in March 1871. Extending the spatial and temporal bounds of the Commune to include the lifetime of its participants and supporters within and beyond Paris, Communal Luxury opens up new possibilities for our historical understanding of 1871. It also renders visible and analyzes a neglected archive of Communard thought as a resource for contemporary political struggles and activisms in the 21st century. Liberating the Commune from both the French national republican histories that have attempted to incorporate it, and histories of state communism that have cast the Commune as the failed precursor to 1917, Ross pursues the lived and conceived history of a set of events that have gained mythological status in the century and a half since their unfolding. The book directs our attention to the ideas and perspectives of a range of actors and thinkers: Elisabeth Dmitrieff, Eugene Poittier, Elisee Reclus, Peter Kropotkin, William Morris, and Karl Marx. From the Communard call for a Universal Republic, to new programs for education and the arts (including an aspiration to the public beauty of communal luxury), to shifting visions of the possibilities of revolution and solidarity into the future, the book explores what Marx referred to as the working existence of the Commune. More a study of the theory and political praxis of the movement than a history of the Paris Commune in a traditional sense, the book illuminates the past while speaking to the present in profound ways. Learn more about your ad choices. Visit megaphone.fm/adchoices

One hundred and forty-five years ago this week, the French state massacred thousands of its own people during the semaine sanglante (bloody week) of the Paris Commune. Kristin Ross’ Communal Luxury: The Political Imaginary of the Paris Commune (Verso Books, 2015) pushes readers to consider Communard thought and actions in a frame that moves beyond the 72 days that traditionally define (and confine) the Commune as an event. This is a Commune that begins with the meetings and reunions of the 1860s rather than the states attempted seizure of the cannons protecting the capital in March 1871. Extending the spatial and temporal bounds of the Commune to include the lifetime of its participants and supporters within and beyond Paris, Communal Luxury opens up new possibilities for our historical understanding of 1871. It also renders visible and analyzes a neglected archive of Communard thought as a resource for contemporary political struggles and activisms in the 21st century. Liberating the Commune from both the French national republican histories that have attempted to incorporate it, and histories of state communism that have cast the Commune as the failed precursor to 1917, Ross pursues the lived and conceived history of a set of events that have gained mythological status in the century and a half since their unfolding. The book directs our attention to the ideas and perspectives of a range of actors and thinkers: Elisabeth Dmitrieff, Eugene Poittier, Elisee Reclus, Peter Kropotkin, William Morris, and Karl Marx. From the Communard call for a Universal Republic, to new programs for education and the arts (including an aspiration to the public beauty of communal luxury), to shifting visions of the possibilities of revolution and solidarity into the future, the book explores what Marx referred to as the working existence of the Commune. More a study of the theory and political praxis of the movement than a history of the Paris Commune in a traditional sense, the book illuminates the past while speaking to the present in profound ways. Learn more about your ad choices. Visit megaphone.fm/adchoices

ライクとLIKEの違い。髭を生やし初めて、初の東京里帰り。その体験。今こうやって書いていて HIGE LIFE ポッドキャストでも始めようかなと思った。ドランカー度4.2でお届けします。しかし、ザック・ワイルドの新しい曲はすごくあのバンドの曲に似ているわ。 雑談を楽しんでください。魂のネットワーク、オフィス日野原　よろしくお願いいたします。 ホスト　日野原千明 日本では、中世から江戸時代初頭にかけて、武士は髭を蓄えることは当然とされ、髭のない武士は嘲笑された。そのため、髭の薄い者（豊臣秀吉）には付け髭をつけることが行われた。 Q.男性のヒゲは好きですか？  大好き 1％  まあまあ好き 22％  あまり好きではない 63％  大嫌い 14％  Featured Tracks: Steel Panther: Just Like Tiger Woods (Balls Out – Universal Republic 2011) The post LIKEで分かる日本の朝 | 髭ライフ – Japanese Metal Head Show 044 appeared first on Metal Moment.

ライクとLIKEの違い。髭を生やし初めて、初の東京里帰り。その体験。今こうやって書いていて HIGE LIFE ポッドキャストでも始めようかなと思った。ドランカー度4.2でお届けします。しかし、ザック・ワイルドの新しい曲はすごくあのバンドの曲に似ているわ。 雑談を楽しんでください。魂のネットワーク、オフィス日野原　よろしくお願いいたします。 ホスト　日野原千明 日本では、中世から江戸時代初頭にかけて、武士は髭を蓄えることは当然とされ、髭のない武士は嘲笑された。そのため、髭の薄い者（豊臣秀吉）には付け髭をつけることが行われた。 Q.男性のヒゲは好きですか？  大好き 1％  まあまあ好き 22％  あまり好きではない 63％  大嫌い 14％  Featured Tracks: Steel Panther: Just Like Tiger Woods (Balls Out – Universal Republic 2011) The post LIKEで分かる日本の朝 | 髭ライフ – Japanese Metal Head Show 044 appeared first on Metal Moment.

In 1994, Kay began to see his career path change course after his Uncle Jimmy Henchman Rosemond, who was about to start his own management company, called him. Once entering the music industry Kay realized that art was not his only talent, as he quickly adapted to the scene and learned what something he feels very few comprehend – artists don’t live what they portray. It was at this time that Kay realized that the music business was in fact business first, and he began to actively increase his contacts. He was offered a job to work in the A&R department at the historic record label Motown while he was at Kedar Entertainment. Kay worked with a bevy of artists including Erykah Badu, Chico DeBarge, Lil’ Wayne, The Temptations and Joe. Kay-Kay is currently running his own music group.  From his early work with Big L, Nas to more recent work with Nicki Minaj, Busta Rhymes, Jim Jones, the producer-turned-artist has made his mark on Hip Hop and Top 40 music across the board. In 2010, Ron Browz released the Etherlibrium street album exclusively on iTunes via his own Ether Boy Records. The 16-track project included cameos from Maino, Red Café, J.R. Writer, with all production handled by Ron. Influenced by the sounds of DJ Premier, Dr. Dre, and Havoc, Ron Browz’s first big break came in 2000 when he produced four songs on the late Big L’s album, The Big Picture, including the classic track “Ebonics.” Big L taught Ron about the music business, and exposed him to a new network of contacts.  Ron Browz soon found himself in an official deal with Universal Republic. By early 2010, a date was set for Ron’s major label debut album, however Browz opted out of his deal.

SF MusicTech Summit XI on October 9, 2012 in San Francisco, CA www. sfmusictech.com TOPIC: Predictions, Proclamations & Educated Guesses MODERATOR: Tim Quirk, Google, Head of Global Content Programming SPEAKERS: Theda Sandiford, Universal Republic, VP Digital Marketing John Battelle, Federated Media Publishing, Founder and Executive Chairman Darryl Ballantyne, LyricFind, CEO & Founder Marc Ruxin, TastemakerX, CEO and Founder

‘Ow doooooo? There's a distinctly northern vernacular to this month's show. Not only do we have superb new releases from Danny Drive Thru and Eliphino too play you, we also have a terrifyingly good mix from Manchester's dusty fingered beat smith, Omas. Carefully constructed lovingly for your ears only we also have music from Tall Black Guy, James Blake, Luomo, Arp 101, Rodney P amongst others in another gloriously rich episode of the Hideout Sessions. A big hello to all our new listeners and please continue to do all your tweeting and word spreading. Much love…Ross and Toby xx P.S. Get in touch on hideoutsessions@mac.com OMAS FB: http://www.facebook.com/pages/Omas/186348641385368 www.parttimeheroes.co.uk LP BLOG: http://pthalbum.blogspot.com 1. Rodney P, ft. The People's Army and Mighty Moe ‘Live Up' (Tru Thoughts) 2. Arp 101 ‘Groove' (Eglo) 3. B Bravo ‘Kiss N Tell' (Earnest Endeavours) 4. Danny Drive Thru ‘Eclipsemoonsun' (Fat City) 5. Oknai ‘Extraterrestrial Skies' (RX:TX) 6. Luomo ‘Good Stuff (Nils Penner Remix) (Mood Music) 7. Womack & Womack ‘Baby I'm Scared of You (Casbah 73 extended edit)' (CDR) 8. Tall Black Guy ‘Night Stars' (Grittygoat.com) OMAS IN THE MIX 9. Omas Intro 10. Justin Warfield ‘K sera sera' 11. Science of Sound feat Phife ‘Who got the funk' 12. Resination ‘Dome resinators' 13. MF Grimm ‘Do it for the kids' 14. Rob Swift ‘I'm leaving' 15. Aaron Neville ‘Hercules' 16. Outlaw ‘Cherrystones' 17. Micheal Urbaniak- ‘Wants ta make you feel good' 18. Kool and the gang ‘You don't have to change' 19. Omas ‘Tea leaf dancers (remix)' 20. Saukrates ‘P's and Q's' 21. Bobby Bland ‘Sad feeling' 22. The Delfonics ‘Trying to make a fool of me' 23. Damu ‘The fudgemunk blend' 24. Hidden Orchestra ‘Flight' (Tru Thoughts) 25. DRC Music Project ‘Lingala' (Warp) 26. Eliphino ‘Devoted' (Somethinksounds) 27. Scrimshire, ft. Faye Houston ‘Home (Paper Tiger Rmx)' (Wah Wah 45s) 28. TALKY BIT 29. James Blake ‘Once We All Agree' (Universal Republic)

001 Rihanna 'S&M (Dave Aude Club Mix)' [THE ISLAND DEF JAM MUSIC]002 Rihanna 'S&M (Sidney Samson Club Mix)' [THE ISLAND DEF JAM MUSIC]003 Kat Deluna 'Dancing Tonight (Ralphi Rosario Club Mix)' [EONE]004 Klaas & Bodybangers 'Freak (Bodybangers Mix Edit)' [HAPPY MUSIC]005 Nicole Scherzinger 'Don't Hold Your Breath (Cahill Club Remix)' [INTERSCOPE RECORDS]006 Nervo feat Ollie James 'Irresistible (Chuckie & Gregori Klosman Remix)' [NAPITH MUSIC]007 David Guetta feat Estelle 'One Love (Chuckie & Fatman Scoop Remix)' [F*** ME I'M FAMOUS]008 Starkillers & Disco Dollies 'Get Up (Everybody) (Austin Leeds Remix)' [NERVOUS RECORDS]009 Oscar G feat DMS12 'Fuck The VIP (Robbie Rivera Mix)' [NERVOUS RECORDS]010 Enrique feat Ludacris 'Tonight (I'm Fuckin' You) (Richard Vission Somatic Remix)' [UNIVERSAL REPUBLIC]011 Green Velvet 'Flash (Nicky Romero Remix)' [WHITE LABEL]012 Winx vs Outwork 'Laugh It Up (David Tort NY Bootleg/JRDN Edit)' [NERVOUS RECORDS]013 Outwork 'Electro (Acapella)' [TAMBOUR]014 Cubetronix 'Muzik (The Cube Guys Mix)' [PINK RABBIT]015 Lady GaGa 'Born This Way (LA Riots Club Mix)' [INTERSCOPE]016 2up & Amado 'Bad Synthesizer (Fusi & Johnson Remix)' [IBOGA RECORDS]017 Oui'Wack 'Jungle Wars (Original Mix)' [PM MUSIC]

This marks our two-hundredth show on the air, bringing you the best and brightest stars of yesterday, today, and tomorrow. Scott Borchetta has been very instrumental in the careers of Artists such as Reba McEntire, and Toby Keith. In 2005 Scott Founded Big Machine Record and sign Taylor Swift. In 2007 he realized there was to much talent to handle sufficiently on just one label so he created The Valory Music Company with Artists like Justin Moore, Jimmy Wayne, Jewel. Scott has since started a third label with Universal Republic, Republic Nashville, and is now home to some of country’s biggest stars, like Reba, Rascal Flatts, and Martina McBride.  The success of those artists and Taylor Swift helped propel the label to the top spot as Billboard’s Top Country Album Imprint in 2009, recognition for being the highest-selling label group on Music Row.  With all the serious work of running a label, though, it’s always fun to check out the lighter side of the business…like shooting a music video out on the farm