WEBVTT - Ethiopia Habtemariam

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<v Speaker 1>The guest today is Ethiopia. Have to marry him. If

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<v Speaker 1>you have a great to have you here, thank you,

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<v Speaker 1>thank you for having me. So if you go on

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<v Speaker 1>Spotify and you look at the Spotify top fifty, it's

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<v Speaker 1>almost completely urban and it's almost completely hip hop. Why

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<v Speaker 1>do you think that is? Because kids love hip hop music.

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<v Speaker 1>Kids around the world love hip hop music. It's not

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<v Speaker 1>just in the US, that's around the world. Do you

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<v Speaker 1>have a feeling why that is? I mean, Steve Stout

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<v Speaker 1>says it's a universal language and it's the only music

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<v Speaker 1>people can make without instruments, and therefore it spread throughout

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<v Speaker 1>the world. I think that's a part of it. I

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<v Speaker 1>also think that hip hop is a part of a

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<v Speaker 1>culture and a lifestyle. Music and fashion really crossed, you know,

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<v Speaker 1>the cross section is there, and I think around the

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<v Speaker 1>world you can see kids dressed the same, they listen

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<v Speaker 1>to the same kinds of music. And I think hip

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<v Speaker 1>hop has infused every area. Um. Yeah, And I think

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<v Speaker 1>it's a form of expression that just you know, kids

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<v Speaker 1>relate to. And where do you think it might be going.

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<v Speaker 1>I just had this conversation on Sunday. Um. I think

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<v Speaker 1>that people want music with more substance. I think that

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<v Speaker 1>kids are really emotional. And I was talking to my

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<v Speaker 1>god daughter about this, who's sixteen, who I don't think

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<v Speaker 1>it's really expressive. And she lives in Atlanta, and I

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<v Speaker 1>talked to her all the time, And when I'm talking

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<v Speaker 1>to her from l A, she doesn't really open up

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<v Speaker 1>to me that much. But when I go her social media,

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<v Speaker 1>I can tell what's going on with her by the

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<v Speaker 1>lyrics that she's posting. Right, So, kids rely on music

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<v Speaker 1>to really connect to what they're going through or what

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<v Speaker 1>they're feeling. And I think that um, they want more

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<v Speaker 1>substantial music that can represent what they're going through and

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<v Speaker 1>what they're feeling. And I think that you know, we're

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<v Speaker 1>seeing all of us are going through a lot. And

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<v Speaker 1>do you think that pretends I mean, hip hop is

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<v Speaker 1>going through varying phase. It was a sound of the

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<v Speaker 1>inner city that it was literally the sound of the

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<v Speaker 1>streets we have the riots in Then at the end

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<v Speaker 1>of the MTV era, it was about boats and babes, etcetera. Uh,

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<v Speaker 1>do you think it's going to in the era of

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<v Speaker 1>Ferguson and me too? You think it's going to be

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<v Speaker 1>grittier and more honest definitely. But I think look hip

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<v Speaker 1>hop is they're different forms of hip hop that exists,

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<v Speaker 1>is just it's just about what's the most popular at

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<v Speaker 1>the time. I mean, I think we can look at

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<v Speaker 1>Spotify today, we see how huge Post Malone's record is,

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<v Speaker 1>and I think you can see that Post is influenced

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<v Speaker 1>by a lot of different kinds of music and his

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<v Speaker 1>hooks are very melodic, um, and you can tell that

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<v Speaker 1>he's also you know, influenced by country music as well,

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<v Speaker 1>and he relates to a lot of different kids. UM.

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<v Speaker 1>But I do think what's gonna come up more is

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<v Speaker 1>more substantial lyrics. You look at j Cole's record, which

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<v Speaker 1>cut through in such a big way, and I wasn't

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<v Speaker 1>really surprised by it because I think a lot of

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<v Speaker 1>us were having the conversation around it's not just being

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<v Speaker 1>one kind of hip hop that represented where the culture

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<v Speaker 1>was us And I think Jay Cole did the perfect

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<v Speaker 1>record that really um represented what the commercial sound was

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<v Speaker 1>from a production standpoint, but also lyrically touched on every

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<v Speaker 1>aspect of where the culture is now. Like there's a

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<v Speaker 1>little bit too much of one representation of the culture

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<v Speaker 1>where it can kind of feel like it's a little

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<v Speaker 1>um comedic in some ways and in other ways, you're

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<v Speaker 1>like kids are doing drugs and they're only talking about

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<v Speaker 1>certain aspects of you know, money or etcetera. Because they're

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<v Speaker 1>really just trying to hide what they really feel. They

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<v Speaker 1>don't know how to express the emotions that they're dealing with.

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<v Speaker 1>And I think that he really touched on that with

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<v Speaker 1>this record, um without without feeling too preachy. But the

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<v Speaker 1>previous record was kind of a disappointment, right record financially

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<v Speaker 1>I didn't think so it was pretty Yeah. I know,

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<v Speaker 1>Jay Cole has been extremely SUCCESSU. I mean, you know,

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<v Speaker 1>I'm not gonna lie. I'm I'm a big Ja Cole supporter.

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<v Speaker 1>I signed him when I was at Universal Publishing when

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<v Speaker 1>he released his second mixtape, The warm Up, before he

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<v Speaker 1>you know, put out his first album, etcetera. And he's

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<v Speaker 1>one of the most authentic, realist artists that's been operating

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<v Speaker 1>and marching to the beat of his own drum and

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<v Speaker 1>it's been incredible to see. But he's been successful with

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<v Speaker 1>every record. Okay, so you're from Hotlanta. Okay, why is

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<v Speaker 1>Atlanta an epicenter of hip hop music? Urban music? I

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<v Speaker 1>wouldn't even just say urban music Okay, So I'm from Atlanta.

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<v Speaker 1>All right, I'm first generation Ethiopian American. My parents are

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<v Speaker 1>from Ethiopia, hence the name Ethiopia. Okay, let's go back there.

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<v Speaker 1>You've been living for almost forty years with the name Ethiopia.

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<v Speaker 1>Why why am I having years? Okay? Well, I didn't

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<v Speaker 1>want to go exactly exactly. You know, has that been

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<v Speaker 1>a good thing or a bad thing? Okay? So, early years,

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<v Speaker 1>elementary years, I was in Tuskegee, Alabama. My dad had

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<v Speaker 1>been the dean of the Vest School there since I

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<v Speaker 1>was a kid. And during the early eighties that's when

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<v Speaker 1>you saw all the commercials about the famine in Ethiopia. Right,

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<v Speaker 1>so you know I'm there. My name is Ethiopia tragic.

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<v Speaker 1>It was extremely tough for me. So anyone that knows

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<v Speaker 1>me from Tuskegee, Alabama actually knows me by my middle name,

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<v Speaker 1>which is haywan Um. And that was because I took

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<v Speaker 1>it upon myself to change the name while in school,

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<v Speaker 1>like oh no, I'm not gonna I'm not going through this.

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<v Speaker 1>You're gonna know me as haywan so Um. Then we

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<v Speaker 1>moved to Atlanta the summer before my sixth grade year

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<v Speaker 1>and go to sixth grade Ralph Bunch Middle School in

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<v Speaker 1>Southwest Atlanta. Who's in my class a group by the

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<v Speaker 1>name of Criss Cross, and they weren't discovered yet. They

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<v Speaker 1>got discovered that year. But one of the members of

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<v Speaker 1>the group, Christmas the lighter skin one with the braids,

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<v Speaker 1>was one of my really close friends. And they get

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<v Speaker 1>discovered and become the biggest group in music at the time,

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<v Speaker 1>and it was crazy, you know what I mean. So

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<v Speaker 1>Criss Cross happens and it's like right in my backyard,

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<v Speaker 1>which was fascinating. No, I didn't, but I definitely, you know,

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<v Speaker 1>I was like super proud of of of them, of him,

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<v Speaker 1>of what was happening in the scene at the time.

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<v Speaker 1>And that's when I think I got to see firsthand

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<v Speaker 1>what was happening in the community. So it was like

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<v Speaker 1>Jermaine Duprie so so deaf. You saw ABC in Dallas

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<v Speaker 1>Austin start his you know, kind of run, and to

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<v Speaker 1>me as a kid, it felt like the biggest thing

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<v Speaker 1>in the world. I mean, I remembered when Criss Cross

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<v Speaker 1>was on tour with Michael Jackson. That was crazy, you

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<v Speaker 1>know what I mean. It was it was let's go

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<v Speaker 1>back your parents from Etho or from Ethiopia. How did

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<v Speaker 1>they end up coming to America? My father, UM, came

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<v Speaker 1>on scholarship to the University of Colorado. UM, then went

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<v Speaker 1>back to Ethiopia, married my mother. They went to Canada,

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<v Speaker 1>had my older brother, and then my father went to

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<v Speaker 1>get his pH d at u C. Berkeley. My mother

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<v Speaker 1>went to u C. Davis and UM, yeah, so they

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<v Speaker 1>came for education. My father was you know, my father

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<v Speaker 1>didn't really come from much. He was like the one

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<v Speaker 1>kid out of eight kids to get chosen to go

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<v Speaker 1>to school. And my mom, on the other hand, came

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<v Speaker 1>from a very well off family. My grandfather was the

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<v Speaker 1>first pilot in Ethiopia. UM and um. You know, my

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<v Speaker 1>dad is ten years older than my mom and um. Yeah,

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<v Speaker 1>they fell in love and they're still married. They're still

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<v Speaker 1>So how many kid children in your family? Three? And

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<v Speaker 1>where are you in the hierarchy. I'm in the middle. Yeah,

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<v Speaker 1>but I'm special because I'm the special because I'm the

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<v Speaker 1>only girl. So we'll talk about that later. So you

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<v Speaker 1>you moved from Alabama, you moved to Atlanta, and if

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<v Speaker 1>you go on line, there was a moment where there

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<v Speaker 1>was a school presentation that changed the course of your history. Right. So,

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<v Speaker 1>freshman in high school, there's a career planning class that

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<v Speaker 1>was a prerequisite, right, And you know I loved music.

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<v Speaker 1>For me, being this, you know, young kid with the

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<v Speaker 1>name whatever, I just felt awkward growing up as a

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<v Speaker 1>lot of people do. Music was how I connected and

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<v Speaker 1>how I felt like I've related to a lot of

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<v Speaker 1>other people. Right. So I was always the girl that

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<v Speaker 1>was like writing down all the lyrics. I was a

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<v Speaker 1>writer myself. I would journal, et cetera. I loved music.

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<v Speaker 1>I lived in breathe music. I tried to sing. I

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<v Speaker 1>sang in talent shows. That didn't really work for me

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<v Speaker 1>because I'm toning up, you know that whole thing. But um,

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<v Speaker 1>freshman year in high school, I'm taking this class, the

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<v Speaker 1>career planning class. And my teacher asked me what I

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<v Speaker 1>want to do when you had to pick three different things,

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<v Speaker 1>and everything was music related. But I only knew about

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<v Speaker 1>music production or what I would read about in the fanzines.

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<v Speaker 1>I think I said publicity. Um, And at the time

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<v Speaker 1>she had a woman that Shaunty DAWs, who was the

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<v Speaker 1>head of promotions for La Face Records at the time,

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<v Speaker 1>come and speak in our class. And this woman was

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<v Speaker 1>the coolest, most confident, strong black woman I had ever seen.

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<v Speaker 1>And she was just, you know, fly to me. I

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<v Speaker 1>grew up loving like TLC and Aaliyah and like the

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<v Speaker 1>Fuji's and you know, um that was like my thing is.

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<v Speaker 1>So I'm saying this woman and she works in promotions,

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<v Speaker 1>I have no idea what it is. So i go

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<v Speaker 1>up to her at the end of class and I'm like,

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<v Speaker 1>can I shadow you for a day? And She's like, okay,

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<v Speaker 1>if your parents are okay with it. I asked my

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<v Speaker 1>parents and she let me come shadow her on the

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<v Speaker 1>day that her assistant was outsick. So I was answering phones,

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<v Speaker 1>et cetera, right, and and I was good at it.

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<v Speaker 1>So she said, as you know, I could come up

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<v Speaker 1>during the summer as long as my parents were okay

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<v Speaker 1>with them. My parents were like, we need to meet her.

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<v Speaker 1>And she actually was from my neighborhood. And so she

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<v Speaker 1>came to my house and met my parents and they

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<v Speaker 1>gave my blessed, gave gave the blessing and them I

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<v Speaker 1>interned that summer. And this was like the heyday of

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<v Speaker 1>the Face was a full record label. I mean, they

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<v Speaker 1>had they were with Ariston, but they had an and

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<v Speaker 1>our department, a production department, and marketing department, the video

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<v Speaker 1>depart I mean they were a full fledged record label

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<v Speaker 1>and Buckhead Atlanta and at the time they had Outcast

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<v Speaker 1>TLC Tony Braxton. These were huge artists. Um that summer

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<v Speaker 1>I got to go to like the Outcast Southern Play

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<v Speaker 1>Realistic Cookout. I'll never forget it because I got to

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<v Speaker 1>invite my eight friends. Right, I was like the coolest

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<v Speaker 1>person ever. And my older brother who was a freshman

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<v Speaker 1>in college at the time, took me and was like

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<v Speaker 1>the chaperone and we were doing everything from like stuffing

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<v Speaker 1>bags whatever. But the work we were doing was just

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<v Speaker 1>it was incredible to be around it. I remember seeing

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<v Speaker 1>Biggie Smalls there, Buster Rans there, and this was when

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<v Speaker 1>Puff was about to start building the you know bad Boy.

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<v Speaker 1>I remember the Craig the Big Mac tape. It was

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<v Speaker 1>promoting Craig Mac and Biggie's Malls at the same time.

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<v Speaker 1>So I was around that as a kid at fourteen.

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<v Speaker 1>It was it was yeah, it was. It was really incredible,

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<v Speaker 1>and Outcast to me was, you know, my favorite hip

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<v Speaker 1>hop group. They were UM produced by a production team

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<v Speaker 1>called Organized Noise that was also from Southwest Atlanta, who

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<v Speaker 1>I just had such a high regard for and I

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<v Speaker 1>loved their you know, their musical talent and gift. And

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<v Speaker 1>before I could drive, I would have my father drive

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<v Speaker 1>me on Sundays by their studio because I knew where

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<v Speaker 1>it was. I'm like, Daddy, can we drive? You know?

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<v Speaker 1>But because to me it was amazing to know that

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<v Speaker 1>the music that was touching the world in my eyes

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<v Speaker 1>was like happening right out of my neighborhood. So it

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<v Speaker 1>gave me this sense of hope that I could be

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<v Speaker 1>a part of that in some way. We'll take a

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<v Speaker 1>quick break and come back with more of my conversation

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<v Speaker 1>with Ethiopia to Marry Him recording to the Music Media

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<v Speaker 1>Summit in Santa Barbara, California. This podcast is brought to

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<v Speaker 1>you by tune In, which brings together all the live, sports, music,

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<v Speaker 1>news and podcasts you love, original, live and on demanded audio,

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<v Speaker 1>all in one place. Go to tune in dot com

0:12:20.520 --> 0:12:25.000
<v Speaker 1>slash left sense to download and listen. Okay, let's get

0:12:25.040 --> 0:12:28.280
<v Speaker 1>back to my conversation with Ethiopia. Have to marry him

0:12:28.360 --> 0:12:31.400
<v Speaker 1>in front of a live audience at my Music Media

0:12:31.480 --> 0:12:37.840
<v Speaker 1>Summit in Santa Barbara, California. Okay, you know, traditionally, growing

0:12:37.880 --> 0:12:41.760
<v Speaker 1>up with immigrant parents can be difficult. They're strict, they

0:12:41.800 --> 0:12:46.000
<v Speaker 1>come from a different background. Did you experience any of that, yes,

0:12:48.200 --> 0:12:51.480
<v Speaker 1>But also so I never got a chance to go

0:12:51.520 --> 0:12:53.760
<v Speaker 1>back to Ethiopia until I was older, until I was

0:12:53.760 --> 0:12:57.240
<v Speaker 1>like maybe twenty three. And I didn't know why, because

0:12:57.280 --> 0:12:59.560
<v Speaker 1>my father is the dean at this, you know, university.

0:12:59.559 --> 0:13:01.880
<v Speaker 1>I'm like, we're pretty well off, you know, I'm thinking

0:13:01.920 --> 0:13:04.280
<v Speaker 1>we are, but we're really not. We should be giving

0:13:04.320 --> 0:13:08.240
<v Speaker 1>my dad's position. Um. But it wasn't until I went

0:13:08.240 --> 0:13:10.640
<v Speaker 1>back home that I realized my father was taking care

0:13:10.640 --> 0:13:13.440
<v Speaker 1>of a lot of people, a lot of family members.

0:13:13.440 --> 0:13:17.319
<v Speaker 1>We have a huge family there, but here we did not.

0:13:17.559 --> 0:13:19.880
<v Speaker 1>I didn't know many family members. When my friends would

0:13:19.920 --> 0:13:22.080
<v Speaker 1>have family reunions and things, I couldn't relate to that

0:13:22.200 --> 0:13:25.200
<v Speaker 1>experience at all because I only knew my two aunts

0:13:26.080 --> 0:13:28.160
<v Speaker 1>on my father's side and my you know, my aunts

0:13:28.160 --> 0:13:29.880
<v Speaker 1>and uncles on my mom's side. But we had a

0:13:29.960 --> 0:13:32.079
<v Speaker 1>huge family, and my father was taking care of everyone,

0:13:32.600 --> 0:13:35.360
<v Speaker 1>not only on his side of the family, but also

0:13:35.920 --> 0:13:37.880
<v Speaker 1>my mother side of the family. They were really all

0:13:37.920 --> 0:13:42.320
<v Speaker 1>one family back in Ethiopia, and so my father worked

0:13:42.320 --> 0:13:47.760
<v Speaker 1>so much that he wasn't, you know, as tough on

0:13:47.920 --> 0:13:50.640
<v Speaker 1>me because he was just working all the time. But

0:13:50.679 --> 0:13:53.720
<v Speaker 1>also I was a really good kid, like I didn't

0:13:53.720 --> 0:13:56.520
<v Speaker 1>want to every disappoint my father or my parents at all.

0:13:57.080 --> 0:14:00.760
<v Speaker 1>And my mom she was probably stricter on me as

0:14:00.840 --> 0:14:05.120
<v Speaker 1>mothers would be. Right, Um, but she got sick when

0:14:05.200 --> 0:14:08.439
<v Speaker 1>I was in high school and with us, yeah, she

0:14:08.520 --> 0:14:10.760
<v Speaker 1>got sick when I was in high school, and um,

0:14:10.920 --> 0:14:14.720
<v Speaker 1>she wasn't at present, So you know, I really had

0:14:14.760 --> 0:14:18.520
<v Speaker 1>a lot of freedom. And so what are your siblings

0:14:18.559 --> 0:14:22.840
<v Speaker 1>doing today? My older brother is still in Atlanta. He

0:14:22.880 --> 0:14:26.680
<v Speaker 1>works at the Fox Theater there running production on that side.

0:14:26.840 --> 0:14:32.000
<v Speaker 1>And then my little brother, um, graduated from the University

0:14:32.000 --> 0:14:34.600
<v Speaker 1>of Georgia. He actually took this year off to help

0:14:35.160 --> 0:14:38.840
<v Speaker 1>my father. My father got diagnosed with Parkinson's in November,

0:14:38.920 --> 0:14:41.640
<v Speaker 1>so he's had to retire. My little brother is there

0:14:41.640 --> 0:14:45.320
<v Speaker 1>helping him, you know, deal with stepping down from being

0:14:45.320 --> 0:14:47.680
<v Speaker 1>at the university, et cetera. My little brother is like

0:14:47.720 --> 0:14:52.520
<v Speaker 1>an angel. He's brilliant, but also like this amazing, amazing

0:14:52.680 --> 0:14:58.760
<v Speaker 1>kid man. But okay, so your parents have a big

0:14:58.760 --> 0:15:03.320
<v Speaker 1>insistence on education because your father, Yes, so when I was.

0:15:03.480 --> 0:15:05.280
<v Speaker 1>You know, when I was younger, my father would like,

0:15:05.280 --> 0:15:08.280
<v Speaker 1>go to Boston. We'd go visit like M I T

0:15:08.600 --> 0:15:10.720
<v Speaker 1>and Harvard or whatever. My father wanted me to either

0:15:10.760 --> 0:15:15.880
<v Speaker 1>be a lawyer or be a scientist, et cetera. Um,

0:15:15.920 --> 0:15:18.160
<v Speaker 1>And I thought for a second mate about being a lawyer.

0:15:18.160 --> 0:15:21.880
<v Speaker 1>But once I got introduced to music, that was all

0:15:21.920 --> 0:15:27.040
<v Speaker 1>she wrote. That was it. Um. But I won't lie.

0:15:27.080 --> 0:15:30.040
<v Speaker 1>It wasn't It wasn't that easy. So when I, you know,

0:15:30.080 --> 0:15:33.280
<v Speaker 1>I go through high school, I graduate, and and and

0:15:33.360 --> 0:15:35.920
<v Speaker 1>so I in turned out LA Face and I just

0:15:35.920 --> 0:15:38.400
<v Speaker 1>get into the music community there. There's so much happening.

0:15:38.480 --> 0:15:41.880
<v Speaker 1>And then I found out about this internship program. I

0:15:41.920 --> 0:15:44.800
<v Speaker 1>got a paid internship when I was sixteen at Electoral Records,

0:15:45.080 --> 0:15:49.440
<v Speaker 1>the satellite office there in Atlanta. UM. I graduated at seventeen,

0:15:49.480 --> 0:15:51.760
<v Speaker 1>I get hired as an assistant at LA Face in

0:15:51.760 --> 0:15:55.160
<v Speaker 1>the production department, which wasn't really sexy, but I was

0:15:55.240 --> 0:15:57.800
<v Speaker 1>making a check and then I could still help out

0:15:57.800 --> 0:16:01.160
<v Speaker 1>in marketing and promotions or whatever. Um. So I did that,

0:16:01.480 --> 0:16:03.200
<v Speaker 1>but my father was like, no, you have to go

0:16:03.240 --> 0:16:07.040
<v Speaker 1>to college. I'm like, just give me a year that like,

0:16:07.120 --> 0:16:09.320
<v Speaker 1>let me just see how this goes. It might turn

0:16:09.360 --> 0:16:12.840
<v Speaker 1>into something, and he was pretty supportive of that. My

0:16:12.880 --> 0:16:17.280
<v Speaker 1>mom not so much. But she had gone to Ethiopia

0:16:17.320 --> 0:16:19.560
<v Speaker 1>to go visit the family that first year, so she

0:16:19.600 --> 0:16:22.360
<v Speaker 1>didn't really like get to um told me back then,

0:16:22.400 --> 0:16:23.680
<v Speaker 1>you know what I mean. So my dad was coming

0:16:23.720 --> 0:16:25.720
<v Speaker 1>back and forth from Alabama, and I was just working,

0:16:26.240 --> 0:16:29.800
<v Speaker 1>and I really just worked my butt off. I did everything.

0:16:30.280 --> 0:16:34.200
<v Speaker 1>I would babysit to make extra money, and that led

0:16:34.240 --> 0:16:39.240
<v Speaker 1>to other opportunities. I ended up working opportunities. Okay, So

0:16:39.280 --> 0:16:43.000
<v Speaker 1>I babysitting for the woman named Lronda Sutton who started

0:16:43.160 --> 0:16:46.960
<v Speaker 1>l A Read's publishing company, hit Co Music Publishing. Okay,

0:16:47.160 --> 0:16:49.440
<v Speaker 1>she started it, and it was in the LaFace office.

0:16:49.920 --> 0:16:52.640
<v Speaker 1>She was fabulous. She would walk past my cubicle and

0:16:52.680 --> 0:16:54.360
<v Speaker 1>she would say things to me, like you're gonna work.

0:16:54.400 --> 0:16:55.880
<v Speaker 1>You're gonna work for me. One day. I like how

0:16:55.920 --> 0:16:58.440
<v Speaker 1>you answer phones. I was like, okay, that's good, you know.

0:16:58.880 --> 0:17:01.880
<v Speaker 1>And so she was a single mother there and needed help,

0:17:02.000 --> 0:17:04.080
<v Speaker 1>and so I was working as assistant. I would leave,

0:17:04.119 --> 0:17:06.159
<v Speaker 1>I would babysit for her until she was able to

0:17:06.160 --> 0:17:07.720
<v Speaker 1>come home, and then at night I'd be in the

0:17:07.760 --> 0:17:11.119
<v Speaker 1>clubs doing whatever. So when LaRonda left, hit coach. She

0:17:11.160 --> 0:17:14.480
<v Speaker 1>went to Edmunds Music Publishing in Los Angeles, and she

0:17:14.600 --> 0:17:16.560
<v Speaker 1>told me I'd make a great I'd be a great

0:17:16.600 --> 0:17:19.960
<v Speaker 1>music publisher. She knew my taste. I would play her records, etcetera.

0:17:20.160 --> 0:17:22.800
<v Speaker 1>And she was the one that offered me an opportunity

0:17:22.840 --> 0:17:25.760
<v Speaker 1>to work in publishing at Emmon's Music Publishing, and that's

0:17:25.760 --> 0:17:29.440
<v Speaker 1>how I got the job there. Okay, So you never

0:17:29.520 --> 0:17:31.960
<v Speaker 1>do go to college, never do go to college, and

0:17:32.040 --> 0:17:38.840
<v Speaker 1>any regrets there? Okay? No, However, I don't think it's

0:17:38.840 --> 0:17:41.000
<v Speaker 1>for you. I don't think that's the route for everyone.

0:17:41.200 --> 0:17:44.160
<v Speaker 1>And I do think education is important as long as

0:17:44.160 --> 0:17:46.080
<v Speaker 1>you know your interests and like the things that you

0:17:46.119 --> 0:17:47.920
<v Speaker 1>want to learn about. I think I'm in a at

0:17:47.920 --> 0:17:49.760
<v Speaker 1>a at a point in my life where there are

0:17:49.760 --> 0:17:51.560
<v Speaker 1>other things that I'm interested in that I would want

0:17:51.560 --> 0:17:53.720
<v Speaker 1>to like go back to school to learn about. But

0:17:54.560 --> 0:17:58.040
<v Speaker 1>no regrets. Okay. So you're in Atlanta, you're working in

0:17:58.160 --> 0:18:02.800
<v Speaker 1>La Face, You're starting as an assistant answering phones, what's

0:18:02.840 --> 0:18:06.320
<v Speaker 1>the next step up the ladder. At the same time

0:18:06.359 --> 0:18:08.800
<v Speaker 1>that I was doing that, I was helping out in marketing.

0:18:08.840 --> 0:18:10.919
<v Speaker 1>I was helping out in the promotions department, and I

0:18:10.960 --> 0:18:13.640
<v Speaker 1>was doing a lot, and I wanted a full time

0:18:13.680 --> 0:18:16.239
<v Speaker 1>job in marketing. I wanted to be in marketing. The

0:18:16.320 --> 0:18:20.560
<v Speaker 1>general manager there at the time, though, was like, you know,

0:18:20.960 --> 0:18:24.120
<v Speaker 1>you need to go to college. We're not gonna hire

0:18:24.160 --> 0:18:25.959
<v Speaker 1>you full time. You need to go to college. And

0:18:26.119 --> 0:18:28.680
<v Speaker 1>I was like, you know what, my father isn't even

0:18:28.680 --> 0:18:31.360
<v Speaker 1>making me go to college. And I had the support

0:18:31.359 --> 0:18:33.960
<v Speaker 1>of all the executives there, etcetera. And I remember, do

0:18:34.320 --> 0:18:41.760
<v Speaker 1>you guys remember the Impact Music Convention? Yeah, so I remember, Yeah,

0:18:41.920 --> 0:18:44.119
<v Speaker 1>I wrote, I wrote the g M a proposal and

0:18:44.160 --> 0:18:45.560
<v Speaker 1>I said, I sent it to him and I said,

0:18:45.840 --> 0:18:47.720
<v Speaker 1>this is why I L Facial sponsored me going to

0:18:47.760 --> 0:18:50.679
<v Speaker 1>the Impact Music Convention UM and so they paid for

0:18:50.720 --> 0:18:53.480
<v Speaker 1>my travel and my registration to go to the convention.

0:18:53.520 --> 0:18:56.760
<v Speaker 1>And he was like, when you come back, you have

0:18:56.840 --> 0:18:58.840
<v Speaker 1>to make a decision if you're going to go to school,

0:18:59.600 --> 0:19:01.560
<v Speaker 1>you know, or if you're just going to continue on

0:19:01.640 --> 0:19:04.120
<v Speaker 1>here working part time, but I'm not hiring you full time.

0:19:04.160 --> 0:19:06.440
<v Speaker 1>And I came back and I was like, I quit.

0:19:08.320 --> 0:19:10.680
<v Speaker 1>I didn't have a job in place, by the way,

0:19:10.960 --> 0:19:12.439
<v Speaker 1>I didn't know what I was gonna do, but I

0:19:12.520 --> 0:19:14.560
<v Speaker 1>just felt like they didn't really value me. And I

0:19:14.600 --> 0:19:17.919
<v Speaker 1>wasn't gonna be forced, you know, into being a scenario.

0:19:18.000 --> 0:19:19.520
<v Speaker 1>I had to stay a part time. I was doing

0:19:19.560 --> 0:19:23.280
<v Speaker 1>a lot for the company at the time. Um oh,

0:19:23.320 --> 0:19:25.320
<v Speaker 1>I remember when I was I met a guy named

0:19:25.320 --> 0:19:29.760
<v Speaker 1>Doug Brown. Doug Brown was partners with Johnny Wright. They

0:19:29.760 --> 0:19:33.520
<v Speaker 1>were managing Left Eye as a as a solo artist

0:19:33.520 --> 0:19:35.240
<v Speaker 1>at the time, and I was like the only person

0:19:35.320 --> 0:19:38.199
<v Speaker 1>that was like nice to him because LA didn't know

0:19:38.200 --> 0:19:40.320
<v Speaker 1>who Johnny Wright was and who Dug Brown was, and

0:19:40.359 --> 0:19:42.040
<v Speaker 1>they were like, who the hell are these people managing

0:19:42.119 --> 0:19:44.320
<v Speaker 1>Left Eye. I was a nice person to him, So

0:19:44.760 --> 0:19:48.600
<v Speaker 1>I got introduced to in Sync through that relationship. I

0:19:48.720 --> 0:19:53.159
<v Speaker 1>quit and started working with in syncing their charity organization,

0:19:53.280 --> 0:19:57.080
<v Speaker 1>like helping them put their charity like organization together celebrity

0:19:57.080 --> 0:20:01.879
<v Speaker 1>basketball games parties. My goal was to like infuse the

0:20:02.000 --> 0:20:05.560
<v Speaker 1>cool urban scene in Atlanta to what InSync was doing.

0:20:05.560 --> 0:20:07.520
<v Speaker 1>But this was like right at the beginning. So I

0:20:07.520 --> 0:20:09.480
<v Speaker 1>would get like Germaine dupri and people like that to

0:20:09.520 --> 0:20:12.120
<v Speaker 1>come playing their games and stuff, and I just made

0:20:12.160 --> 0:20:14.240
<v Speaker 1>extra money doing that until I could figure out what

0:20:14.280 --> 0:20:16.240
<v Speaker 1>I was gonna do next. And what did you figure

0:20:16.240 --> 0:20:19.160
<v Speaker 1>out you wanted to do. That's when Lo Rhonda offered

0:20:19.160 --> 0:20:21.920
<v Speaker 1>me the job of music publishing. And how long after

0:20:21.960 --> 0:20:24.639
<v Speaker 1>you quit was that that was probably a year and

0:20:24.680 --> 0:20:28.400
<v Speaker 1>a half. Okay, that was in Atlanta. That was in Atlanta,

0:20:28.560 --> 0:20:31.240
<v Speaker 1>and at the time, my father was very supportive. I

0:20:31.280 --> 0:20:34.400
<v Speaker 1>remember the sky Tell two A pagers. I told my dad,

0:20:34.400 --> 0:20:36.280
<v Speaker 1>I said, Daddy, if I'm gonna make it, you have

0:20:36.400 --> 0:20:38.399
<v Speaker 1>to buy me a sky Tell tway pager. You have

0:20:38.480 --> 0:20:40.080
<v Speaker 1>to have one in order to be in the music business.

0:20:40.119 --> 0:20:41.639
<v Speaker 1>So he bought me a sky Tell two A pager.

0:20:42.119 --> 0:20:44.359
<v Speaker 1>He bought me a Fox a fax machine that I

0:20:44.400 --> 0:20:47.440
<v Speaker 1>had in my bedroom and I had like I always had,

0:20:47.480 --> 0:20:50.000
<v Speaker 1>like the latest computer because my father had him from

0:20:50.040 --> 0:20:52.639
<v Speaker 1>work and I would I would just work from my

0:20:52.800 --> 0:20:57.000
<v Speaker 1>from my bedroom. Your father actually was very supportive, was yeah, okay,

0:20:57.000 --> 0:20:59.760
<v Speaker 1>so you work in publishing. What do you learn immediately?

0:20:59.760 --> 0:21:03.000
<v Speaker 1>Work publishing? Right, because I didn't know. I didn't know

0:21:03.040 --> 0:21:05.240
<v Speaker 1>what publishing was when I took the job. So I

0:21:05.280 --> 0:21:09.159
<v Speaker 1>was a song plugger. Basically, etmus Music Publishing was baby

0:21:09.160 --> 0:21:12.360
<v Speaker 1>Face and Tracy Etmun's publishing company. It was administered through

0:21:12.560 --> 0:21:16.919
<v Speaker 1>m I and UM. They had about ten writers signed

0:21:16.960 --> 0:21:19.480
<v Speaker 1>to them at the time, and when I got there,

0:21:19.520 --> 0:21:22.360
<v Speaker 1>the job was to really build morale amongst the writers

0:21:22.400 --> 0:21:25.400
<v Speaker 1>into help shop their songs. But it was a tough

0:21:25.440 --> 0:21:27.960
<v Speaker 1>situation because I think a lot of the writers were

0:21:28.040 --> 0:21:30.159
<v Speaker 1>under the impression that they would be writing with baby

0:21:30.160 --> 0:21:33.800
<v Speaker 1>Face and that was not the case. He didn't he

0:21:33.840 --> 0:21:35.760
<v Speaker 1>didn't deal with them at all. So it was a

0:21:35.800 --> 0:21:40.159
<v Speaker 1>little tough and I tried my best. I did. I

0:21:40.359 --> 0:21:43.040
<v Speaker 1>were put together writing camps. This is like really like,

0:21:43.040 --> 0:21:45.359
<v Speaker 1>you know, two thousand, two thousand and one, putting together

0:21:45.359 --> 0:21:47.920
<v Speaker 1>a lot of writing camps, etcetera with them. Um and

0:21:48.040 --> 0:21:50.320
<v Speaker 1>I would go to New York and shop records, you know,

0:21:50.359 --> 0:21:51.800
<v Speaker 1>And I knew I wanted to be in New York

0:21:51.800 --> 0:21:53.800
<v Speaker 1>because that's where it was all happening and in the

0:21:53.880 --> 0:21:57.879
<v Speaker 1>industry at the time. Um I will say this happened

0:21:57.880 --> 0:22:01.199
<v Speaker 1>so I I because my relationship with in Sinc. They

0:22:01.200 --> 0:22:03.320
<v Speaker 1>were working on their last album at the time, and

0:22:03.560 --> 0:22:06.480
<v Speaker 1>um I was able to get a track placed on

0:22:06.560 --> 0:22:12.520
<v Speaker 1>their last album with some producers that were actually signed

0:22:12.520 --> 0:22:15.560
<v Speaker 1>to Universal Publishing, and one of them had worked with

0:22:15.600 --> 0:22:18.440
<v Speaker 1>one of my writers at Edmonds And it was a

0:22:18.520 --> 0:22:21.320
<v Speaker 1>huge deal because these producers hadn't really been that active

0:22:21.320 --> 0:22:24.280
<v Speaker 1>on the Universal side, and um I got this placement

0:22:24.280 --> 0:22:26.919
<v Speaker 1>for Instinct. It was a really big deal. And I

0:22:26.960 --> 0:22:29.560
<v Speaker 1>remember Tom Sturgions, who was at Universal Publishing at the time,

0:22:29.680 --> 0:22:31.840
<v Speaker 1>wanted to know how that happened because he couldn't believe

0:22:31.880 --> 0:22:33.639
<v Speaker 1>these producers got to cut on this sinc. And I

0:22:33.640 --> 0:22:36.240
<v Speaker 1>got the call from Universal because he wanted to meet

0:22:36.280 --> 0:22:42.520
<v Speaker 1>with me and they offered me a job. That's yeah,

0:22:42.560 --> 0:22:44.159
<v Speaker 1>that's when. That's when I first got a job. I

0:22:44.160 --> 0:22:46.520
<v Speaker 1>had only been at Edmunds though for maybe eight months,

0:22:47.240 --> 0:22:49.840
<v Speaker 1>and I was like, I'm still learning what publishing is.

0:22:49.880 --> 0:22:51.720
<v Speaker 1>I can't leave. I don't I'm not ready for this,

0:22:51.760 --> 0:22:54.560
<v Speaker 1>but thank you, you know. And I was loyal to

0:22:54.600 --> 0:22:57.120
<v Speaker 1>the opportunity that I had an MS. I stayed there

0:22:57.119 --> 0:23:00.119
<v Speaker 1>for two years. Then an opportunity came about in New

0:23:00.200 --> 0:23:02.399
<v Speaker 1>York at Universal Publishing. I got hired there as a

0:23:02.440 --> 0:23:05.720
<v Speaker 1>creative manager like a year and a half later. Being

0:23:05.720 --> 0:23:10.199
<v Speaker 1>a single woman now moving to New York. It was

0:23:10.320 --> 0:23:12.000
<v Speaker 1>I mean, I was making no money. I think I

0:23:12.040 --> 0:23:17.680
<v Speaker 1>was probably making forty five dollars a year. Um, it

0:23:17.840 --> 0:23:21.800
<v Speaker 1>was hard. It was extremely hard. I remember time was

0:23:21.840 --> 0:23:25.040
<v Speaker 1>walking out of that building at like it's raining, the

0:23:25.040 --> 0:23:28.919
<v Speaker 1>wind is blowing, and like literally just crying because it

0:23:29.000 --> 0:23:30.520
<v Speaker 1>was tough and I was broke. I had to take

0:23:30.520 --> 0:23:34.679
<v Speaker 1>the ferry across Jersey. You know. It was tough. It

0:23:34.800 --> 0:23:39.119
<v Speaker 1>was really really tough, but I made it work. And um,

0:23:39.119 --> 0:23:42.159
<v Speaker 1>the first first person I sawned was Joe Button. He

0:23:42.200 --> 0:23:45.840
<v Speaker 1>had this track called Pump It Up that was exploding

0:23:45.920 --> 0:23:48.240
<v Speaker 1>at the time. I also found that, like, there weren't

0:23:48.240 --> 0:23:50.159
<v Speaker 1>a lot of fans of the publishing company at the

0:23:50.200 --> 0:23:52.400
<v Speaker 1>time when I got there, Like Kedar Massenburg was there.

0:23:52.480 --> 0:23:56.560
<v Speaker 1>He was a bit of an asshole. Uh. He remember

0:23:56.600 --> 0:23:59.040
<v Speaker 1>him saying, seeing these are people I would read about two.

0:23:59.040 --> 0:24:00.679
<v Speaker 1>So I was like excited when I was seeing him

0:24:00.680 --> 0:24:02.560
<v Speaker 1>in the hallway and Kadar was like, oh, yeah, you

0:24:02.560 --> 0:24:05.000
<v Speaker 1>work for the publishing company. Yeah, fuck them, And I'm

0:24:05.040 --> 0:24:07.600
<v Speaker 1>like what you know what I mean? Like that, that

0:24:07.720 --> 0:24:09.280
<v Speaker 1>was my introduction to some of the people because they

0:24:09.280 --> 0:24:11.720
<v Speaker 1>just didn't support what we were doing at the publishing company.

0:24:11.840 --> 0:24:15.080
<v Speaker 1>So it was um. I learned a lot during those

0:24:15.080 --> 0:24:18.800
<v Speaker 1>first couple of years, and uh I went back to

0:24:18.800 --> 0:24:21.159
<v Speaker 1>Atlanta a lot too, though, because the music scene was

0:24:21.240 --> 0:24:25.480
<v Speaker 1>always happening there because of my relationships that I had

0:24:25.600 --> 0:24:27.840
<v Speaker 1>when I was coming up and I was young when

0:24:27.840 --> 0:24:30.639
<v Speaker 1>I got the job in Publishing Ludicrous. Ludicrous had been

0:24:30.680 --> 0:24:33.840
<v Speaker 1>a DJ on the radio and on air, part personality

0:24:33.840 --> 0:24:36.200
<v Speaker 1>when I got the job. He's huge now. He left

0:24:36.200 --> 0:24:38.560
<v Speaker 1>E M I Publishing and came and signed with me

0:24:38.600 --> 0:24:41.520
<v Speaker 1>at Universal, which was a big deal at the time.

0:24:41.600 --> 0:24:46.160
<v Speaker 1>And from that David supported me and signing new things

0:24:46.160 --> 0:24:48.879
<v Speaker 1>that I wanted to develop to develop. So that was

0:24:48.920 --> 0:24:52.040
<v Speaker 1>his producer Polodon, who went on to have like huge

0:24:52.119 --> 0:24:57.720
<v Speaker 1>hits with Pussycat Dolls, Um Fergie, et cetera. I signed

0:24:57.720 --> 0:25:01.440
<v Speaker 1>a writer named Carry Hilton who records was like Timberland,

0:25:01.520 --> 0:25:05.240
<v Speaker 1>like the way I are. She wrote records for Ussher, Sierra, etcetera.

0:25:05.520 --> 0:25:08.720
<v Speaker 1>But these were I signed them before they all had

0:25:08.720 --> 0:25:11.600
<v Speaker 1>these hits. How did you find them? They were in Atlanta.

0:25:11.640 --> 0:25:15.560
<v Speaker 1>I knew Polo from my younger years in Atlanta being

0:25:15.560 --> 0:25:18.280
<v Speaker 1>on the scene. He was an artist, an aspiring hip

0:25:18.280 --> 0:25:22.800
<v Speaker 1>hop artist and had started producing music and when I

0:25:23.000 --> 0:25:24.480
<v Speaker 1>when I heard his beat, so I was like, okay,

0:25:24.480 --> 0:25:26.760
<v Speaker 1>these are great. So when I signed Ludicrous, I immediately

0:25:26.800 --> 0:25:29.679
<v Speaker 1>signed him after that because I had the trust of David.

0:25:29.680 --> 0:25:31.919
<v Speaker 1>He was like, you brought in this huge deal. You know,

0:25:31.960 --> 0:25:34.960
<v Speaker 1>I had the the leeway to sign new and developing

0:25:34.960 --> 0:25:37.720
<v Speaker 1>things too. And it ended up actually Polo had a

0:25:37.840 --> 0:25:42.159
<v Speaker 1>hit on on Ludicrous, and then Carrie started having hits, etcetera.

0:25:42.560 --> 0:25:45.879
<v Speaker 1>And I just started building my roster from there. And

0:25:46.000 --> 0:25:51.480
<v Speaker 1>how did you end up in l A the mostown gig?

0:25:52.880 --> 0:25:57.159
<v Speaker 1>So you in New York told the mostown gig? Yes, okay,

0:25:57.280 --> 0:26:00.440
<v Speaker 1>so you're working in publishing. You foresee the that your

0:26:00.480 --> 0:26:03.840
<v Speaker 1>career is going to be in publishing. I did. Actually

0:26:04.119 --> 0:26:06.359
<v Speaker 1>I dibbled and dabbled in an R. So I signed

0:26:06.359 --> 0:26:10.399
<v Speaker 1>an artist named Sierra to a publishing deal. Um. She

0:26:10.480 --> 0:26:12.800
<v Speaker 1>had a lot of success with her first record, and

0:26:13.320 --> 0:26:15.600
<v Speaker 1>she was making she was supposed to make her second album,

0:26:15.640 --> 0:26:18.240
<v Speaker 1>and she didn't have a great relationship with the label,

0:26:19.240 --> 0:26:22.320
<v Speaker 1>UM because her A R guy that was there wasn't

0:26:22.320 --> 0:26:25.240
<v Speaker 1>there anymore. And so because I'm her publisher, she wants

0:26:25.240 --> 0:26:27.000
<v Speaker 1>me to A and R the record. I've never done

0:26:27.000 --> 0:26:28.800
<v Speaker 1>an R before. I was like, all right, we're gonna

0:26:28.840 --> 0:26:31.560
<v Speaker 1>give this a go. And that's how I learned a R.

0:26:31.720 --> 0:26:34.479
<v Speaker 1>Like working with her and doing the second album, I

0:26:34.600 --> 0:26:39.119
<v Speaker 1>knew Barry Weiss through that dynamic, and we had a

0:26:39.200 --> 0:26:43.080
<v Speaker 1>lot of success with the second album, and um yeah,

0:26:43.080 --> 0:26:44.760
<v Speaker 1>because I remember we came out the same day once

0:26:44.800 --> 0:26:46.760
<v Speaker 1>Definding was putting out her solo record, and we beat

0:26:46.760 --> 0:26:48.800
<v Speaker 1>her like we came in number one. We had a

0:26:48.880 --> 0:26:50.439
<v Speaker 1>lot of you know, And that's how I got my

0:26:50.480 --> 0:26:54.600
<v Speaker 1>introduction into A and R. Were you making now? I've

0:26:54.640 --> 0:26:57.520
<v Speaker 1>been promoted because I had some success. I think I

0:26:57.560 --> 0:27:01.320
<v Speaker 1>was probably a senior actor or something like that at

0:27:01.320 --> 0:27:04.200
<v Speaker 1>the time. Um, So I did A and R and

0:27:04.520 --> 0:27:05.959
<v Speaker 1>I liked it. It It was a lot had a lot

0:27:06.000 --> 0:27:07.960
<v Speaker 1>of respect for an R. Like as a publisher you

0:27:08.000 --> 0:27:09.840
<v Speaker 1>really feel like you're at the ground level because you're

0:27:09.840 --> 0:27:12.679
<v Speaker 1>working with creators and songwriters and you really know what's next.

0:27:12.800 --> 0:27:18.119
<v Speaker 1>Before I thought always before labels, did you know? Um?

0:27:18.320 --> 0:27:20.040
<v Speaker 1>And in some cases you do because you have a

0:27:20.040 --> 0:27:23.400
<v Speaker 1>lot more time to develop and nurture things, whereas at

0:27:23.440 --> 0:27:26.080
<v Speaker 1>a label it can be really difficult. You just have

0:27:26.119 --> 0:27:28.080
<v Speaker 1>to know how to manage your roster and manage your

0:27:28.080 --> 0:27:31.520
<v Speaker 1>time in order to do both right. Um. But as

0:27:31.560 --> 0:27:34.679
<v Speaker 1>a publisher you definitely have more time to nurture and

0:27:34.720 --> 0:27:39.520
<v Speaker 1>develop talent overall. And um, when I got into A

0:27:39.600 --> 0:27:41.360
<v Speaker 1>and R, I love the process of helping to make

0:27:41.359 --> 0:27:43.640
<v Speaker 1>a body of work and helping an artist see their

0:27:43.640 --> 0:27:46.680
<v Speaker 1>full vision come to life. So how many years were

0:27:46.760 --> 0:27:51.680
<v Speaker 1>in New York at Universal Publishing. I've just I just

0:27:52.359 --> 0:27:55.400
<v Speaker 1>segued from being in a dual role between Universal Publishing

0:27:55.400 --> 0:27:58.560
<v Speaker 1>and the label because I was made an e v

0:27:58.720 --> 0:28:02.879
<v Speaker 1>P of Urban Co head of the creative department probably

0:28:02.880 --> 0:28:07.040
<v Speaker 1>five years ago, six years ago, I can't keep track

0:28:07.040 --> 0:28:09.520
<v Speaker 1>of the time. That probably about six years ago, and

0:28:09.640 --> 0:28:13.480
<v Speaker 1>I segued out of the publishing company like a year ago.

0:28:15.240 --> 0:28:27.240
<v Speaker 1>So what is the dream for you personally? Ship? Um?

0:28:27.280 --> 0:28:33.760
<v Speaker 1>The dream for me personally, you know, to find balance,

0:28:34.400 --> 0:28:38.000
<v Speaker 1>right to like joy. I love what I do in music,

0:28:38.360 --> 0:28:42.320
<v Speaker 1>and you know, growing as a music executive as you

0:28:42.400 --> 0:28:45.280
<v Speaker 1>move up the corporate ladder, you see yourself kind of

0:28:45.320 --> 0:28:49.680
<v Speaker 1>getting sometimes away from the process, the creative process that

0:28:49.840 --> 0:28:51.880
<v Speaker 1>you loved and enjoyed it. For me, it's about having

0:28:51.880 --> 0:28:54.480
<v Speaker 1>a better balance between both because that creative process is

0:28:54.520 --> 0:28:56.760
<v Speaker 1>actually what fuels me, you know what I mean. Like

0:28:56.840 --> 0:29:01.200
<v Speaker 1>I love making the records, connecting with the talent, etcetera.

0:29:01.280 --> 0:29:03.040
<v Speaker 1>And so just having more of a balance of that.

0:29:03.160 --> 0:29:08.080
<v Speaker 1>This is all a part of my life. Um so yeah, okay,

0:29:08.120 --> 0:29:12.480
<v Speaker 1>but is there time for romance? Yeah? There is, Okay,

0:29:12.640 --> 0:29:17.400
<v Speaker 1>make time for that. Yeah, I mean I was I

0:29:17.440 --> 0:29:19.800
<v Speaker 1>was engaged, so I was engaged five years ago and

0:29:19.840 --> 0:29:24.160
<v Speaker 1>I called it off. He wasn't the right one, And

0:29:24.280 --> 0:29:29.720
<v Speaker 1>was that he in the music business. Yes, okay, let's

0:29:29.800 --> 0:29:33.040
<v Speaker 1>leave it there. Let's leave it there. So at least

0:29:33.040 --> 0:29:39.320
<v Speaker 1>he understood your lifestyle. Yeah, okay. So is now as

0:29:39.480 --> 0:29:44.240
<v Speaker 1>we keep creeping in your biological imperative? Is new? Clock

0:29:44.440 --> 0:29:48.120
<v Speaker 1>is ticking louder? Does that bother you? If you didn't

0:29:48.120 --> 0:29:53.760
<v Speaker 1>have children? Would that be? Okay? What type of citizen? No?

0:29:54.080 --> 0:29:57.640
<v Speaker 1>The point is you're a very powerful, strong executive, your

0:29:57.840 --> 0:30:03.040
<v Speaker 1>role model for people. The question can you do it all? Yeah?

0:30:03.120 --> 0:30:05.360
<v Speaker 1>I do think you can do it all for me.

0:30:05.400 --> 0:30:08.440
<v Speaker 1>It's I've never looked at it like I couldn't. You know.

0:30:08.600 --> 0:30:10.120
<v Speaker 1>I'll be honest with you. I never looked at it

0:30:10.160 --> 0:30:13.239
<v Speaker 1>like I couldn't. I'm I was a helpless romantic. I'm like,

0:30:13.360 --> 0:30:16.120
<v Speaker 1>I never believed that I couldn't have it all. You know,

0:30:16.640 --> 0:30:19.960
<v Speaker 1>I don't really subscribe to those thoughts or ideas. Yes,

0:30:20.160 --> 0:30:21.440
<v Speaker 1>I can't have it all. I just has to be

0:30:21.520 --> 0:30:26.200
<v Speaker 1>with the right person. Okay, so said By the way,

0:30:26.200 --> 0:30:36.200
<v Speaker 1>he's stud I'm like, right, he's stunding my dad. We'll

0:30:36.240 --> 0:30:38.040
<v Speaker 1>take a quick break and come back with more of

0:30:38.080 --> 0:30:41.880
<v Speaker 1>my conversation with Ethiopia, have to Marry Him? Recording it

0:30:42.000 --> 0:30:48.120
<v Speaker 1>the music media stummit in Santa Barbara, California. This week

0:30:48.160 --> 0:30:51.720
<v Speaker 1>I'm speaking with the president of Motown Records. Two weeks ago,

0:30:51.840 --> 0:30:54.560
<v Speaker 1>I had Moby from the l A Times Festival Books,

0:30:54.840 --> 0:30:58.840
<v Speaker 1>and last week we heard Brazilian legend Gilberto Joe, who

0:30:58.920 --> 0:31:01.440
<v Speaker 1>welcomed me into a video in the hills of Rio

0:31:01.520 --> 0:31:04.920
<v Speaker 1>de Janeiro. Be the first to hear next week's episode

0:31:04.960 --> 0:31:08.680
<v Speaker 1>by subscribing to the podcast on tune in, Apple Podcast

0:31:08.840 --> 0:31:11.840
<v Speaker 1>or your podcast player of choice. Check out the first

0:31:11.840 --> 0:31:16.760
<v Speaker 1>twenty interviews, and please rate and review the podcast. Okay,

0:31:16.840 --> 0:31:19.720
<v Speaker 1>let's get back to my conversation with Ethiopia, have to

0:31:19.760 --> 0:31:22.680
<v Speaker 1>Marry Him in front of a live audience at my

0:31:22.840 --> 0:31:28.680
<v Speaker 1>music media summit in Santa Barbara, California. Being a powerful

0:31:28.760 --> 0:31:33.600
<v Speaker 1>black woman in society and uh, there's a lot of

0:31:33.640 --> 0:31:37.280
<v Speaker 1>attention paid attention to you know, pointed at you. And

0:31:37.480 --> 0:31:42.480
<v Speaker 1>do you feel responsibility to be a role model? I

0:31:42.480 --> 0:31:45.760
<v Speaker 1>I have to live my life for me, yes, I do.

0:31:45.920 --> 0:31:52.440
<v Speaker 1>But but I feel a responsibility to myself first. Um,

0:31:52.480 --> 0:31:56.400
<v Speaker 1>and I can't really get too caught up in that,

0:31:56.440 --> 0:31:59.160
<v Speaker 1>but I of course I'm aware that people look up

0:31:59.200 --> 0:32:00.720
<v Speaker 1>to me, because I know that there were people that

0:32:00.760 --> 0:32:04.560
<v Speaker 1>I looked up to. But you quickly learn that you can't,

0:32:05.440 --> 0:32:08.560
<v Speaker 1>you know, idolize people, or you can't think that people

0:32:08.560 --> 0:32:10.160
<v Speaker 1>won't make mistakes. And so I just want to be

0:32:10.200 --> 0:32:12.520
<v Speaker 1>comfortable with the decisions that I make from my life.

0:32:12.520 --> 0:32:14.040
<v Speaker 1>And I've gotten to a place where I'm like, i

0:32:14.080 --> 0:32:17.120
<v Speaker 1>gotta do what's right for me. And do you feel

0:32:17.120 --> 0:32:21.160
<v Speaker 1>any responsibility with your position and power to impact other

0:32:21.240 --> 0:32:25.880
<v Speaker 1>parts of the culture. Definitely, and what does that look like? Um?

0:32:27.240 --> 0:32:29.800
<v Speaker 1>For me, it's about how I relate to the artists

0:32:29.840 --> 0:32:33.800
<v Speaker 1>and talent that I deal with their times when they

0:32:33.840 --> 0:32:35.840
<v Speaker 1>can be going through through certain things in their life

0:32:35.840 --> 0:32:38.640
<v Speaker 1>where I think the artists have the biggest platforms to

0:32:38.720 --> 0:32:42.800
<v Speaker 1>really affect change um. And so I know the conversations

0:32:42.840 --> 0:32:45.160
<v Speaker 1>that I have in the background, or if I'm helping

0:32:45.200 --> 0:32:47.280
<v Speaker 1>them through situations in their own life to get them

0:32:47.320 --> 0:32:49.440
<v Speaker 1>to a place that they that they can create art

0:32:49.920 --> 0:32:53.320
<v Speaker 1>that I know will affect people. UM. So you find

0:32:53.360 --> 0:32:55.840
<v Speaker 1>you're actually leading the act as opposed to the act

0:32:55.920 --> 0:32:59.280
<v Speaker 1>leading you. It depends on the scenario or or the

0:33:00.160 --> 0:33:02.360
<v Speaker 1>In certain situations, it may have been the writer like

0:33:02.400 --> 0:33:05.800
<v Speaker 1>there have been times I've been in sessions where artists

0:33:05.800 --> 0:33:08.560
<v Speaker 1>maybe I know that they're emotionally in a certain place

0:33:08.600 --> 0:33:11.720
<v Speaker 1>in their lives and and they don't have a good translator.

0:33:11.800 --> 0:33:15.440
<v Speaker 1>So it's my job to identify the right people to

0:33:15.480 --> 0:33:18.480
<v Speaker 1>have in the room to help bring that out of

0:33:18.520 --> 0:33:21.960
<v Speaker 1>them and then to translate what what I know will

0:33:22.000 --> 0:33:24.840
<v Speaker 1>come out and connect to other people. And that's that's

0:33:24.960 --> 0:33:27.120
<v Speaker 1>a gift, you know what I mean, And it's worked

0:33:27.160 --> 0:33:30.920
<v Speaker 1>in a lot of ways. And then also you know,

0:33:30.960 --> 0:33:33.479
<v Speaker 1>I have I have this writer named Sebastian cole right,

0:33:33.640 --> 0:33:36.800
<v Speaker 1>thirty five year old black man from Birmingham, Alabama. I

0:33:36.840 --> 0:33:40.560
<v Speaker 1>figned him when he was like, you know, living out

0:33:40.560 --> 0:33:42.600
<v Speaker 1>of his car and Los Angeles, drove to l A

0:33:43.040 --> 0:33:45.680
<v Speaker 1>to pursue his dreams, etcetera. He went on to write

0:33:45.840 --> 0:33:50.200
<v Speaker 1>like the Alestia Carra hits like you know here, Scarcy,

0:33:50.240 --> 0:33:54.080
<v Speaker 1>you're beautiful, etcetera, etcetera. To me, that feels like my

0:33:54.200 --> 0:33:56.680
<v Speaker 1>contribution to the culture as well, because I know that

0:33:56.800 --> 0:34:01.680
<v Speaker 1>someone like him would not have normally gotten an opportunity

0:34:01.840 --> 0:34:05.440
<v Speaker 1>to get the kind of deal that he got in

0:34:05.480 --> 0:34:08.120
<v Speaker 1>that belief early on, I mean, I signed him way

0:34:08.120 --> 0:34:12.759
<v Speaker 1>before there was the smashes, etceteran. So I feel very

0:34:12.840 --> 0:34:17.040
<v Speaker 1>privileged because I'm able to provide those opportunities for people

0:34:17.080 --> 0:34:19.120
<v Speaker 1>that I know have the gift and then helping them

0:34:19.560 --> 0:34:21.320
<v Speaker 1>get to a place where they can create music that

0:34:21.360 --> 0:34:24.560
<v Speaker 1>will touch people. Um So, whether it was a Sebastian

0:34:24.640 --> 0:34:26.759
<v Speaker 1>or it was you know, these writers from Atlanta and

0:34:26.760 --> 0:34:30.320
<v Speaker 1>the rock city who went on to be huge pop songwriters.

0:34:30.480 --> 0:34:32.239
<v Speaker 1>You know, that's a gift for me because I know

0:34:32.320 --> 0:34:35.000
<v Speaker 1>that normally they wouldn't get those shots. And to what

0:34:35.120 --> 0:34:41.320
<v Speaker 1>degree do you feel racism in the music industry? Okay,

0:34:41.320 --> 0:34:43.960
<v Speaker 1>so I'll be honest about it, because I have to

0:34:44.000 --> 0:34:48.839
<v Speaker 1>be Racism wasn't something that I had thought about in

0:34:48.880 --> 0:34:52.040
<v Speaker 1>the industry for a long time. When you put your

0:34:52.040 --> 0:34:53.840
<v Speaker 1>head down and just do the work and you're working

0:34:53.880 --> 0:34:55.959
<v Speaker 1>so much, it wasn't something that I had thought about.

0:34:56.040 --> 0:34:59.719
<v Speaker 1>So it wasn't until I got the Motown gig that

0:34:59.840 --> 0:35:04.080
<v Speaker 1>it came up for me. Now, when I was pursuing

0:35:04.160 --> 0:35:07.880
<v Speaker 1>my career in music, I read every trade magazine and

0:35:07.880 --> 0:35:10.960
<v Speaker 1>and you know, there were the people I looked up to.

0:35:11.040 --> 0:35:13.200
<v Speaker 1>It was an artist, it was other executives that I

0:35:13.480 --> 0:35:15.040
<v Speaker 1>you know, so there were a lot of women of

0:35:15.080 --> 0:35:17.640
<v Speaker 1>color that were in senior roles on the A and

0:35:17.800 --> 0:35:21.600
<v Speaker 1>R side, across all the labels, right in the publishing companies, etcetera.

0:35:22.280 --> 0:35:25.319
<v Speaker 1>And Um, I never looked at it like there being

0:35:26.040 --> 0:35:29.400
<v Speaker 1>an issue before. When I got the job at Motown,

0:35:29.480 --> 0:35:31.560
<v Speaker 1>I was originally hired as an s VP of n

0:35:31.760 --> 0:35:38.839
<v Speaker 1>R Motown was UH moved under Island def jam Um,

0:35:38.880 --> 0:35:43.480
<v Speaker 1>and I remember the switch. I remember the conversations changing

0:35:43.520 --> 0:35:46.359
<v Speaker 1>where people were pointing out to me the lack of

0:35:46.480 --> 0:35:49.840
<v Speaker 1>black executives in the music business, and have you noticed

0:35:49.880 --> 0:35:53.840
<v Speaker 1>the change, etcetera. And I started noticing that there was

0:35:53.880 --> 0:35:55.799
<v Speaker 1>a change. You know, there was a lot of conversation

0:35:55.840 --> 0:36:01.800
<v Speaker 1>around the role at death sham Um and I hadn't

0:36:01.800 --> 0:36:04.000
<v Speaker 1>really thought about it in that way before because I

0:36:04.080 --> 0:36:06.480
<v Speaker 1>was I wasn't a person who thought about like because

0:36:06.520 --> 0:36:08.239
<v Speaker 1>I was a woman, or because I was black, I

0:36:08.239 --> 0:36:10.560
<v Speaker 1>wouldn't ever make it. And this is from me as

0:36:10.560 --> 0:36:13.560
<v Speaker 1>a kid. I never thought about those things. And it

0:36:13.640 --> 0:36:17.959
<v Speaker 1>may have been because I was in Atlanta where I

0:36:18.000 --> 0:36:20.520
<v Speaker 1>was surrounded around a lot of success, a lot of

0:36:20.600 --> 0:36:24.560
<v Speaker 1>huge success, but around people that looked like me, so

0:36:24.600 --> 0:36:27.479
<v Speaker 1>I never thought it would be an issue. I moved

0:36:27.480 --> 0:36:29.520
<v Speaker 1>to New York still didn't think it was an issue,

0:36:30.000 --> 0:36:33.320
<v Speaker 1>and then I noticed that there was a change. Also,

0:36:33.440 --> 0:36:37.719
<v Speaker 1>Urban music got to a place where we were making

0:36:37.719 --> 0:36:42.200
<v Speaker 1>as much money, right, So I choose to take the

0:36:42.239 --> 0:36:46.320
<v Speaker 1>Motown to do be in this dual role. I became

0:36:46.360 --> 0:36:50.719
<v Speaker 1>a very successful music publisher and then having success doing

0:36:50.760 --> 0:36:54.280
<v Speaker 1>A and R as well. I also managed Carry Hilton.

0:36:55.400 --> 0:36:57.360
<v Speaker 1>She went from being a songwriter to an artist. I

0:36:57.400 --> 0:36:59.640
<v Speaker 1>helped her get her deal and then managed her and

0:36:59.680 --> 0:37:01.680
<v Speaker 1>addition to being a publisher, right, so I got to

0:37:01.719 --> 0:37:04.479
<v Speaker 1>grow and see a lot as a creative executive and

0:37:04.600 --> 0:37:07.440
<v Speaker 1>I became very powerful in the business. But then I

0:37:07.480 --> 0:37:11.719
<v Speaker 1>took this role at Motown and things were changing. You

0:37:11.760 --> 0:37:14.000
<v Speaker 1>could have a number one urban record and it didn't

0:37:14.000 --> 0:37:19.759
<v Speaker 1>equit to anything, right, So the power base changed and

0:37:20.040 --> 0:37:21.879
<v Speaker 1>it became a real issue for the lack of black

0:37:21.920 --> 0:37:25.120
<v Speaker 1>executives in the business. You just saw like a complete

0:37:26.800 --> 0:37:29.719
<v Speaker 1>shift happening, and it wasn't really spoken about. You just

0:37:29.760 --> 0:37:32.120
<v Speaker 1>felt it, and there were a group of a group

0:37:32.160 --> 0:37:35.040
<v Speaker 1>of people that would talk about it a lot um.

0:37:35.080 --> 0:37:37.400
<v Speaker 1>And I had to educate myself. I had mentors and

0:37:37.440 --> 0:37:39.479
<v Speaker 1>I still have a mentor in my life, Clearance Avon,

0:37:39.560 --> 0:37:42.240
<v Speaker 1>that just educated me on the history of the business

0:37:42.239 --> 0:37:47.440
<v Speaker 1>and things that had happened before UM and looking at

0:37:47.480 --> 0:37:50.080
<v Speaker 1>what was happening, you know, at the time, and what

0:37:50.200 --> 0:37:53.399
<v Speaker 1>is what's happening currently. But I do feel a real

0:37:53.520 --> 0:37:57.279
<v Speaker 1>responsibility for making sure I create opportunities for people that

0:37:57.320 --> 0:38:01.400
<v Speaker 1>look like me. I remember, you know, at one point,

0:38:01.719 --> 0:38:05.759
<v Speaker 1>UM renegotiating with my deal at Universal Publishing and Jay

0:38:05.800 --> 0:38:11.160
<v Speaker 1>Brown Right Nations. So when I respect UM and admire,

0:38:12.239 --> 0:38:16.239
<v Speaker 1>I'm having hits after hits after hits, and it's so

0:38:16.360 --> 0:38:18.920
<v Speaker 1>it's Polo having hits. Ester Dean, my songwright, you know,

0:38:19.040 --> 0:38:20.719
<v Speaker 1>Esterdin is one of my songwriters. She's having a lot

0:38:20.719 --> 0:38:22.560
<v Speaker 1>of hits. And he said to me, he said, he

0:38:22.680 --> 0:38:24.640
<v Speaker 1>has them take urban out of your title. Because I

0:38:24.719 --> 0:38:26.319
<v Speaker 1>was like the head. He's like, have them take urban

0:38:26.320 --> 0:38:28.839
<v Speaker 1>out of your title. You know, all your writers are

0:38:28.840 --> 0:38:32.560
<v Speaker 1>writing all the pop hits. And I was like, shit, okay,

0:38:34.000 --> 0:38:36.920
<v Speaker 1>I didn't really think about that. And then I remember

0:38:36.960 --> 0:38:39.560
<v Speaker 1>speaking to another friend of mine and he was like, well,

0:38:39.600 --> 0:38:42.080
<v Speaker 1>if you do that, will there'll be a responsibility at

0:38:42.080 --> 0:38:44.520
<v Speaker 1>these companies for them to hire people that look like you.

0:38:45.600 --> 0:38:51.040
<v Speaker 1>I was like, you know what, yeah, you're right. So

0:38:51.080 --> 0:38:52.600
<v Speaker 1>I kept it in my title. It's not something that

0:38:52.640 --> 0:38:56.839
<v Speaker 1>I run away from. UM, I'm I'm proud of the

0:38:56.880 --> 0:39:00.399
<v Speaker 1>culture that I come from. You know, I'm clearly ether

0:39:00.520 --> 0:39:02.560
<v Speaker 1>up in American but I grew up in the South

0:39:02.880 --> 0:39:06.480
<v Speaker 1>and you know, all black neighborhood, etcetera. But my experiences

0:39:06.520 --> 0:39:09.319
<v Speaker 1>and and things that I went through as a kid

0:39:09.360 --> 0:39:11.120
<v Speaker 1>are very similar to what a lot of other people

0:39:11.160 --> 0:39:13.200
<v Speaker 1>went through. Doesn't but but my culture and what I

0:39:13.280 --> 0:39:15.520
<v Speaker 1>lived and breathe is I'm I'm fining to represent that,

0:39:16.000 --> 0:39:19.040
<v Speaker 1>and I'm fining to give opportunities for talent that also

0:39:19.120 --> 0:39:21.600
<v Speaker 1>come from that same culture as well. And I think

0:39:21.640 --> 0:39:23.840
<v Speaker 1>it's important that had to have people inside of the

0:39:23.880 --> 0:39:27.160
<v Speaker 1>companies that can relate to it on that level, not

0:39:27.360 --> 0:39:30.000
<v Speaker 1>just look at it through a computer screen or through

0:39:30.040 --> 0:39:33.719
<v Speaker 1>their phones and say, oh, I'm urban because I'm watching

0:39:33.760 --> 0:39:35.880
<v Speaker 1>your culture, you know what I mean, but not really

0:39:35.920 --> 0:39:38.200
<v Speaker 1>having understood it or lived it or breathed it. And

0:39:38.239 --> 0:39:40.680
<v Speaker 1>I think that there's a responsibility to these companies to

0:39:40.760 --> 0:39:43.600
<v Speaker 1>know the difference UM and have people in there that

0:39:43.680 --> 0:39:46.520
<v Speaker 1>actually like are from it. And what about being a

0:39:46.560 --> 0:39:49.160
<v Speaker 1>woman in the music industry and a woman in society,

0:39:49.600 --> 0:39:52.560
<v Speaker 1>especially in the light of the me too uh movement

0:39:52.560 --> 0:39:59.319
<v Speaker 1>in the last eight months or so. UM, I mean,

0:39:59.640 --> 0:40:04.080
<v Speaker 1>you know, it's kind of similar in that let's start

0:40:04.120 --> 0:40:07.279
<v Speaker 1>from have you personally, not that we need details, had

0:40:07.320 --> 0:40:15.920
<v Speaker 1>bad experiences. I have had bad experiences, not a lot

0:40:16.040 --> 0:40:20.320
<v Speaker 1>of them. I've had situations more with you know, sometimes

0:40:20.320 --> 0:40:24.320
<v Speaker 1>with like aggressive talent or aggressive there's been this weird

0:40:24.360 --> 0:40:27.080
<v Speaker 1>thing that might happen with talent where there they feel

0:40:27.120 --> 0:40:29.640
<v Speaker 1>like you're there's you know what I mean, like because

0:40:29.640 --> 0:40:32.000
<v Speaker 1>you're a woman, or you might be nurturing, etcetera. They

0:40:32.040 --> 0:40:34.200
<v Speaker 1>get they get those lines blurred or whatever, and then

0:40:34.239 --> 0:40:36.440
<v Speaker 1>you have to check them. But I've always been a

0:40:36.480 --> 0:40:38.759
<v Speaker 1>person that's been about checking them. Even when, like there

0:40:38.800 --> 0:40:40.520
<v Speaker 1>was a time I was doing street promotions and I

0:40:40.560 --> 0:40:44.440
<v Speaker 1>would come across situations dealing with promoters or etcetera. I

0:40:44.520 --> 0:40:47.399
<v Speaker 1>had no problem checking them. Let's just to be clear,

0:40:47.520 --> 0:40:50.000
<v Speaker 1>because I'm a male and we're on the other side

0:40:50.000 --> 0:40:52.640
<v Speaker 1>of the fence, give me an illustration of what checking

0:40:52.719 --> 0:41:01.799
<v Speaker 1>somebody would be like. UM, I'm gonna tell I'm gonna

0:41:01.840 --> 0:41:03.400
<v Speaker 1>tell you a story. I'm gonna tell you a story

0:41:03.440 --> 0:41:06.080
<v Speaker 1>about when I was at LA Face and in addition

0:41:06.120 --> 0:41:08.759
<v Speaker 1>of being a production assistant, I was also doing promotions

0:41:08.840 --> 0:41:12.560
<v Speaker 1>and produce, street promotions, etcetera. And I remember going to

0:41:13.080 --> 0:41:15.799
<v Speaker 1>North Carolina or South Carolina or something with some of

0:41:15.840 --> 0:41:19.239
<v Speaker 1>my girlfriends that were helping me for this party that

0:41:19.320 --> 0:41:21.640
<v Speaker 1>we were doing, and we had to deal with the

0:41:21.640 --> 0:41:24.160
<v Speaker 1>promoter and he had his friends so they we have

0:41:24.200 --> 0:41:26.640
<v Speaker 1>a successful event. They decided to show up to our

0:41:26.680 --> 0:41:32.680
<v Speaker 1>hotel room and a few of my friends had been drinking.

0:41:33.840 --> 0:41:36.400
<v Speaker 1>We had ordered room service. So I'm the person that

0:41:36.480 --> 0:41:38.719
<v Speaker 1>knew to just like grab one of the knobs and

0:41:38.719 --> 0:41:42.879
<v Speaker 1>put it under the pillow just in case anything gets crazy, right,

0:41:43.800 --> 0:41:47.399
<v Speaker 1>Just That's just how I was. But and I think

0:41:47.440 --> 0:41:51.040
<v Speaker 1>the guys thought it was gonna be a another kind

0:41:51.040 --> 0:41:54.759
<v Speaker 1>of situation. I'm like the one that like, get up,

0:41:54.920 --> 0:41:56.840
<v Speaker 1>get the funk out of here, you know what I mean, Like,

0:41:56.880 --> 0:41:58.799
<v Speaker 1>how dare you even try? This? Was like a you know,

0:41:58.800 --> 0:42:00.640
<v Speaker 1>it was one of those situations where I work for

0:42:00.680 --> 0:42:03.840
<v Speaker 1>the Face Records. I'm here too, you know, as someone

0:42:03.880 --> 0:42:06.040
<v Speaker 1>that's working on this event. How dare you try us?

0:42:06.400 --> 0:42:08.560
<v Speaker 1>And they really felt like, because my friends were there

0:42:09.120 --> 0:42:11.759
<v Speaker 1>and they were you know, being social, that it could

0:42:11.800 --> 0:42:13.880
<v Speaker 1>be something more. And the I think the moment you

0:42:13.960 --> 0:42:18.360
<v Speaker 1>allow the lines to get a little blurred, people feel

0:42:18.360 --> 0:42:20.520
<v Speaker 1>like they can really test you and take it there,

0:42:21.040 --> 0:42:23.560
<v Speaker 1>and you just can't be afraid to speak up and say,

0:42:23.600 --> 0:42:25.960
<v Speaker 1>I'm not going to allow that to happen. And I've

0:42:25.960 --> 0:42:28.719
<v Speaker 1>had other extreme situations as I've gotten older, where you've

0:42:28.760 --> 0:42:31.680
<v Speaker 1>had to just deal with it in the immediate and no,

0:42:31.920 --> 0:42:34.120
<v Speaker 1>not to let things even get to the point where

0:42:34.160 --> 0:42:36.560
<v Speaker 1>they could get blurred. Has the opposite been true ever,

0:42:36.680 --> 0:42:40.040
<v Speaker 1>where you say, well, the lines may be blurred, but

0:42:40.080 --> 0:42:43.160
<v Speaker 1>this will work to my advantage career wise. So I

0:42:43.200 --> 0:42:44.880
<v Speaker 1>don't want to cross the line, but I'm willing to

0:42:45.000 --> 0:42:50.720
<v Speaker 1>ride with it. No, like just letting people get away

0:42:50.760 --> 0:42:53.120
<v Speaker 1>with things because it's gonna work for my career. It's

0:42:53.160 --> 0:42:56.319
<v Speaker 1>interesting culturally, I think this is you know, it's it's

0:42:56.400 --> 0:42:59.080
<v Speaker 1>very illustrative. I think, I mean, I don't know the

0:42:59.120 --> 0:43:01.960
<v Speaker 1>way you're saying white women seem to you know, it

0:43:02.000 --> 0:43:04.520
<v Speaker 1>seems like the strong black woman. The image is like

0:43:04.760 --> 0:43:09.200
<v Speaker 1>they're shutting it down, and uh, I mean, well, and

0:43:09.239 --> 0:43:11.719
<v Speaker 1>I'll tell you it's for me. It was really about respect.

0:43:12.480 --> 0:43:15.640
<v Speaker 1>It was really about respect because I respect myself within

0:43:15.719 --> 0:43:17.960
<v Speaker 1>my career and I want you want, I want you

0:43:18.000 --> 0:43:21.600
<v Speaker 1>to respect me as an executive first, like I never

0:43:21.680 --> 0:43:23.400
<v Speaker 1>wanted it. I would never want them to think it

0:43:23.440 --> 0:43:27.799
<v Speaker 1>could be anything else. You know. Um, I will tell

0:43:27.840 --> 0:43:30.319
<v Speaker 1>you there was a time with a producer that I

0:43:30.440 --> 0:43:33.400
<v Speaker 1>worked with where I think he felt because we worked

0:43:33.520 --> 0:43:37.200
<v Speaker 1>very closely with him, he felt like the relationship was

0:43:37.239 --> 0:43:38.440
<v Speaker 1>more than what it was. And I was like, are

0:43:38.440 --> 0:43:44.399
<v Speaker 1>you fucking delusional? You know what I mean? And it's

0:43:44.440 --> 0:43:47.520
<v Speaker 1>really because it can become an intimate dynamic when you're

0:43:47.600 --> 0:43:49.239
<v Speaker 1>you know, if they get to call you at three

0:43:49.280 --> 0:43:53.160
<v Speaker 1>in the morning and you're making yourself available to talk

0:43:53.160 --> 0:43:55.239
<v Speaker 1>through a concept or idea, but you don't have any

0:43:55.360 --> 0:43:58.600
<v Speaker 1>romantic feelings for them, It's not anything like that. It's

0:43:58.600 --> 0:44:00.840
<v Speaker 1>a part of the r of being an n R

0:44:01.000 --> 0:44:03.120
<v Speaker 1>or making records, etceter Or you go through that, you

0:44:03.120 --> 0:44:05.600
<v Speaker 1>know what I mean. But this fool lost his mind,

0:44:05.719 --> 0:44:09.680
<v Speaker 1>like in the moment you're in a relationship. It's like

0:44:11.080 --> 0:44:13.120
<v Speaker 1>he couldn't handle it. He couldn't handle me being in

0:44:13.120 --> 0:44:15.480
<v Speaker 1>a relationship. He felt like I whatever. And I was like,

0:44:15.560 --> 0:44:18.759
<v Speaker 1>are you out of your mind? Um? And he was.

0:44:20.520 --> 0:44:22.680
<v Speaker 1>And then that went I mean, are you one of

0:44:22.680 --> 0:44:27.640
<v Speaker 1>a kind or your friends as strong as you are? Listen,

0:44:27.640 --> 0:44:29.279
<v Speaker 1>I'm not gonna try and come off as like I'm

0:44:29.320 --> 0:44:32.040
<v Speaker 1>a super strong person all the time. That's not my truth.

0:44:32.800 --> 0:44:35.960
<v Speaker 1>That's not my truth. Um, I do think I'm one

0:44:35.960 --> 0:44:42.759
<v Speaker 1>of a kind. Okay, And uh, you know, if if

0:44:42.760 --> 0:44:45.040
<v Speaker 1>you look at what happened in Ferguson and now that

0:44:45.040 --> 0:44:47.799
<v Speaker 1>everyone has a phone in their camera, we see all

0:44:47.840 --> 0:44:52.120
<v Speaker 1>these racial elements and then we have Kanye saying George

0:44:52.120 --> 0:44:55.640
<v Speaker 1>Bush doesn't like black people, and now he's cozying up

0:44:55.680 --> 0:44:59.200
<v Speaker 1>to Trump. Okay, I guess these are two questions. You

0:44:59.280 --> 0:45:03.960
<v Speaker 1>might mix the answers together. But is there an inherent injustice?

0:45:04.000 --> 0:45:09.239
<v Speaker 1>Because African American culture is ruling the culture, so it's

0:45:09.280 --> 0:45:13.120
<v Speaker 1>kind of ironic that it's not getting the respect economically

0:45:13.239 --> 0:45:20.080
<v Speaker 1>and culturally in terms of equality. Right, So what's the question?

0:45:21.600 --> 0:45:26.360
<v Speaker 1>Question is, first, do you personally feel that injustice of

0:45:26.440 --> 0:45:30.440
<v Speaker 1>being a black person in America? And are you taking

0:45:30.440 --> 0:45:34.840
<v Speaker 1>any steps or contamable in any steps to rectify that? Yes?

0:45:35.520 --> 0:45:38.239
<v Speaker 1>And what might they look like? Yes? Yes, I do

0:45:38.360 --> 0:45:44.320
<v Speaker 1>feel the injustices that exist. Um, what steps in my taking?

0:45:45.360 --> 0:45:47.000
<v Speaker 1>I mean if you look at it as a white person,

0:45:47.440 --> 0:45:50.120
<v Speaker 1>we're listening to iced tea and we'll you know, fuck

0:45:50.200 --> 0:45:52.960
<v Speaker 1>the police, etcetera, n w A and all of a sudden,

0:45:53.000 --> 0:45:57.000
<v Speaker 1>the Rodney King think happens. Holy shit, everything in the

0:45:57.080 --> 0:46:00.560
<v Speaker 1>records was true. Okay, so there's a catch shop. And

0:46:00.600 --> 0:46:04.440
<v Speaker 1>I still believe there's an education that the white people

0:46:04.520 --> 0:46:08.440
<v Speaker 1>need that. So I have friends that are white, that

0:46:08.520 --> 0:46:12.360
<v Speaker 1>are Asian, etcetera. And I find myself, you know, I

0:46:12.360 --> 0:46:14.560
<v Speaker 1>have one of my closest friends as a white woman

0:46:14.600 --> 0:46:18.640
<v Speaker 1>who only dates black or Latino man. Right, and as

0:46:18.800 --> 0:46:23.320
<v Speaker 1>this conversation and the incidents that have happened over the past,

0:46:23.360 --> 0:46:27.840
<v Speaker 1>I say, it's been five years, etcetera. UM, having to

0:46:28.080 --> 0:46:31.440
<v Speaker 1>educate her about what that would mean. I'm like, if

0:46:31.480 --> 0:46:33.239
<v Speaker 1>you have a kid, you're gonna have a black son,

0:46:33.680 --> 0:46:35.680
<v Speaker 1>So let's talk about what that experience will be like

0:46:35.719 --> 0:46:39.520
<v Speaker 1>and what how you'll have to handle that as a mother. UM.

0:46:39.560 --> 0:46:42.400
<v Speaker 1>And I feel like it's my responsibility to really educate

0:46:42.440 --> 0:46:45.600
<v Speaker 1>the people that I'm around and not and and to

0:46:45.760 --> 0:46:48.160
<v Speaker 1>not do it, to not make them feel like they

0:46:48.200 --> 0:46:50.279
<v Speaker 1>can't talk to me about it, you know what I mean?

0:46:50.320 --> 0:46:51.799
<v Speaker 1>If I can be the person to try and be

0:46:51.840 --> 0:46:54.440
<v Speaker 1>a bridge and educate the people that I know do

0:46:54.600 --> 0:46:57.600
<v Speaker 1>have good hearts but don't really understand, because I think

0:46:57.640 --> 0:47:02.319
<v Speaker 1>that we're all out of place racism is real, but

0:47:02.400 --> 0:47:05.920
<v Speaker 1>I'm I also know I'm I'm an empathy and I

0:47:06.040 --> 0:47:09.000
<v Speaker 1>learned that about myself pretty early on. I know about

0:47:09.120 --> 0:47:12.399
<v Speaker 1>humanity and I connect to human beings. That's who I am.

0:47:12.400 --> 0:47:14.040
<v Speaker 1>That's how I connect to music. That's how I know

0:47:14.120 --> 0:47:17.600
<v Speaker 1>we're really all the same. Um. If I have the

0:47:17.680 --> 0:47:22.200
<v Speaker 1>opportunity to get you to understand who I am, who

0:47:22.239 --> 0:47:24.959
<v Speaker 1>my people are, and I can connect with you because

0:47:24.960 --> 0:47:28.000
<v Speaker 1>I really do have compassion for other people, no matter

0:47:28.040 --> 0:47:29.880
<v Speaker 1>what your races, no matter what you're going I'm like

0:47:29.880 --> 0:47:31.799
<v Speaker 1>one of those people that cry at a commercial if

0:47:31.800 --> 0:47:34.279
<v Speaker 1>I feel like if I see someone i'm I really

0:47:34.320 --> 0:47:38.160
<v Speaker 1>do feel it. UM. I want to be that bridge

0:47:38.200 --> 0:47:40.560
<v Speaker 1>to educate them, and to be honest with you, I'm

0:47:40.560 --> 0:47:43.880
<v Speaker 1>trying to find other ways to make a difference, you know,

0:47:43.920 --> 0:47:48.360
<v Speaker 1>because it's not just the typical tweet something or post

0:47:48.440 --> 0:47:53.560
<v Speaker 1>something and say it's this. How do you really um?

0:47:53.600 --> 0:47:55.640
<v Speaker 1>I think you know, it's about kids feeling like they

0:47:55.640 --> 0:47:58.279
<v Speaker 1>can communicate amongst each other and educate them without them

0:47:58.320 --> 0:48:01.600
<v Speaker 1>feeling isolated. I'm trying to find the right way to

0:48:01.640 --> 0:48:04.239
<v Speaker 1>go about it, honestly, But I do think and how

0:48:04.280 --> 0:48:06.880
<v Speaker 1>I carry myself on an everyday basis, how how I

0:48:06.880 --> 0:48:10.960
<v Speaker 1>dial with my coworkers, how I operate could be an example. Okay,

0:48:10.960 --> 0:48:13.560
<v Speaker 1>you talked about having mentors. Are you now a mentor

0:48:13.600 --> 0:48:18.400
<v Speaker 1>yourself to certain individuals? Yeah? I am. Um. You know,

0:48:19.239 --> 0:48:21.120
<v Speaker 1>there was a point at the publishing company where my

0:48:21.160 --> 0:48:25.400
<v Speaker 1>whole urban department it was all women, but a diverse

0:48:25.400 --> 0:48:27.880
<v Speaker 1>group of women of you know, white women, there was

0:48:27.920 --> 0:48:31.839
<v Speaker 1>an Asian woman whatever. And it wasn't by design. It

0:48:31.920 --> 0:48:34.240
<v Speaker 1>wasn't because I was like, I'm gonna have a department

0:48:34.280 --> 0:48:36.839
<v Speaker 1>of all women. These are just really dope people. And

0:48:36.880 --> 0:48:38.480
<v Speaker 1>I looked up one day and they were. It was

0:48:38.520 --> 0:48:40.960
<v Speaker 1>all women. I had other people at other publishing companies

0:48:41.120 --> 0:48:44.080
<v Speaker 1>coming to me and saying like, how did you you know?

0:48:44.239 --> 0:48:45.800
<v Speaker 1>Like you have a whole squad. I was like. The

0:48:46.040 --> 0:48:47.440
<v Speaker 1>one person said to me, like, you guys are the

0:48:47.440 --> 0:48:49.439
<v Speaker 1>pink ladies. You should have jackets. I was like, Okay,

0:48:49.520 --> 0:48:52.839
<v Speaker 1>you're a fucking asshole, but you're actually right. It would

0:48:52.840 --> 0:48:55.160
<v Speaker 1>actually look dope if we showed up like that, right.

0:48:56.080 --> 0:48:58.080
<v Speaker 1>But because I didn't even notice that they were all

0:48:58.120 --> 0:49:00.680
<v Speaker 1>women and they were really doping this you know several

0:49:00.760 --> 0:49:05.840
<v Speaker 1>years ago. Um, and and all of those those women

0:49:05.840 --> 0:49:08.880
<v Speaker 1>I mentor and other young women reach out to me

0:49:08.920 --> 0:49:11.120
<v Speaker 1>all the time. One of the things I pride myself

0:49:11.160 --> 0:49:13.920
<v Speaker 1>and is helping to develop other executives. So when I

0:49:14.000 --> 0:49:17.200
<v Speaker 1>was coming up, one of the things I noticed, I

0:49:17.200 --> 0:49:18.840
<v Speaker 1>don't think a lot of people talk about this, is

0:49:18.880 --> 0:49:21.160
<v Speaker 1>that you come across people that don't want to help

0:49:21.160 --> 0:49:25.520
<v Speaker 1>other people, or people that feel um intimidated because they

0:49:25.560 --> 0:49:28.799
<v Speaker 1>may be getting older, etcetera. That this young person coming

0:49:28.880 --> 0:49:31.000
<v Speaker 1>up is gonna take my job. They operate from an

0:49:31.000 --> 0:49:33.840
<v Speaker 1>insecure place. And I was like, I'm never going to

0:49:33.960 --> 0:49:37.759
<v Speaker 1>be that person ever, ever, ever, because I experienced it myself,

0:49:38.520 --> 0:49:40.120
<v Speaker 1>and so I made it a point to you know,

0:49:40.160 --> 0:49:42.120
<v Speaker 1>I've I've kind of been known as a person that

0:49:42.160 --> 0:49:46.080
<v Speaker 1>will grow people from assistance etcetera into being you know,

0:49:46.280 --> 0:49:48.560
<v Speaker 1>vice president's etcetera. And so I'm proud that I've been

0:49:48.560 --> 0:49:51.680
<v Speaker 1>able to do that and help other people get opportunities

0:49:51.719 --> 0:49:54.080
<v Speaker 1>at other companies. I'm proud of that. For those of

0:49:54.160 --> 0:49:57.080
<v Speaker 1>us who live through the sixties, music played a big

0:49:57.120 --> 0:50:01.160
<v Speaker 1>part in terms of the at the I'm called the revolution.

0:50:01.800 --> 0:50:04.240
<v Speaker 1>We can debate the effect of the revolution, but certainly

0:50:04.280 --> 0:50:07.040
<v Speaker 1>the Vietnam War was stopped in music helped, so there

0:50:07.080 --> 0:50:09.400
<v Speaker 1>was the invasion of Iraq in the beginning of the century,

0:50:09.400 --> 0:50:12.120
<v Speaker 1>and everyone said, where's the protest music? And there wasn't

0:50:12.120 --> 0:50:15.600
<v Speaker 1>any protest music. Now, in light of all if Trump

0:50:15.640 --> 0:50:18.880
<v Speaker 1>and all this craziness, people are saying, where is the

0:50:18.960 --> 0:50:22.680
<v Speaker 1>protest music? But in reality that's a white perspective. The

0:50:22.800 --> 0:50:25.920
<v Speaker 1>white people, the white acts are really not making protest music.

0:50:26.239 --> 0:50:30.000
<v Speaker 1>But run the Jewels are a million African American acts.

0:50:30.239 --> 0:50:32.200
<v Speaker 1>What is it going to take for one of those

0:50:32.239 --> 0:50:37.080
<v Speaker 1>songs to become any anthem? I think it has to

0:50:37.080 --> 0:50:39.680
<v Speaker 1>be a great song. Do you think we haven't found

0:50:39.719 --> 0:50:41.680
<v Speaker 1>these songs yet? I don't. I don't know if we have.

0:50:41.800 --> 0:50:43.680
<v Speaker 1>I don't know if we've come across. I don't know

0:50:43.680 --> 0:50:45.800
<v Speaker 1>if we have the music yet that's can connect to

0:50:45.840 --> 0:50:49.359
<v Speaker 1>all people. Also, you know, the people of influence that

0:50:49.400 --> 0:50:53.120
<v Speaker 1>can really create the music that can you know, connect

0:50:53.120 --> 0:50:55.600
<v Speaker 1>all of us. I don't think that they've gone there yet.

0:50:55.640 --> 0:50:57.520
<v Speaker 1>I think that we need music that really relates to

0:50:57.560 --> 0:51:01.480
<v Speaker 1>what we're all experiencing and we haven't seen or experience

0:51:01.600 --> 0:51:05.080
<v Speaker 1>like the talent that's created that that can be the

0:51:05.160 --> 0:51:07.839
<v Speaker 1>right vessel for it. And when you have people like

0:51:07.880 --> 0:51:12.520
<v Speaker 1>a Kanye doing the Crazy Ship that he's doing. Um,

0:51:12.560 --> 0:51:16.280
<v Speaker 1>I think it. Um, He's confused a lot of people.

0:51:16.400 --> 0:51:19.720
<v Speaker 1>He's confused a lot of artists about where to stand.

0:51:20.080 --> 0:51:24.040
<v Speaker 1>And you know, I agree with you. We are missing

0:51:24.040 --> 0:51:26.040
<v Speaker 1>out on the protest music. We're all we're missing out

0:51:26.040 --> 0:51:28.920
<v Speaker 1>on the music that really speaks to what's happening in

0:51:28.960 --> 0:51:33.400
<v Speaker 1>this country. And I don't know why it's not. I

0:51:33.400 --> 0:51:35.440
<v Speaker 1>don't know why it's not being created, you know what

0:51:35.440 --> 0:51:37.400
<v Speaker 1>I mean. I don't know why people aren't being honest

0:51:37.440 --> 0:51:40.239
<v Speaker 1>in their music and not really expressing themselves in that

0:51:40.320 --> 0:51:41.840
<v Speaker 1>way and really making an effort to do it. I

0:51:41.840 --> 0:51:45.040
<v Speaker 1>think that there's some people that are, but not not

0:51:45.120 --> 0:51:47.720
<v Speaker 1>the big superstars that we need to If we focus

0:51:47.760 --> 0:51:51.920
<v Speaker 1>on Kanye forgetting what he's done, you know who knows

0:51:51.920 --> 0:51:55.080
<v Speaker 1>when this wire is a podcast? But where is what

0:51:55.239 --> 0:52:02.400
<v Speaker 1>is Kanye's place in African American culture? He's considered to

0:52:02.400 --> 0:52:04.239
<v Speaker 1>be one of the greats, one of the most influential

0:52:04.320 --> 0:52:08.120
<v Speaker 1>artists of our time, and you agree with that. So

0:52:08.160 --> 0:52:10.880
<v Speaker 1>when he comes out and he says things that are

0:52:10.960 --> 0:52:15.080
<v Speaker 1>pro Trump and he does some crazy stuff, do you

0:52:15.280 --> 0:52:19.680
<v Speaker 1>think it's an incredible art experienced mind fucking the culture

0:52:19.719 --> 0:52:23.480
<v Speaker 1>to get people to think or do you believe that

0:52:23.600 --> 0:52:27.840
<v Speaker 1>he's just lost his mind. He has the right to

0:52:27.960 --> 0:52:30.880
<v Speaker 1>be approach Trump. I also think that he has the

0:52:30.920 --> 0:52:36.360
<v Speaker 1>responsibility to be well informed. And I also think that

0:52:36.400 --> 0:52:41.799
<v Speaker 1>the ego is a powerful, powerful thing, and I think

0:52:41.840 --> 0:52:45.840
<v Speaker 1>that he's aware of his power. I think that sometimes

0:52:45.840 --> 0:52:52.440
<v Speaker 1>he's operating from his ego and he's playing with us.

0:52:52.560 --> 0:52:55.560
<v Speaker 1>He's playing with the people that really connected him and

0:52:55.560 --> 0:52:57.960
<v Speaker 1>that are his fans. And I think that, um, it

0:52:58.000 --> 0:53:00.160
<v Speaker 1>almost feels like the person that has like the up

0:53:00.200 --> 0:53:03.440
<v Speaker 1>it's that's kind of like playing with everyone, but he

0:53:03.480 --> 0:53:06.839
<v Speaker 1>doesn't really understand how much it could affect everybody. I mean,

0:53:06.880 --> 0:53:12.040
<v Speaker 1>I know people that were really like distraught over the

0:53:12.480 --> 0:53:14.840
<v Speaker 1>things that he said. And I don't think he's well informed.

0:53:14.920 --> 0:53:18.360
<v Speaker 1>So to say you're operating out of love, but to

0:53:18.560 --> 0:53:22.000
<v Speaker 1>not at least when you talk about being pro Trump,

0:53:22.080 --> 0:53:24.799
<v Speaker 1>but not to also say that he's not operated out

0:53:24.800 --> 0:53:29.840
<v Speaker 1>of love when he's you know, insinuated or or created

0:53:30.000 --> 0:53:31.880
<v Speaker 1>people to operate from a place of hate. Yet a

0:53:31.920 --> 0:53:34.759
<v Speaker 1>lot of times it is really kind of crazy, not

0:53:34.840 --> 0:53:37.719
<v Speaker 1>when you're kind it was let's talk about the music.

0:53:37.760 --> 0:53:40.719
<v Speaker 1>One thing we know students of the game, all of

0:53:40.800 --> 0:53:45.439
<v Speaker 1>the breakthroughs in new marketing, new exposure have come from

0:53:45.480 --> 0:53:50.000
<v Speaker 1>the urban side. Okay, so we've had SoundCloud, we've had

0:53:50.080 --> 0:53:53.359
<v Speaker 1>mixed tapes. Is this something that came up from the

0:53:53.400 --> 0:53:56.560
<v Speaker 1>ground or is this something you helped make happen and

0:53:56.600 --> 0:53:59.600
<v Speaker 1>what you have observed has happened. No, it's it came

0:53:59.600 --> 0:54:02.360
<v Speaker 1>from the round. I mean, mix tapes have always existed.

0:54:02.360 --> 0:54:06.400
<v Speaker 1>People operated from that place, and and um, when streaming

0:54:06.440 --> 0:54:09.440
<v Speaker 1>came about, it really just created an opportunity for us

0:54:09.480 --> 0:54:11.919
<v Speaker 1>to see what was already happening on the ground level.

0:54:11.960 --> 0:54:14.359
<v Speaker 1>When SoundCloud and streaming came about, you got to see

0:54:14.360 --> 0:54:16.560
<v Speaker 1>what was happening on the ground level already with my

0:54:16.680 --> 0:54:20.040
<v Speaker 1>mix tapes, that Pith, etcetera. Urban music never went away.

0:54:20.400 --> 0:54:22.640
<v Speaker 1>What happened was how do you really monetize the music?

0:54:22.640 --> 0:54:25.279
<v Speaker 1>Because kids were always listening to hip hop and urban music,

0:54:25.320 --> 0:54:27.480
<v Speaker 1>we just couldn't figure figure out how to make the

0:54:27.520 --> 0:54:31.000
<v Speaker 1>money from it. So so we had my mix tapes,

0:54:31.080 --> 0:54:33.400
<v Speaker 1>We had that pif etcetera. Soundfoul came about. Then it

0:54:33.480 --> 0:54:36.440
<v Speaker 1>was like, oh, you know, these these artists are popping off.

0:54:36.440 --> 0:54:39.440
<v Speaker 1>It's a great form of research. Then then we worked

0:54:39.440 --> 0:54:42.120
<v Speaker 1>out our deals with Spotify, Apple Music, etcetera. And we

0:54:42.200 --> 0:54:46.400
<v Speaker 1>got to see how dominant the genre was or the

0:54:46.440 --> 0:54:49.960
<v Speaker 1>culture was, and um, it changed everything. I mean I

0:54:50.360 --> 0:54:52.200
<v Speaker 1>lived it from being in a role at you know,

0:54:52.280 --> 0:54:56.080
<v Speaker 1>at Motown where urban music well, I mean it was tough.

0:54:56.320 --> 0:54:58.439
<v Speaker 1>It's shipped for me. I went through a very hard

0:54:58.480 --> 0:55:01.120
<v Speaker 1>time there to then see the complete shift happen. And

0:55:01.280 --> 0:55:03.759
<v Speaker 1>it's a complete focus on urban music and culture. Now.

0:55:03.760 --> 0:55:05.439
<v Speaker 1>It's because they get to see the full value, because

0:55:05.440 --> 0:55:08.359
<v Speaker 1>they see the money coming in now. Well, I mean

0:55:08.400 --> 0:55:12.160
<v Speaker 1>it's just interesting because while the heritage tracks and the

0:55:12.200 --> 0:55:15.040
<v Speaker 1>white acts kept complaining they weren't making any money from

0:55:15.040 --> 0:55:18.000
<v Speaker 1>recorded music, the urban acts went in and fill the

0:55:18.080 --> 0:55:21.560
<v Speaker 1>void and now own. And they also they knew how

0:55:21.600 --> 0:55:23.520
<v Speaker 1>to roll up the sleeves and do the work right.

0:55:23.560 --> 0:55:25.879
<v Speaker 1>Like they had to operate on a ground level. They

0:55:25.880 --> 0:55:27.680
<v Speaker 1>had to do the mom and pop circuit. They had

0:55:27.719 --> 0:55:31.000
<v Speaker 1>to get out there and get on the road, sell music,

0:55:31.080 --> 0:55:34.200
<v Speaker 1>you know from their trunks or whatever, or you know,

0:55:34.360 --> 0:55:36.719
<v Speaker 1>make their hoodies and T shirts on their own and

0:55:36.760 --> 0:55:38.719
<v Speaker 1>sell them while they were doing the shows. They did

0:55:38.800 --> 0:55:42.200
<v Speaker 1>the groundwork. And to be honest with you, it really

0:55:42.280 --> 0:55:44.839
<v Speaker 1>is a hip hop lifestyle. Um. You know, I've had

0:55:44.840 --> 0:55:46.719
<v Speaker 1>this conversation with R. And b artists where I feel

0:55:46.719 --> 0:55:49.120
<v Speaker 1>like they don't have the same work ethic as some

0:55:49.239 --> 0:55:51.319
<v Speaker 1>of these hip hop artists. Well, they'll go and do

0:55:52.239 --> 0:55:55.399
<v Speaker 1>everything whatever it takes. They call it the hustle, right,

0:55:55.560 --> 0:55:58.040
<v Speaker 1>they do it all and they just don't stop. And

0:55:58.239 --> 0:56:02.160
<v Speaker 1>I think that you have to have that ability, um,

0:56:03.000 --> 0:56:06.279
<v Speaker 1>and and you gotta have that work ethic in order

0:56:06.360 --> 0:56:08.439
<v Speaker 1>to make it. Doesn't mean that you have to put

0:56:08.440 --> 0:56:10.839
<v Speaker 1>out music the same way that they do. You just

0:56:10.880 --> 0:56:13.239
<v Speaker 1>have to be able to work that hard and do

0:56:13.280 --> 0:56:15.040
<v Speaker 1>whatever it takes. And that's where you get to see

0:56:15.040 --> 0:56:18.160
<v Speaker 1>innovation and strategy in different ways to go about putting

0:56:18.160 --> 0:56:21.799
<v Speaker 1>out records. People talk to me a lot about you know,

0:56:23.080 --> 0:56:26.840
<v Speaker 1>so I did this deal with Quality Control, right, um,

0:56:26.880 --> 0:56:29.120
<v Speaker 1>And we've put out a lot of records with them,

0:56:29.120 --> 0:56:30.600
<v Speaker 1>And one of the things that we did in our

0:56:30.600 --> 0:56:33.120
<v Speaker 1>deal with them is we included a distribution element to

0:56:33.120 --> 0:56:35.720
<v Speaker 1>the deal through Caroline Distribution. And that was on purpose

0:56:35.760 --> 0:56:38.480
<v Speaker 1>so that they could go bake things that they're used

0:56:38.520 --> 0:56:42.240
<v Speaker 1>to baking without having the red tape that a major

0:56:42.320 --> 0:56:44.840
<v Speaker 1>label kind of has. There certain rules and regulations that

0:56:44.880 --> 0:56:46.200
<v Speaker 1>we have so we can make money off of the

0:56:46.280 --> 0:56:48.200
<v Speaker 1>things we put put out. But if you have things

0:56:48.239 --> 0:56:51.239
<v Speaker 1>just on a distribution level, you don't have those same

0:56:52.320 --> 0:56:54.360
<v Speaker 1>um rules and regulations that get in the way of

0:56:54.400 --> 0:56:57.120
<v Speaker 1>you putting things out a certain way. But I put

0:56:57.160 --> 0:56:59.480
<v Speaker 1>that in the deal because we have Caroline distributions so

0:56:59.520 --> 0:57:02.239
<v Speaker 1>that they still freedom to do what they did to

0:57:02.360 --> 0:57:04.600
<v Speaker 1>do what they do when for things they're to be

0:57:04.680 --> 0:57:08.760
<v Speaker 1>very specific, if they're on Modetown as opposed to Caroline,

0:57:08.800 --> 0:57:14.960
<v Speaker 1>what would they be unable to do? Um, put out

0:57:14.960 --> 0:57:17.000
<v Speaker 1>certain videos on World Star hip Hop, or put out

0:57:17.080 --> 0:57:19.919
<v Speaker 1>videos on World Star hip Hop, or put out mix

0:57:19.960 --> 0:57:23.520
<v Speaker 1>tapes on that Piff or my mixtapes. And that's really

0:57:23.520 --> 0:57:25.720
<v Speaker 1>just because of us not having worked out the deals

0:57:25.760 --> 0:57:28.160
<v Speaker 1>with them yet to get paid properly. But if it's

0:57:28.160 --> 0:57:32.520
<v Speaker 1>a distribution deal, um, we don't have to worry about

0:57:32.560 --> 0:57:35.360
<v Speaker 1>that as much as they deal with that. Let's say

0:57:35.360 --> 0:57:38.280
<v Speaker 1>you're a star or superstar. You know, the obvious one

0:57:38.360 --> 0:57:42.560
<v Speaker 1>being Drake. He is now reinvented what a release is.

0:57:43.240 --> 0:57:48.200
<v Speaker 1>He had the mixtape March eight, fourteen months ago. If

0:57:48.240 --> 0:57:51.600
<v Speaker 1>you're a superstar, do you need an album? I mean,

0:57:51.680 --> 0:57:54.200
<v Speaker 1>Kanye has been dropping these singles, who knows whether they're

0:57:54.320 --> 0:57:59.440
<v Speaker 1>joker real, But is a at the label what are

0:57:59.480 --> 0:58:05.360
<v Speaker 1>you telling the superstars to do. I would want to

0:58:05.400 --> 0:58:08.440
<v Speaker 1>hear an album from Drake because we're used to hearing

0:58:08.480 --> 0:58:12.200
<v Speaker 1>albums from him. But he could put out several singles

0:58:12.680 --> 0:58:15.400
<v Speaker 1>before releasing the full but the full body of work,

0:58:15.480 --> 0:58:17.360
<v Speaker 1>you know what I mean. It just depends on who

0:58:17.360 --> 0:58:20.000
<v Speaker 1>the artist is. It's a different strategy for each act.

0:58:20.200 --> 0:58:22.560
<v Speaker 1>It really is. Let's go be very specific. Is the

0:58:22.600 --> 0:58:27.120
<v Speaker 1>album dead? Well, if you look at the uh, if

0:58:27.120 --> 0:58:30.840
<v Speaker 1>you look at the Spotify top fifty, which is consumption, Okay,

0:58:30.880 --> 0:58:33.560
<v Speaker 1>we know that it's a lot of singles. And let's

0:58:33.560 --> 0:58:35.920
<v Speaker 1>say the Weekend comes out, It'll put out his album

0:58:36.440 --> 0:58:40.320
<v Speaker 1>and four of the top ten will be weekend tracks, okay,

0:58:40.360 --> 0:58:43.600
<v Speaker 1>but then they'll fall off okay, and there'll be one

0:58:43.680 --> 0:58:46.840
<v Speaker 1>track to the next track. We know that people, the

0:58:46.920 --> 0:58:51.040
<v Speaker 1>customer demands a body of work. If you like something,

0:58:51.280 --> 0:58:52.600
<v Speaker 1>you want to be able to hear more. What I

0:58:52.600 --> 0:58:54.320
<v Speaker 1>always do if I an act is new to me,

0:58:54.360 --> 0:58:56.840
<v Speaker 1>I'll go on Spotify, see what has the most streams,

0:58:57.520 --> 0:58:59.960
<v Speaker 1>and I'll say I'll play that next. So I definitely

0:59:00.120 --> 0:59:03.000
<v Speaker 1>wants stuff to be there. But if you go back,

0:59:04.160 --> 0:59:06.640
<v Speaker 1>you know, before the turn of the century, the game

0:59:06.720 --> 0:59:08.680
<v Speaker 1>was okay, put out an album in the marketplace, I

0:59:08.720 --> 0:59:11.280
<v Speaker 1>go single to single, you know, I go fight. But

0:59:11.760 --> 0:59:14.439
<v Speaker 1>the problem then, and the problem has been exacerbated now

0:59:15.120 --> 0:59:18.400
<v Speaker 1>in the window when you're not in the marketplace, other

0:59:18.480 --> 0:59:20.680
<v Speaker 1>people will come and fill that hole and you might

0:59:20.680 --> 0:59:24.600
<v Speaker 1>be forgotten. So is it better just to be able

0:59:24.640 --> 0:59:29.080
<v Speaker 1>to release product on a regular basis? I believe it is.

0:59:29.160 --> 0:59:31.720
<v Speaker 1>I think you can do it all if you're a creator.

0:59:32.280 --> 0:59:36.200
<v Speaker 1>So let's say Drake is making an album, he puts

0:59:36.200 --> 0:59:39.160
<v Speaker 1>out several singles, leads into an album, and then he

0:59:39.240 --> 0:59:42.000
<v Speaker 1>wants to go and drop other singles after that. He

0:59:42.040 --> 0:59:44.840
<v Speaker 1>should be able to do that. I think streaming allows

0:59:44.920 --> 0:59:48.600
<v Speaker 1>us an opportunity to put out music the way that

0:59:48.640 --> 0:59:51.440
<v Speaker 1>we see fit without there being any fucking rules or

0:59:51.560 --> 0:59:54.360
<v Speaker 1>regulations to to how we go about it. I think

0:59:54.400 --> 0:59:57.400
<v Speaker 1>that it's so different now. But when you mentioned Drake

0:59:57.480 --> 1:00:01.200
<v Speaker 1>before as a fan, you're used to getting full bodies

1:00:01.200 --> 1:00:03.960
<v Speaker 1>of work from him, and people have bought into that

1:00:04.120 --> 1:00:06.360
<v Speaker 1>idea and they believe in him in that way. So

1:00:06.400 --> 1:00:09.400
<v Speaker 1>let's let's say, you know, it's it's it's our responsibility

1:00:09.440 --> 1:00:14.160
<v Speaker 1>to create new superstars. Right. People want to know what

1:00:14.200 --> 1:00:16.560
<v Speaker 1>it is you stand for, what do you represent? Etcetera.

1:00:16.640 --> 1:00:19.480
<v Speaker 1>You have to have a body of work or several

1:00:19.520 --> 1:00:21.920
<v Speaker 1>songs in order to really represent what that is, and

1:00:21.920 --> 1:00:23.800
<v Speaker 1>it's gonna take time to get there. You gotta put

1:00:23.800 --> 1:00:25.800
<v Speaker 1>out a lot of music to really convince people to

1:00:25.840 --> 1:00:29.160
<v Speaker 1>buy in to who you are, what you stand for, etcetera.

1:00:29.200 --> 1:00:31.240
<v Speaker 1>And to want to be in business with that artist,

1:00:31.320 --> 1:00:35.080
<v Speaker 1>to want to like go to the show, to want

1:00:35.080 --> 1:00:37.640
<v Speaker 1>to watch your performance on the award show, to like

1:00:37.760 --> 1:00:40.480
<v Speaker 1>buy your merch etcetera. But it's our job to come

1:00:40.520 --> 1:00:42.919
<v Speaker 1>up with ways to make sure we're telling your full

1:00:42.920 --> 1:00:45.280
<v Speaker 1>story and getting people to buy into that artist. But

1:00:45.280 --> 1:00:49.680
<v Speaker 1>to what degree is the label behind in time of

1:00:49.760 --> 1:00:53.120
<v Speaker 1>the artists? Because what do we know? The label makes

1:00:53.120 --> 1:00:56.640
<v Speaker 1>their money off recorded music and they have an antiquated concept.

1:00:56.960 --> 1:00:59.320
<v Speaker 1>The more tracks we put out, the more money we

1:00:59.360 --> 1:01:01.880
<v Speaker 1>can make. Now in today's you know, a lot of

1:01:01.880 --> 1:01:04.000
<v Speaker 1>these albums you go on Spotify. But I don't think

1:01:04.320 --> 1:01:09.840
<v Speaker 1>not because I don't think that I don't We don't

1:01:09.840 --> 1:01:11.840
<v Speaker 1>operate from a place of telling them you have to

1:01:11.880 --> 1:01:13.800
<v Speaker 1>do it this way though you know what I mean,

1:01:13.840 --> 1:01:15.560
<v Speaker 1>like that you have that you have to put it

1:01:15.600 --> 1:01:19.200
<v Speaker 1>out this way. I like to work with artists that

1:01:19.240 --> 1:01:22.160
<v Speaker 1>are self aware enough and know what they what they

1:01:22.200 --> 1:01:23.800
<v Speaker 1>want to say or put out in the market, and

1:01:23.840 --> 1:01:25.720
<v Speaker 1>we can help support that and come out with ways

1:01:25.760 --> 1:01:28.160
<v Speaker 1>to do it. Or if they if they come and

1:01:28.160 --> 1:01:30.360
<v Speaker 1>play you records and then we talk about a strategy

1:01:30.400 --> 1:01:33.080
<v Speaker 1>that makes sense for them. But the idea of dictating

1:01:33.080 --> 1:01:35.400
<v Speaker 1>to an artist what they do and how they go

1:01:35.440 --> 1:01:39.360
<v Speaker 1>about it doesn't really exist anymore. We can present ideas

1:01:39.360 --> 1:01:41.080
<v Speaker 1>to them, but you want them to be self aware

1:01:41.160 --> 1:01:43.760
<v Speaker 1>enough to know what they want to do. What's a

1:01:43.800 --> 1:01:47.880
<v Speaker 1>full expression? So the artists assigned to you, they've had

1:01:47.920 --> 1:01:51.080
<v Speaker 1>some success, they come with the record. You don't think

1:01:51.120 --> 1:01:53.440
<v Speaker 1>the record is up to your standards? Will you say so?

1:01:54.360 --> 1:01:57.960
<v Speaker 1>And will you refuse to put it out? No, I'll

1:01:58.040 --> 1:02:00.360
<v Speaker 1>let them bump their heads and fail and let them

1:02:00.440 --> 1:02:03.760
<v Speaker 1>learn their lesson. The speaking of failures, talking UH to

1:02:03.880 --> 1:02:06.880
<v Speaker 1>Chris Rue, manager of Logic, and he was saying, how

1:02:07.280 --> 1:02:11.560
<v Speaker 1>failure is not the disaster that it once was then

1:02:11.560 --> 1:02:14.040
<v Speaker 1>in the streaming era. If you fail, you can come

1:02:14.080 --> 1:02:17.240
<v Speaker 1>back and agree. And why do you think that is?

1:02:18.960 --> 1:02:22.800
<v Speaker 1>Because it's really I think overall is about your resilience, right,

1:02:22.840 --> 1:02:25.080
<v Speaker 1>and so if you keep putting music out, people will

1:02:25.120 --> 1:02:27.520
<v Speaker 1>catch on eventually, you know, and I think that people

1:02:27.520 --> 1:02:31.120
<v Speaker 1>have such a short attention span. If something was successful

1:02:31.480 --> 1:02:33.480
<v Speaker 1>and you come right back with the next project and

1:02:33.520 --> 1:02:36.800
<v Speaker 1>it is great, you actually have the opportunity to remind

1:02:36.800 --> 1:02:39.200
<v Speaker 1>people that it's about the music, that it's about how

1:02:39.240 --> 1:02:41.880
<v Speaker 1>great the music is. And that's what streaming has allowed

1:02:42.000 --> 1:02:44.720
<v Speaker 1>us to really see that it's about how great the

1:02:44.840 --> 1:02:48.560
<v Speaker 1>music really is. So you really the failure is really

1:02:48.600 --> 1:02:52.080
<v Speaker 1>in if you give up, if you just decide that

1:02:52.200 --> 1:02:54.320
<v Speaker 1>I can't take it. I can't take the opinions of

1:02:54.960 --> 1:02:57.720
<v Speaker 1>you know, anyone saying that my album was a flop,

1:02:57.840 --> 1:03:00.360
<v Speaker 1>et cetera. Then you just like go into the pression

1:03:00.440 --> 1:03:03.200
<v Speaker 1>somewhere and don't create great music. You gotta keep going,

1:03:03.920 --> 1:03:05.840
<v Speaker 1>and I think hip hop as a culture has has

1:03:05.920 --> 1:03:08.280
<v Speaker 1>been operating from that place. And let's say you signed

1:03:08.280 --> 1:03:10.600
<v Speaker 1>a new ract, what would you tell them to do

1:03:10.640 --> 1:03:18.520
<v Speaker 1>to get themselves down? Good question, Okay, because I have

1:03:18.560 --> 1:03:22.720
<v Speaker 1>a few new acts that we're working on um. In

1:03:22.760 --> 1:03:26.160
<v Speaker 1>addition to the music that they're making right well, I'm

1:03:26.200 --> 1:03:31.960
<v Speaker 1>also talking about the distribution of set music. They have

1:03:32.120 --> 1:03:34.680
<v Speaker 1>to speak to their fans and the like, whatever the

1:03:34.760 --> 1:03:36.720
<v Speaker 1>messaging is in their music, they have to speak to

1:03:36.720 --> 1:03:38.960
<v Speaker 1>their fans build their fan base and know what it

1:03:39.080 --> 1:03:41.960
<v Speaker 1>is about them that will make people connect to them

1:03:41.960 --> 1:03:44.080
<v Speaker 1>and build off of that. I also feel like it's

1:03:44.120 --> 1:03:47.400
<v Speaker 1>really important to be on the road and develop a

1:03:47.400 --> 1:03:50.760
<v Speaker 1>touring fan base in addition to putting out music or

1:03:50.760 --> 1:03:53.120
<v Speaker 1>being on social media. I think oftentimes we've come across

1:03:53.240 --> 1:03:55.640
<v Speaker 1>artists that might have an incredible social media following and

1:03:55.680 --> 1:03:57.880
<v Speaker 1>then don't know how to connect to people in real

1:03:57.920 --> 1:04:00.720
<v Speaker 1>life um. And I think the live show element is

1:04:00.720 --> 1:04:02.520
<v Speaker 1>a huge part of this, and I think that we

1:04:02.560 --> 1:04:03.880
<v Speaker 1>need more artists and know how to do that, So

1:04:03.880 --> 1:04:06.120
<v Speaker 1>I would definitely get them to focus on that. I

1:04:06.160 --> 1:04:08.720
<v Speaker 1>think more now than ever, we have to make sure

1:04:08.720 --> 1:04:12.760
<v Speaker 1>we're developing artists that can put together great shows um

1:04:12.840 --> 1:04:14.720
<v Speaker 1>and knowing knowing how to connect with their fans at

1:04:14.720 --> 1:04:18.920
<v Speaker 1>the same time. And also, you know, we talk about

1:04:18.960 --> 1:04:21.680
<v Speaker 1>the fashion element that kind of feeds into music as well,

1:04:21.760 --> 1:04:24.320
<v Speaker 1>like building that out if that if that's right for

1:04:24.360 --> 1:04:27.160
<v Speaker 1>the artist, So it just depends it's specific to each artist.

1:04:27.640 --> 1:04:29.360
<v Speaker 1>And how about in terms of raw distribution, do you

1:04:29.400 --> 1:04:31.640
<v Speaker 1>have a new act, would you say to be on

1:04:31.760 --> 1:04:34.680
<v Speaker 1>SoundCloud first? Would you say to put out a mixtape

1:04:35.080 --> 1:04:37.240
<v Speaker 1>before you go? Depends on who the artist is. It

1:04:37.280 --> 1:04:39.000
<v Speaker 1>depends on who the artist is. And the funny thing

1:04:39.000 --> 1:04:41.960
<v Speaker 1>about what a mix tape is now so crazy what

1:04:41.960 --> 1:04:46.000
<v Speaker 1>we call things EP, mixtape, project, It all has these labels.

1:04:46.000 --> 1:04:47.760
<v Speaker 1>It's music at the end of the day, so we

1:04:47.800 --> 1:04:51.120
<v Speaker 1>really just try to title it's something that fits in

1:04:51.200 --> 1:04:54.880
<v Speaker 1>the scheme of whatever the the artist is ultimately trying

1:04:54.880 --> 1:04:57.520
<v Speaker 1>to get to. Let's say we're building to an album,

1:04:57.680 --> 1:05:01.840
<v Speaker 1>or there's an overall theme for several projects they're putting out.

1:05:02.680 --> 1:05:04.640
<v Speaker 1>Will come up with that as opposed to calling it

1:05:04.720 --> 1:05:06.800
<v Speaker 1>a mix tape. We put out mix tapes and they're

1:05:06.800 --> 1:05:09.680
<v Speaker 1>really albums and make money on them and they've been

1:05:09.680 --> 1:05:11.760
<v Speaker 1>successful as if their albums, you know what I mean.

1:05:12.240 --> 1:05:14.800
<v Speaker 1>So it just depends on how you want to And

1:05:14.880 --> 1:05:16.880
<v Speaker 1>also in the hip hop world, there's very much a

1:05:16.920 --> 1:05:21.080
<v Speaker 1>culture online. Something comes out, people know and it immediately

1:05:21.120 --> 1:05:25.920
<v Speaker 1>runs up the Spotify chart. Radio tends to be months behind.

1:05:26.480 --> 1:05:29.840
<v Speaker 1>How important is terrestrial radio in the hip hop world?

1:05:31.560 --> 1:05:34.640
<v Speaker 1>It's the end goal, that's it. It used to be

1:05:34.680 --> 1:05:37.640
<v Speaker 1>the place for a discovery, but for us now it's

1:05:37.680 --> 1:05:43.000
<v Speaker 1>like it's just another, you know, another thing to mention

1:05:43.200 --> 1:05:45.760
<v Speaker 1>on the hot sheet of all the things that you've achieved,

1:05:46.160 --> 1:05:48.800
<v Speaker 1>but it's the end goal. You know, once you've put

1:05:48.800 --> 1:05:51.520
<v Speaker 1>a record out, had a lot of success, etcetera, and

1:05:51.560 --> 1:05:55.520
<v Speaker 1>then it goes to radio, it's just another like another marker.

1:06:02.840 --> 1:06:05.200
<v Speaker 1>I hope you're enjoying this episode of the Bob Left

1:06:05.200 --> 1:06:08.040
<v Speaker 1>Sets Podcast. If you want to hear sound bites or

1:06:08.120 --> 1:06:10.880
<v Speaker 1>check out videos and photos of our guests, go to

1:06:10.960 --> 1:06:16.720
<v Speaker 1>at tune in on Twitter, Facebook, and Instagram. Now more

1:06:16.760 --> 1:06:20.240
<v Speaker 1>of Ethiopia Hab to Maria, recorded in front of a

1:06:20.320 --> 1:06:23.760
<v Speaker 1>live audience of the Music Media Summit in Santa Barbara

1:06:23.920 --> 1:06:30.400
<v Speaker 1>on The Bob Left Sets Podcast. Okay, questions for Ethiopia.

1:06:30.480 --> 1:06:36.040
<v Speaker 1>Razor here, Jim has, Mike's Jake, thanks for coming here.

1:06:36.040 --> 1:06:41.840
<v Speaker 1>Today's quite inspiring. I think, um two things. One comment

1:06:42.200 --> 1:06:43.680
<v Speaker 1>I want to make to you, Bob, which you've never

1:06:43.720 --> 1:06:47.160
<v Speaker 1>brought up, is Spotify doesn't actually have an album chart,

1:06:47.840 --> 1:06:50.040
<v Speaker 1>and I think if they had an album chart, maybe

1:06:50.120 --> 1:06:52.880
<v Speaker 1>we'd know what albums are doing well. Because I just

1:06:53.000 --> 1:06:55.720
<v Speaker 1>tried to look it up and it doesn't exist. So

1:06:55.760 --> 1:06:57.959
<v Speaker 1>I think that's the biggest problem is that you can't

1:06:58.000 --> 1:07:02.040
<v Speaker 1>really talk about albums in reference to Spotify because yeah,

1:07:02.080 --> 1:07:04.200
<v Speaker 1>tracks come out and then they go down. Because that's

1:07:04.240 --> 1:07:07.320
<v Speaker 1>the process is one single at a time, so maybe

1:07:07.560 --> 1:07:09.480
<v Speaker 1>we should be pushing them to have an album chart

1:07:09.520 --> 1:07:14.240
<v Speaker 1>and then maybe would make a difference. Um um um.

1:07:14.360 --> 1:07:18.720
<v Speaker 1>The other thing is, uh, I'm wondering these days, as

1:07:18.840 --> 1:07:21.800
<v Speaker 1>president of a major label or division of a major label,

1:07:21.840 --> 1:07:25.600
<v Speaker 1>let's say, or major for what it is, how much

1:07:25.640 --> 1:07:29.760
<v Speaker 1>are you looking at um these bands like The Logics

1:07:29.800 --> 1:07:33.760
<v Speaker 1>and um um uh these other acts that are kind

1:07:33.800 --> 1:07:36.640
<v Speaker 1>of doing it on their own first and then coming

1:07:36.680 --> 1:07:39.000
<v Speaker 1>in with a label, or are you starting right from

1:07:39.040 --> 1:07:42.800
<v Speaker 1>scratch with bands that have you you found talent, but

1:07:42.840 --> 1:07:47.240
<v Speaker 1>they have no footprint whatsoever. It's a balance of both

1:07:47.360 --> 1:07:52.360
<v Speaker 1>for sure. If if there's something that has no following

1:07:52.480 --> 1:07:55.840
<v Speaker 1>or you like there's nothing going on with them at all,

1:07:56.280 --> 1:08:00.120
<v Speaker 1>if they at least know exactly what they want to say,

1:08:00.160 --> 1:08:02.480
<v Speaker 1>who they are as artists, I'm willing to invest in

1:08:02.480 --> 1:08:04.400
<v Speaker 1>that if I think the music is incredible, because then

1:08:04.440 --> 1:08:07.200
<v Speaker 1>I can help develop and cultivate that. And I've done

1:08:07.240 --> 1:08:10.320
<v Speaker 1>that right. But you're definitely you definitely want to be

1:08:10.360 --> 1:08:13.680
<v Speaker 1>a part of you know, things that are moving or

1:08:13.720 --> 1:08:15.680
<v Speaker 1>being created and if you can help amplify it on

1:08:15.720 --> 1:08:17.720
<v Speaker 1>the global level. I think what Logic is done, It's

1:08:17.760 --> 1:08:21.960
<v Speaker 1>been incredible UM, but I'm definitely still about development and

1:08:22.000 --> 1:08:25.599
<v Speaker 1>finding things that are that are great and unique and different.

1:08:25.640 --> 1:08:28.439
<v Speaker 1>How often do you as a label experience the chance

1:08:28.520 --> 1:08:31.760
<v Speaker 1>the robber paradigm where you want an act in the

1:08:31.800 --> 1:08:37.200
<v Speaker 1>access No, I want to do it myself. I mean

1:08:37.240 --> 1:08:39.639
<v Speaker 1>it's come up a lot. It's come up a lot recently.

1:08:39.680 --> 1:08:41.519
<v Speaker 1>I have to be completely honest about that. And so

1:08:41.960 --> 1:08:44.880
<v Speaker 1>the idea is, you know, what can we offer them

1:08:44.880 --> 1:08:46.920
<v Speaker 1>and how do we really show what the difference will

1:08:46.960 --> 1:08:49.639
<v Speaker 1>be if we're involved in their careers or not? Right?

1:08:49.720 --> 1:08:53.000
<v Speaker 1>And I think that it comes down to the people

1:08:53.040 --> 1:08:55.599
<v Speaker 1>at the company's It comes down to really showing them

1:08:55.640 --> 1:08:57.880
<v Speaker 1>the difference and money that they'll be making. I also

1:08:57.920 --> 1:09:00.880
<v Speaker 1>think it's important to show on a global level what

1:09:01.040 --> 1:09:05.000
<v Speaker 1>you add to UM to an artist in their overall career.

1:09:05.040 --> 1:09:07.360
<v Speaker 1>It's been a real education process. It's come up a

1:09:07.400 --> 1:09:11.160
<v Speaker 1>lot where artists have no idea about the global aspects.

1:09:11.200 --> 1:09:14.080
<v Speaker 1>We talk about urban music or hip hop culture being

1:09:14.160 --> 1:09:16.880
<v Speaker 1>huge is huge around the world, but a lot of

1:09:16.880 --> 1:09:19.200
<v Speaker 1>the acts don't travel around the world. They don't go

1:09:19.320 --> 1:09:21.559
<v Speaker 1>really penetrate the markets the way that they should. And

1:09:21.680 --> 1:09:24.519
<v Speaker 1>so that's been something that I've been working on because

1:09:24.560 --> 1:09:27.280
<v Speaker 1>I want to show people the difference and not only

1:09:28.040 --> 1:09:30.040
<v Speaker 1>you know, show money you can make in the market,

1:09:30.120 --> 1:09:32.360
<v Speaker 1>but how you can really increase yourselves, how you can

1:09:32.400 --> 1:09:35.520
<v Speaker 1>go get big branding deals, how you can really amplify

1:09:35.600 --> 1:09:39.479
<v Speaker 1>your overall career if you travel um And there are

1:09:39.520 --> 1:09:40.960
<v Speaker 1>a lot of artists who don't see it because they're

1:09:41.000 --> 1:09:42.559
<v Speaker 1>either just caught up in the perception of what they

1:09:42.640 --> 1:09:44.639
<v Speaker 1>see on social media and a little bit of money

1:09:44.640 --> 1:09:46.200
<v Speaker 1>that they're making on the road and they feel like

1:09:46.200 --> 1:09:50.080
<v Speaker 1>they're popular. That's not real fucking success. Like I think

1:09:50.080 --> 1:09:51.920
<v Speaker 1>for a lot of these younger kids, they feel like

1:09:51.960 --> 1:09:54.679
<v Speaker 1>the popularity is what they see on social media. They're

1:09:54.680 --> 1:09:56.639
<v Speaker 1>hot for the minute. They can go to these parties

1:09:56.680 --> 1:09:57.960
<v Speaker 1>and they can make a little bit of money on

1:09:58.000 --> 1:10:00.160
<v Speaker 1>the road and they're in the cool crowd. But you're

1:10:00.240 --> 1:10:05.840
<v Speaker 1>not really making real money. You haven't achieved real success yet.

1:10:05.840 --> 1:10:08.720
<v Speaker 1>And I think it's important to educate them. We went

1:10:08.760 --> 1:10:10.920
<v Speaker 1>through an exercise when we were like, let's put real

1:10:11.040 --> 1:10:13.360
<v Speaker 1>numbers in front of them. But is it affecting royalty

1:10:13.439 --> 1:10:15.720
<v Speaker 1>rates as you're trying to move these acts? Are you

1:10:15.880 --> 1:10:20.120
<v Speaker 1>is the label giving up a higher percentage? No, it's

1:10:20.160 --> 1:10:23.840
<v Speaker 1>just educating them on the more money they can be

1:10:23.880 --> 1:10:25.840
<v Speaker 1>making and how their sales can be. I mean, I

1:10:25.920 --> 1:10:27.400
<v Speaker 1>went through it. We we just went through this with

1:10:27.479 --> 1:10:30.680
<v Speaker 1>me Goes honestly, Um, you know, we've had a very

1:10:30.720 --> 1:10:34.760
<v Speaker 1>successful album with them with Culture too. I mean, you know,

1:10:34.800 --> 1:10:36.320
<v Speaker 1>I'll be honest about it. Getting them to go to

1:10:36.360 --> 1:10:38.759
<v Speaker 1>Europe for their European promo run was a real fight,

1:10:39.320 --> 1:10:41.760
<v Speaker 1>but it was an education process for them because they

1:10:41.800 --> 1:10:43.799
<v Speaker 1>had been with three hundred where they didn't know anything

1:10:43.800 --> 1:10:47.080
<v Speaker 1>about it. Their last record wasn't fully supported. They didn't know.

1:10:47.520 --> 1:10:49.920
<v Speaker 1>They would just go collect checks to do shows over there,

1:10:49.920 --> 1:10:51.759
<v Speaker 1>but they didn't know about really going to the market,

1:10:52.240 --> 1:10:54.360
<v Speaker 1>really supporting the record, really doing the shows and how

1:10:54.360 --> 1:10:57.080
<v Speaker 1>to really connect with the fans there and what that

1:10:57.120 --> 1:11:00.320
<v Speaker 1>would lead to. They love fashion. Let's go spen a

1:11:00.360 --> 1:11:02.559
<v Speaker 1>real week in Paris. Let's put a dinner together where

1:11:02.600 --> 1:11:06.280
<v Speaker 1>we're sitting with these designers and its planning sees that

1:11:06.320 --> 1:11:09.519
<v Speaker 1>really connect to a bigger thing, you know, like things

1:11:09.560 --> 1:11:13.120
<v Speaker 1>that can help grow their careers. And that's the add

1:11:13.120 --> 1:11:15.120
<v Speaker 1>of value that we can bring to them because then

1:11:15.200 --> 1:11:17.360
<v Speaker 1>they'll have a longer career. It as some more sales

1:11:17.400 --> 1:11:21.479
<v Speaker 1>for us, you know, Okay, over here, would love to

1:11:21.560 --> 1:11:24.200
<v Speaker 1>hear a story a time when you were in a

1:11:24.320 --> 1:11:27.360
<v Speaker 1>room with a contemporary, a hot contemporary artist, and they

1:11:27.439 --> 1:11:31.639
<v Speaker 1>met an iconic artist, maybe someone from the earlier days,

1:11:31.880 --> 1:11:33.800
<v Speaker 1>something from the city, where you were in that room

1:11:34.120 --> 1:11:35.800
<v Speaker 1>and you got to see the interaction and I'd love

1:11:35.840 --> 1:11:38.240
<v Speaker 1>to know what your takeaway was and what the takeaway

1:11:38.320 --> 1:11:48.280
<v Speaker 1>was for each of the artists. M hmm. Well, okay,

1:11:48.320 --> 1:11:50.400
<v Speaker 1>I've been in the room where we introduce people to

1:11:50.479 --> 1:11:56.559
<v Speaker 1>Barry Gordy and the you know, the reverence that people

1:11:56.600 --> 1:11:59.719
<v Speaker 1>have for Mr Gorty is really you know, it's incredible

1:11:59.720 --> 1:12:01.720
<v Speaker 1>because people don't know what he's like, you you know,

1:12:02.040 --> 1:12:05.720
<v Speaker 1>they have no idea and he's he's pretty charismatic. His

1:12:05.840 --> 1:12:12.080
<v Speaker 1>memory is incredible. So and I this wouldn't be an artist,

1:12:12.120 --> 1:12:15.400
<v Speaker 1>but I'm thinking about um the guys some QC and

1:12:15.439 --> 1:12:18.439
<v Speaker 1>we introduced them to Mr Gordy in the office and

1:12:18.640 --> 1:12:20.760
<v Speaker 1>what that meant for them. So Quality Control is the

1:12:20.840 --> 1:12:23.160
<v Speaker 1>label out of Atlanta that has me goes in Yahti

1:12:23.280 --> 1:12:28.800
<v Speaker 1>and um. As I was trying to redevelop Motown. One

1:12:28.800 --> 1:12:32.560
<v Speaker 1>of my goals was to use Motown as a platform

1:12:32.640 --> 1:12:36.160
<v Speaker 1>for other black entrepreneurs that were developing their own companies

1:12:36.160 --> 1:12:37.720
<v Speaker 1>and so QC was one of them, and I did

1:12:37.880 --> 1:12:39.400
<v Speaker 1>my deal with them three and a half years ago

1:12:40.360 --> 1:12:42.599
<v Speaker 1>and Mr Gordy was at the office one day. Steve

1:12:42.640 --> 1:12:45.519
<v Speaker 1>Brenna and I were meeting with him and the guys

1:12:45.600 --> 1:12:48.479
<v Speaker 1>some QC were there. This is before things popped off

1:12:48.520 --> 1:12:53.200
<v Speaker 1>for them, and we had them meet and the level

1:12:53.280 --> 1:12:56.879
<v Speaker 1>of inspiration, you know, they just look like little kids,

1:12:57.000 --> 1:13:01.320
<v Speaker 1>you know, meeting there. You know the person they looked

1:13:01.360 --> 1:13:03.760
<v Speaker 1>up to the most. It just and and he named So.

1:13:03.800 --> 1:13:06.920
<v Speaker 1>The funny thing is, as they're talking, I knew this,

1:13:06.960 --> 1:13:09.519
<v Speaker 1>but we never talked about it before. Mr Gordy tells

1:13:09.560 --> 1:13:12.200
<v Speaker 1>them that he called his A and R meetings the

1:13:12.280 --> 1:13:16.839
<v Speaker 1>quality control meetings, and like it was the big aha

1:13:16.960 --> 1:13:19.160
<v Speaker 1>moment for them. They're like, oh, this is meant to be,

1:13:19.280 --> 1:13:24.280
<v Speaker 1>Like this is everything is aligned And even though we

1:13:24.280 --> 1:13:26.599
<v Speaker 1>weren't having success, Yeah, I think we all knew, like

1:13:26.720 --> 1:13:29.479
<v Speaker 1>it's gonna come, that's gonna happen, and that was That

1:13:29.520 --> 1:13:33.120
<v Speaker 1>was a pretty cool moment that happened a few years ago. Okay,

1:13:33.160 --> 1:13:35.639
<v Speaker 1>get a Mike, writer's next, But I have a Mike,

1:13:35.720 --> 1:13:37.640
<v Speaker 1>so I'm gonna ask I was going to ask the

1:13:37.760 --> 1:13:40.200
<v Speaker 1>question that you just kind of brought up, which was,

1:13:40.400 --> 1:13:43.720
<v Speaker 1>you know, when you go and visit When you go

1:13:43.720 --> 1:13:46.759
<v Speaker 1>and visit Disney, no one's ever said louder gym before.

1:13:46.840 --> 1:13:50.920
<v Speaker 1>Right when you go and visit Disney, you know, there's

1:13:53.080 --> 1:13:57.360
<v Speaker 1>they try to instill Walt Disney into you right when

1:13:57.400 --> 1:13:59.320
<v Speaker 1>you're at on the and the app in the new

1:13:59.400 --> 1:14:02.360
<v Speaker 1>especially the new Apple campus, like there's you know, quotes

1:14:02.400 --> 1:14:06.040
<v Speaker 1>from Steve Jobs on the walls, like is it is

1:14:06.200 --> 1:14:10.360
<v Speaker 1>Verry Gordy important to Mr Gordy? I guess he is

1:14:10.360 --> 1:14:15.680
<v Speaker 1>it important to your culture that you're building too? You know,

1:14:15.760 --> 1:14:19.559
<v Speaker 1>remember what was absolutely definitely one of the things that

1:14:19.600 --> 1:14:22.600
<v Speaker 1>we've done. So when I first met him, go to

1:14:22.680 --> 1:14:26.080
<v Speaker 1>Mr Gorty's house, Um, he has a ton of footage

1:14:26.520 --> 1:14:29.920
<v Speaker 1>from all you know, from all his and our meetings

1:14:30.000 --> 1:14:32.240
<v Speaker 1>from back when they would have picnics, etcetera. With the

1:14:32.280 --> 1:14:35.759
<v Speaker 1>Motown family. He had a ton of He recorded everything,

1:14:36.360 --> 1:14:38.519
<v Speaker 1>but wasn't doing anything with it. And so I told

1:14:38.520 --> 1:14:41.840
<v Speaker 1>Steve about it. Long story shore, you know, we convinced

1:14:42.240 --> 1:14:44.360
<v Speaker 1>Mr Gorty to do to allow us to do a

1:14:44.400 --> 1:14:47.880
<v Speaker 1>Motown documentary using all of this footage that he has,

1:14:47.960 --> 1:14:49.599
<v Speaker 1>which is something that I think a lot of people

1:14:49.640 --> 1:14:51.479
<v Speaker 1>tried to do but we've been able to achieve it.

1:14:51.520 --> 1:14:54.200
<v Speaker 1>So it's something that will come out next year. But

1:14:54.720 --> 1:14:57.880
<v Speaker 1>in the motivation behind it was to one remind people

1:14:59.120 --> 1:15:02.960
<v Speaker 1>the a foundation of how Motown was created, but also

1:15:03.040 --> 1:15:06.559
<v Speaker 1>the foundation of like music right like it's about great songs,

1:15:06.600 --> 1:15:11.320
<v Speaker 1>it's about work ethic, it's about people coming together, and

1:15:11.360 --> 1:15:14.360
<v Speaker 1>for him it was also about love, you know. Um,

1:15:14.439 --> 1:15:17.000
<v Speaker 1>and also too, we connected the dots between a lot

1:15:17.000 --> 1:15:19.080
<v Speaker 1>of other people that have been influenced by motown over

1:15:19.120 --> 1:15:25.479
<v Speaker 1>the over time. So okay, Mark, First of all, this

1:15:25.520 --> 1:15:27.680
<v Speaker 1>has been a great conversation. I just want you to

1:15:27.720 --> 1:15:30.920
<v Speaker 1>know that I've got two daughters and I think it

1:15:30.960 --> 1:15:34.000
<v Speaker 1>would be amazing if they could go into the business

1:15:34.000 --> 1:15:39.439
<v Speaker 1>and and and just following your footsteps because I and

1:15:39.479 --> 1:15:41.280
<v Speaker 1>if I had sons, i'd say the same thing. But

1:15:41.720 --> 1:15:46.120
<v Speaker 1>I appreciate that. Really it's been very inspirational. Um. My

1:15:46.479 --> 1:15:50.200
<v Speaker 1>question though, is do you find it in today's marketplace?

1:15:50.200 --> 1:15:52.880
<v Speaker 1>Do you find it more challenging to develop a brand

1:15:52.880 --> 1:15:56.040
<v Speaker 1>new artist or to help with the comeback of and

1:15:56.160 --> 1:16:01.360
<v Speaker 1>already established artist who's coming back from very disappointing album,

1:16:01.479 --> 1:16:05.679
<v Speaker 1>both commercially or whether it's commercially or or critically or both.

1:16:08.160 --> 1:16:10.880
<v Speaker 1>It's tough with you know, trying to have a the

1:16:11.360 --> 1:16:13.840
<v Speaker 1>comeback for an artist that's been established and it's been

1:16:13.880 --> 1:16:17.479
<v Speaker 1>around for like, let's say, ten years, it's tough. It's

1:16:17.520 --> 1:16:20.320
<v Speaker 1>tough if they haven't taken the time to really educate

1:16:20.400 --> 1:16:24.799
<v Speaker 1>themselves on the new way of operating. I know artists

1:16:24.800 --> 1:16:29.400
<v Speaker 1>that were huge ten years ago that really haven't caught

1:16:29.439 --> 1:16:32.559
<v Speaker 1>onto the way streaming is working like that, don't really

1:16:32.560 --> 1:16:34.760
<v Speaker 1>have Spotify or Apple Music on their phones. I'm like,

1:16:34.800 --> 1:16:37.479
<v Speaker 1>what are you doing? How do you even know? But

1:16:37.560 --> 1:16:39.840
<v Speaker 1>they they're artists who don't really you know what I mean,

1:16:39.840 --> 1:16:41.880
<v Speaker 1>And they were they were huge ten years ago. So

1:16:42.000 --> 1:16:45.840
<v Speaker 1>it's really tough, um and they can't they can't really

1:16:45.880 --> 1:16:48.280
<v Speaker 1>adjust to the new marketplace. They can't really adjust to

1:16:48.320 --> 1:16:51.240
<v Speaker 1>the way things are operating now. And you know, you

1:16:51.280 --> 1:16:54.040
<v Speaker 1>can lead them down the role, but if if they're

1:16:54.080 --> 1:16:56.280
<v Speaker 1>not willing to change the way that they operately, it

1:16:56.320 --> 1:16:58.960
<v Speaker 1>also really comes down to change. How willing are you

1:16:59.080 --> 1:17:02.400
<v Speaker 1>to change? Some people get stuck in their ways. Can

1:17:02.439 --> 1:17:06.000
<v Speaker 1>Stevie Wonder have another hit? What would how will you

1:17:06.040 --> 1:17:13.160
<v Speaker 1>make that happen? I don't know, Bob, but I'll take

1:17:13.200 --> 1:17:16.280
<v Speaker 1>the challenge. Well, is it about inspiring him? You know,

1:17:16.360 --> 1:17:21.160
<v Speaker 1>you have a long time Steve. Stevie has um, He's

1:17:21.160 --> 1:17:23.320
<v Speaker 1>been writing music, He's had music for I mean every

1:17:23.360 --> 1:17:26.760
<v Speaker 1>We've tried for years to try and get into music

1:17:26.800 --> 1:17:29.760
<v Speaker 1>out of Stevie. I pray it happens. We will all

1:17:29.800 --> 1:17:33.200
<v Speaker 1>do everything we can to uh and in a hip

1:17:33.240 --> 1:17:36.320
<v Speaker 1>hop world, and we've seen in the last year all

1:17:36.360 --> 1:17:39.240
<v Speaker 1>the pop acts have failed in the marketplace, Miley Cyrus,

1:17:39.479 --> 1:17:42.720
<v Speaker 1>Katie Perry, Taylor, Taylor Swift. If someone is in the

1:17:42.840 --> 1:17:45.880
<v Speaker 1>urbans field and it's more of a ballad or an

1:17:45.960 --> 1:17:50.280
<v Speaker 1>R and B thing than hip hop, can it work? Yes,

1:17:50.840 --> 1:17:53.320
<v Speaker 1>But it's not even about it being just about hip hop.

1:17:53.360 --> 1:17:55.280
<v Speaker 1>I think it ultimately comes down so the great how

1:17:55.320 --> 1:17:57.040
<v Speaker 1>great the song is, you know what I mean when

1:17:57.040 --> 1:18:00.960
<v Speaker 1>we talk about Katie or Miley, etcetera. They can all

1:18:01.000 --> 1:18:04.679
<v Speaker 1>come back with great, great songs, and we need music.

1:18:04.720 --> 1:18:06.720
<v Speaker 1>We need them to come back, and we need them

1:18:06.760 --> 1:18:09.439
<v Speaker 1>to come back with substantial music that can connect. I

1:18:09.479 --> 1:18:12.479
<v Speaker 1>think we also need, you know, outside of these new

1:18:12.560 --> 1:18:14.479
<v Speaker 1>hip hop artists are hip hop artists in general to

1:18:14.520 --> 1:18:16.639
<v Speaker 1>talk about the times and things that are happening without

1:18:16.640 --> 1:18:19.639
<v Speaker 1>sounding preachy. We need our pop artists to create great

1:18:19.720 --> 1:18:22.080
<v Speaker 1>music that can connect to all people as well. I

1:18:22.120 --> 1:18:24.720
<v Speaker 1>grew up loving pop music also, you know what I mean.

1:18:24.760 --> 1:18:28.240
<v Speaker 1>And so you want you want to see that happen. Okay,

1:18:28.560 --> 1:18:32.360
<v Speaker 1>over here, there was someone with a Mike Okay, Hi

1:18:32.800 --> 1:18:37.240
<v Speaker 1>Ethiopia First, I'm seconding what Mark said. Just total respect

1:18:37.280 --> 1:18:40.400
<v Speaker 1>on every level for you. So and thank you also

1:18:40.479 --> 1:18:46.080
<v Speaker 1>for definitely handling up Bob's challenging questions about race and gender.

1:18:46.200 --> 1:18:52.080
<v Speaker 1>So just round of applause for that, I hope. I okay,

1:18:52.640 --> 1:18:55.320
<v Speaker 1>So if you don't push the edges, you'll never know

1:18:55.360 --> 1:19:00.920
<v Speaker 1>where they are. UM. Question about representing and promoting female artists,

1:19:01.240 --> 1:19:03.360
<v Speaker 1>and uh, I know you've worked with Erica, but I do.

1:19:03.520 --> 1:19:06.439
<v Speaker 1>But I also noticed your roster has more men and

1:19:06.560 --> 1:19:09.400
<v Speaker 1>wondered if you could address that. Do you see a

1:19:09.520 --> 1:19:13.200
<v Speaker 1>day when it'll be more balanced? Are there particular challenges

1:19:13.600 --> 1:19:16.280
<v Speaker 1>in promoting women? Why is it that there are less

1:19:16.320 --> 1:19:21.000
<v Speaker 1>women at the top? Uh? Women artists? That's all I

1:19:21.080 --> 1:19:26.000
<v Speaker 1>want is more female artists. Um. And in my career

1:19:26.080 --> 1:19:28.679
<v Speaker 1>before as a publisher, I worked with more female talent.

1:19:30.200 --> 1:19:32.559
<v Speaker 1>Thank you for noting that my roster is more men

1:19:32.640 --> 1:19:34.880
<v Speaker 1>because it's something. When people ask me what I'm looking for,

1:19:34.920 --> 1:19:36.599
<v Speaker 1>I'm like, I want a female I want I want

1:19:36.600 --> 1:19:41.479
<v Speaker 1>a female artist. I want UM. I don't know why

1:19:41.520 --> 1:19:44.200
<v Speaker 1>it's so hard to find great new female talent. I

1:19:44.240 --> 1:19:46.800
<v Speaker 1>don't know what the problem is. I've been looking. I've

1:19:46.800 --> 1:19:49.439
<v Speaker 1>been I've been completely honest with you. I've been looking.

1:19:49.439 --> 1:19:54.439
<v Speaker 1>I've been trying to find UM great female X to

1:19:54.520 --> 1:19:56.760
<v Speaker 1>sign for me. I want. I want them to be

1:19:56.880 --> 1:20:00.400
<v Speaker 1>artists that write their own music as well UM and

1:20:00.439 --> 1:20:03.439
<v Speaker 1>are pretty self aware. I think that I've come across

1:20:03.479 --> 1:20:06.320
<v Speaker 1>a lot of talent that might have the right aesthetic,

1:20:06.880 --> 1:20:10.919
<v Speaker 1>but not have you know, the substance or the feeler,

1:20:11.240 --> 1:20:15.200
<v Speaker 1>or they don't really know who they are. And I'm

1:20:15.400 --> 1:20:18.479
<v Speaker 1>not I'm not really trying to subscribe to any of that. UM.

1:20:18.520 --> 1:20:20.720
<v Speaker 1>I don't think that that really cuts through. And I've

1:20:20.800 --> 1:20:25.800
<v Speaker 1>seen I've seen a lot of female artists get distracted

1:20:25.880 --> 1:20:31.639
<v Speaker 1>or confused by perception or celebrity, etcetera. And you have

1:20:31.720 --> 1:20:33.920
<v Speaker 1>to really be a beast at it. You see the

1:20:33.960 --> 1:20:36.680
<v Speaker 1>best of the best in the marketplace, the superstars. They

1:20:36.760 --> 1:20:41.160
<v Speaker 1>really are incredibly intelligent, have an incredible work ethic, and

1:20:41.880 --> 1:20:46.240
<v Speaker 1>um work their asses off right and know when to listen.

1:20:47.320 --> 1:20:51.040
<v Speaker 1>I know who they know who like who on their

1:20:51.040 --> 1:20:52.960
<v Speaker 1>team are the people to listen to who when they

1:20:52.960 --> 1:20:54.639
<v Speaker 1>need better people on their team? And I just think

1:20:54.680 --> 1:20:59.560
<v Speaker 1>it's it's it's hard to find that now. Okay, so

1:20:59.560 --> 1:21:02.760
<v Speaker 1>the next question here, But if anyone has anyone they

1:21:02.800 --> 1:21:04.680
<v Speaker 1>want to bring something, please let me know because I

1:21:04.720 --> 1:21:10.439
<v Speaker 1>am actively looking for new female at Mr Borrow. Um Hi,

1:21:10.720 --> 1:21:13.000
<v Speaker 1>I just want to echo at the other folks set

1:21:13.000 --> 1:21:15.240
<v Speaker 1>and when and when you find the right man, he

1:21:15.240 --> 1:21:18.680
<v Speaker 1>will be a very lucky man. So um I believe that.

1:21:19.320 --> 1:21:24.360
<v Speaker 1>Um No, in all seriousness, you know you talked about

1:21:24.640 --> 1:21:27.920
<v Speaker 1>well one thing Stevie, so I run Live Nation Japan. Um,

1:21:28.160 --> 1:21:32.400
<v Speaker 1>we're talking to c A. Stevie Wonder is still worth

1:21:32.479 --> 1:21:36.400
<v Speaker 1>fifty to sixty thousand tickets in that market and we're probably,

1:21:36.520 --> 1:21:39.760
<v Speaker 1>I hope we're gonna do to say tom Arenas with

1:21:39.880 --> 1:21:43.920
<v Speaker 1>them in twenty nineteen. And wow, Um, that's like a

1:21:44.000 --> 1:21:46.000
<v Speaker 1>dream come true for me to get to work with Stevie.

1:21:46.160 --> 1:21:48.240
<v Speaker 1>Can't have a hit again. I'm sorry you can't have

1:21:48.320 --> 1:21:52.720
<v Speaker 1>a hit again and you should come. Um yeah, you

1:21:52.800 --> 1:21:56.560
<v Speaker 1>mentioned that the trouble of getting me goes to Europe, right, Um,

1:21:56.600 --> 1:21:58.800
<v Speaker 1>what's happening in Asia right now is there's been this

1:21:58.880 --> 1:22:01.720
<v Speaker 1>e d M revolution, which is still kind of happening.

1:22:02.080 --> 1:22:06.120
<v Speaker 1>Japan is the most mature of the Eastern markets, and

1:22:06.360 --> 1:22:11.080
<v Speaker 1>hip hop is all the rage there. However, these acts

1:22:11.160 --> 1:22:15.479
<v Speaker 1>can't really sell many hard tickets yet. UM. The biggest

1:22:15.520 --> 1:22:18.120
<v Speaker 1>acts I'm not going to name, UM are worth about

1:22:18.160 --> 1:22:22.920
<v Speaker 1>three thousand tickets. UM. Live Nation and Insomniac. I came from.

1:22:22.920 --> 1:22:26.519
<v Speaker 1>Insomniac took an investment in the Rolling Loud Festival, which

1:22:26.840 --> 1:22:29.719
<v Speaker 1>clearly you know all about will be there in Miami,

1:22:30.040 --> 1:22:33.479
<v Speaker 1>the premier hip hop festival in the world. Right there's

1:22:33.520 --> 1:22:37.320
<v Speaker 1>fifty sixty thousand people. Every hot hip hop artist plays it.

1:22:38.000 --> 1:22:40.800
<v Speaker 1>We're trying to bring it to Asia. UM. We had

1:22:40.880 --> 1:22:45.920
<v Speaker 1>dates on hold. UM, We're gonna do it in multiple countries. UM.

1:22:46.040 --> 1:22:51.880
<v Speaker 1>The artists weren't reasonable with their fees. UM. They were not.

1:22:52.040 --> 1:22:55.240
<v Speaker 1>They were not. UM, and I think that's going to

1:22:55.320 --> 1:22:57.840
<v Speaker 1>be a challenge. So I guess my question to you is,

1:22:57.920 --> 1:23:02.639
<v Speaker 1>how how do you see the Asian market for hip hop?

1:23:02.840 --> 1:23:05.160
<v Speaker 1>You know, I'm kind of like the Asian flag waiver

1:23:05.320 --> 1:23:08.760
<v Speaker 1>at this conference. Um, because it is the panacea for

1:23:08.880 --> 1:23:13.360
<v Speaker 1>all of this. There's huge opportunity there, and it's disturbing

1:23:13.439 --> 1:23:16.840
<v Speaker 1>to hear that everyone's coming back asking for a ton

1:23:16.840 --> 1:23:20.160
<v Speaker 1>of money because again, I know, the mentality is to

1:23:20.360 --> 1:23:22.400
<v Speaker 1>just hit a lip to just get a big check

1:23:22.439 --> 1:23:25.280
<v Speaker 1>as opposed to thinking about really penetrating the market and

1:23:25.320 --> 1:23:29.040
<v Speaker 1>the opportunity that exists there. And so it's again it's

1:23:29.040 --> 1:23:32.080
<v Speaker 1>the education process. And I think that you know, sometimes

1:23:32.080 --> 1:23:35.920
<v Speaker 1>your job is to be a translator, and um, it's

1:23:35.920 --> 1:23:38.720
<v Speaker 1>about having the right people on the team that can

1:23:38.760 --> 1:23:43.519
<v Speaker 1>really translate for them. Why it makes sense. You know

1:23:43.560 --> 1:23:46.080
<v Speaker 1>a lot of times at my company when it comes

1:23:46.120 --> 1:23:47.760
<v Speaker 1>to some of the hip hop, the bigger hip hop

1:23:47.760 --> 1:23:50.559
<v Speaker 1>acts that we have, I end up having to do

1:23:50.680 --> 1:23:53.360
<v Speaker 1>everything because I can be a translator in some ways

1:23:54.120 --> 1:23:57.000
<v Speaker 1>to get them to do things. But if there's if

1:23:57.160 --> 1:23:59.479
<v Speaker 1>if anything is pertaining to me goes and then coming

1:23:59.520 --> 1:24:03.000
<v Speaker 1>to come into the market, let me okay. But but

1:24:03.080 --> 1:24:06.160
<v Speaker 1>I'll tell you I've heard about I've heard about certain

1:24:06.280 --> 1:24:10.040
<v Speaker 1>huge acts that have never come to Japan. Huge some

1:24:10.080 --> 1:24:12.800
<v Speaker 1>of our biggest superstars here have not have not gone there,

1:24:12.840 --> 1:24:19.080
<v Speaker 1>and I just think it's a a lack of understanding. Yeah,

1:24:19.360 --> 1:24:21.439
<v Speaker 1>but I think that there would be an opportunity to

1:24:21.479 --> 1:24:23.439
<v Speaker 1>get a few of the big managers together and to

1:24:23.560 --> 1:24:26.160
<v Speaker 1>really walk them through it and educate them. And I

1:24:26.200 --> 1:24:30.400
<v Speaker 1>think that would be the right next step. Okay, anybody

1:24:30.439 --> 1:24:32.400
<v Speaker 1>else with a Mike there? Yeah, I got a quick

1:24:32.439 --> 1:24:36.240
<v Speaker 1>question for you. Um, there's no doubt the urban and

1:24:36.360 --> 1:24:39.000
<v Speaker 1>hip hop rap side have have had such a direct

1:24:39.000 --> 1:24:42.320
<v Speaker 1>pulse to the consumer more so than any other format. Right,

1:24:42.360 --> 1:24:44.280
<v Speaker 1>it's it's it's mind bogging. I watched it with my

1:24:44.280 --> 1:24:48.439
<v Speaker 1>own kids. Do you ever sit around and go, wow,

1:24:48.479 --> 1:24:51.160
<v Speaker 1>I can't believe these other formats have not figured this out.

1:24:51.520 --> 1:24:53.120
<v Speaker 1>Like when you said what you guys have been able

1:24:53.120 --> 1:24:56.160
<v Speaker 1>to figure out and go, it's amazing they haven't figured

1:24:56.160 --> 1:24:59.800
<v Speaker 1>that out, you know, from a strategic standpoint, right you

1:25:00.040 --> 1:25:01.920
<v Speaker 1>and like other genres of music. Yeah, when you sit

1:25:01.920 --> 1:25:03.439
<v Speaker 1>another show like I can't believe that, you know, when

1:25:03.439 --> 1:25:05.439
<v Speaker 1>you're sitting your strategy of media with other forms, you know,

1:25:05.680 --> 1:25:07.679
<v Speaker 1>and they go they can't believe they have not figured

1:25:07.680 --> 1:25:09.600
<v Speaker 1>this out. Right, And I'm not trying to get you know,

1:25:09.600 --> 1:25:11.760
<v Speaker 1>the secret recipe at the best chocolate chip cookie, right,

1:25:11.760 --> 1:25:14.320
<v Speaker 1>but you know what you know you said, like, I

1:25:14.360 --> 1:25:16.479
<v Speaker 1>can't believe rock or whatever it is, they have not

1:25:16.520 --> 1:25:19.400
<v Speaker 1>figured out this one thing to connect. Here's the thing.

1:25:19.400 --> 1:25:22.000
<v Speaker 1>I also I believe that's always just a matter of time.

1:25:22.240 --> 1:25:24.360
<v Speaker 1>I'm not one of those people that's like, oh, this

1:25:24.479 --> 1:25:26.639
<v Speaker 1>genre of music is dead or whatever. I think that

1:25:26.640 --> 1:25:29.000
<v Speaker 1>that's all bullshit. I think that it's only a matter

1:25:29.000 --> 1:25:33.680
<v Speaker 1>of time before music is music and reinvests itself, right, So,

1:25:33.680 --> 1:25:39.040
<v Speaker 1>so I think that you just don't give up on

1:25:39.080 --> 1:25:41.360
<v Speaker 1>it and you figure out what is connecting. I even

1:25:41.360 --> 1:25:43.880
<v Speaker 1>think that when you think think about campaigns for artists,

1:25:43.880 --> 1:25:46.479
<v Speaker 1>like what is it that will connect the dots? And

1:25:46.520 --> 1:25:49.080
<v Speaker 1>I think that as you think about other genres kind

1:25:49.080 --> 1:25:51.640
<v Speaker 1>of have to dig deeper to figure out how to

1:25:51.680 --> 1:25:56.000
<v Speaker 1>really make Speaking of that, is this country urban crossover?

1:25:56.680 --> 1:25:58.360
<v Speaker 1>Is this a blip on the radar screen or a

1:25:58.360 --> 1:26:00.880
<v Speaker 1>new trends? It's a new trend and I think it's

1:26:00.920 --> 1:26:03.599
<v Speaker 1>real because we're looking at kids that might have come

1:26:03.680 --> 1:26:08.360
<v Speaker 1>up listening to country music and also like like the

1:26:08.360 --> 1:26:12.360
<v Speaker 1>the fusion of the different genres, that's a real thing. Well,

1:26:12.360 --> 1:26:15.040
<v Speaker 1>it's very interesting because I said, I think people are graziers.

1:26:15.120 --> 1:26:17.720
<v Speaker 1>They know more things, and it's interesting. What it's seen

1:26:17.840 --> 1:26:20.639
<v Speaker 1>is the most right wing of formats their audience has

1:26:21.479 --> 1:26:24.360
<v Speaker 1>fans too. You see what's happening with Cain Brown, which

1:26:24.400 --> 1:26:27.960
<v Speaker 1>has been amazing, right, but he's mixed kids singing country

1:26:28.000 --> 1:26:29.880
<v Speaker 1>music and it's real, it's authentic to him. I think

1:26:30.240 --> 1:26:33.000
<v Speaker 1>the other thing is like the bullshit meter is real, right,

1:26:33.080 --> 1:26:36.439
<v Speaker 1>you can't you can't fool kids. I've never been one

1:26:36.479 --> 1:26:39.000
<v Speaker 1>of those people that believe like you dictate what's next,

1:26:39.040 --> 1:26:41.160
<v Speaker 1>and you tell people what's next, they connect to what's

1:26:41.200 --> 1:26:43.040
<v Speaker 1>real and authentic. And I think that we're seeing a

1:26:43.120 --> 1:26:46.960
<v Speaker 1>lot more that pop up where people are um inspired

1:26:47.000 --> 1:26:49.240
<v Speaker 1>by a lot of different kinds of music. They can

1:26:49.280 --> 1:26:52.600
<v Speaker 1>infuse them and they create great music from that, and

1:26:52.640 --> 1:26:54.280
<v Speaker 1>then it ends up cutting through and then we think

1:26:54.280 --> 1:26:56.080
<v Speaker 1>it's like the biggest thing in the world. It's like, no,

1:26:56.200 --> 1:26:58.360
<v Speaker 1>someone just did what was real for them. Now, it's

1:26:58.400 --> 1:27:01.679
<v Speaker 1>also interesting, you said earlier, or they're looking for female

1:27:01.800 --> 1:27:05.559
<v Speaker 1>artists who are writers. Does this pretend the end of

1:27:05.600 --> 1:27:11.720
<v Speaker 1>the record with fifteen writers. I wouldn't say that. I

1:27:11.800 --> 1:27:14.679
<v Speaker 1>just know specifically for me when I when I when

1:27:14.680 --> 1:27:18.960
<v Speaker 1>I've worked with artists who know who they are and

1:27:19.000 --> 1:27:20.720
<v Speaker 1>know what they want to say, I feel like it

1:27:20.760 --> 1:27:23.880
<v Speaker 1>goes further. So That's what I'm looking for. But as

1:27:23.920 --> 1:27:26.560
<v Speaker 1>a publisher, do you think it's good, bad, or irrelevant

1:27:26.840 --> 1:27:30.840
<v Speaker 1>that there's so many writers on these records. Yeah, I

1:27:30.880 --> 1:27:33.680
<v Speaker 1>mean definitely, because your your shares are getting cut down.

1:27:33.680 --> 1:27:35.639
<v Speaker 1>When you have that many writers on one song, it's

1:27:35.720 --> 1:27:37.920
<v Speaker 1>you're getting nothing really, you know what I mean, Like

1:27:38.040 --> 1:27:41.280
<v Speaker 1>you might have two or three four cool, but when

1:27:41.320 --> 1:27:43.639
<v Speaker 1>you have that many writers on, you're not really making ship,

1:27:43.760 --> 1:27:46.280
<v Speaker 1>you know what I mean, You're really not You're really not.

1:27:46.479 --> 1:27:48.439
<v Speaker 1>I mean, you know for hip hop records, who I'll

1:27:48.439 --> 1:27:50.120
<v Speaker 1>say this, there are a lot of people on these

1:27:50.120 --> 1:27:54.080
<v Speaker 1>songs because you're seeing a lot of producers work together.

1:27:54.600 --> 1:27:59.519
<v Speaker 1>Producers work together on tracks, but they end up with,

1:27:59.680 --> 1:28:02.639
<v Speaker 1>you know, not a lot of percentage on their records.

1:28:02.640 --> 1:28:05.639
<v Speaker 1>And again that's an education process. People don't really understand

1:28:05.640 --> 1:28:08.400
<v Speaker 1>what it means. And at this point in time to

1:28:08.520 --> 1:28:11.360
<v Speaker 1>what is it a hackney thing or is it still

1:28:11.439 --> 1:28:14.759
<v Speaker 1>valid to have a guest appearance to boost a career.

1:28:15.200 --> 1:28:17.280
<v Speaker 1>You don't have to have it, you don't have to

1:28:17.320 --> 1:28:18.880
<v Speaker 1>have it, But does it still work if you want

1:28:18.880 --> 1:28:23.640
<v Speaker 1>to do that way? Definitely? Okay, any else in the

1:28:23.640 --> 1:28:28.240
<v Speaker 1>back there, Marty, good afternoon, and um I do bleed

1:28:28.280 --> 1:28:31.000
<v Speaker 1>orange being a Clemson guy. But for those of you

1:28:31.040 --> 1:28:34.720
<v Speaker 1>who have never been to Athens, Georgia. You have to go.

1:28:35.520 --> 1:28:41.639
<v Speaker 1>It's an amazing experience. UM, great rich music history and

1:28:42.479 --> 1:28:44.840
<v Speaker 1>Atlanta and Athens are something to hold. So for you,

1:28:44.920 --> 1:28:48.720
<v Speaker 1>anybody who's down in the Southeast to highly recommend go

1:28:48.880 --> 1:28:52.000
<v Speaker 1>check it out. UM. I think I'm paraphrasing a little bit,

1:28:52.040 --> 1:28:55.559
<v Speaker 1>but i think you said something earlier about UM. Today,

1:28:55.680 --> 1:29:01.240
<v Speaker 1>failure means giving up. So in the spirit of technology

1:29:01.520 --> 1:29:05.960
<v Speaker 1>and connectibility and the fact that we're all connected. When

1:29:05.960 --> 1:29:10.879
<v Speaker 1>you are evaluating an artist, do you consider an artist's

1:29:11.160 --> 1:29:16.880
<v Speaker 1>resiliency UM with respect to their evaluation of talent? Is

1:29:16.920 --> 1:29:19.200
<v Speaker 1>that something that you feel like you have to throw

1:29:19.240 --> 1:29:24.439
<v Speaker 1>into the blender when you're That's a huge part of it,

1:29:25.160 --> 1:29:27.320
<v Speaker 1>huge part of how resilient you are. I mean, I've

1:29:27.400 --> 1:29:29.639
<v Speaker 1>learned that in my own life and in my own career.

1:29:30.040 --> 1:29:33.320
<v Speaker 1>But I've seen many examples of if you are resilient,

1:29:33.400 --> 1:29:36.000
<v Speaker 1>if you can just push through, it will make all

1:29:36.040 --> 1:29:39.360
<v Speaker 1>the difference. Eventually it connects. And you know, at this point,

1:29:39.360 --> 1:29:41.840
<v Speaker 1>I've been in the business about twenty years now, right,

1:29:43.720 --> 1:29:47.759
<v Speaker 1>and I've seen people that just never gave up, people

1:29:47.800 --> 1:29:50.080
<v Speaker 1>that some people doubt it and never thought would ever

1:29:50.160 --> 1:29:52.479
<v Speaker 1>make it, or ever have a hit. There some people

1:29:52.479 --> 1:29:58.639
<v Speaker 1>who should give up, right And you know, I think

1:29:58.640 --> 1:30:00.400
<v Speaker 1>people who should give up are the peop that are

1:30:00.400 --> 1:30:04.240
<v Speaker 1>only motivated by the fucking fame. That's the truth. If

1:30:04.280 --> 1:30:09.080
<v Speaker 1>you don't, if you're not really motivated by your love

1:30:09.439 --> 1:30:13.120
<v Speaker 1>and passion for the music, you can tell the difference,

1:30:13.960 --> 1:30:16.120
<v Speaker 1>you know what I mean. And also if you're only

1:30:16.160 --> 1:30:20.000
<v Speaker 1>motivated by the money, if you're only motivated by the

1:30:20.000 --> 1:30:22.639
<v Speaker 1>money and you don't operate with any level of ethics

1:30:22.840 --> 1:30:25.760
<v Speaker 1>in this business, I want you out this ship too,

1:30:25.960 --> 1:30:27.719
<v Speaker 1>you know what I mean? Like that, because you're really

1:30:27.800 --> 1:30:32.320
<v Speaker 1>kind of, um, disrespecting our world. Because you have to

1:30:32.320 --> 1:30:34.559
<v Speaker 1>have a respect for the music. I think that we've

1:30:34.560 --> 1:30:36.160
<v Speaker 1>suffered from a lot of people that don't have a

1:30:36.200 --> 1:30:40.000
<v Speaker 1>respect for music and the gift of music. And I

1:30:40.040 --> 1:30:42.240
<v Speaker 1>have a huge regard for it. So I want to

1:30:42.240 --> 1:30:44.840
<v Speaker 1>see more people in it that do as well. And

1:30:44.880 --> 1:30:47.639
<v Speaker 1>I think that, um, everything is coming full circle. But yes,

1:30:47.720 --> 1:30:54.360
<v Speaker 1>resiliency is a big part of this. You've been utterly fat. Okay,

1:30:54.600 --> 1:30:57.800
<v Speaker 1>I don't want to wear it out. Okay you I'll

1:30:57.880 --> 1:31:01.960
<v Speaker 1>let you be the wrangler here, Jim. Okay, great talk,

1:31:02.040 --> 1:31:04.840
<v Speaker 1>Thank you very much. I'm a bloody foreigner. I arrived

1:31:04.840 --> 1:31:08.879
<v Speaker 1>in this country three years ago and I wasn't aware,

1:31:09.200 --> 1:31:14.559
<v Speaker 1>and I didn't even understand structural racism. Coming here was

1:31:15.080 --> 1:31:17.760
<v Speaker 1>mind blowing to see how that works. I mean, you're

1:31:17.800 --> 1:31:22.479
<v Speaker 1>talking to a room that is almost exclusively white right now.

1:31:22.640 --> 1:31:27.240
<v Speaker 1>Then I went into the Black Panther movie on the

1:31:27.360 --> 1:31:30.040
<v Speaker 1>day came out because I was so stoked by the soundtrack.

1:31:30.760 --> 1:31:34.080
<v Speaker 1>I got into that theater and I was almost exclusively

1:31:34.080 --> 1:31:37.200
<v Speaker 1>the only white person in that movie, which was a revelation.

1:31:37.320 --> 1:31:42.200
<v Speaker 1>That movie was amazing and a celebration in itself. Now,

1:31:42.240 --> 1:31:44.320
<v Speaker 1>how do you see now it crossed like one point

1:31:44.320 --> 1:31:48.120
<v Speaker 1>two billion dollars on the box office. How do you

1:31:48.200 --> 1:31:52.240
<v Speaker 1>how do you foresee ripple effects of that movie? What

1:31:52.320 --> 1:31:57.280
<v Speaker 1>did it do? It created opportunities for other movies to

1:31:57.360 --> 1:32:00.800
<v Speaker 1>be created around black culture, et cetera. But also I

1:32:00.800 --> 1:32:03.160
<v Speaker 1>think it brought together a lot of people in the

1:32:03.240 --> 1:32:05.160
<v Speaker 1>sense so for me one of them. I mean I

1:32:05.160 --> 1:32:08.040
<v Speaker 1>could talk about Black Panther all day because I told

1:32:08.080 --> 1:32:11.679
<v Speaker 1>my parents I was like, Wakanda was supposed to be Ethiopia.

1:32:12.560 --> 1:32:16.519
<v Speaker 1>They sucked it up anyway, But um, I think that

1:32:17.320 --> 1:32:20.000
<v Speaker 1>what they created with that piece of art is what

1:32:20.080 --> 1:32:25.160
<v Speaker 1>I I thought would happen with music. I thought that

1:32:25.200 --> 1:32:27.679
<v Speaker 1>there would be an artist that would create a great

1:32:27.760 --> 1:32:30.599
<v Speaker 1>song or a great body of work that would connect

1:32:30.600 --> 1:32:32.840
<v Speaker 1>people in the same way. And I think that Black

1:32:32.880 --> 1:32:37.439
<v Speaker 1>Panther the film really brought together all people, you know

1:32:37.439 --> 1:32:40.719
<v Speaker 1>what I mean, all kinds of people, all ethnicities, and

1:32:41.080 --> 1:32:44.960
<v Speaker 1>allowed people to connect and respect, you know, our culture.

1:32:45.240 --> 1:32:47.439
<v Speaker 1>And it was based in love. When you want to

1:32:47.520 --> 1:32:49.560
<v Speaker 1>Kanye wants to talk about love, that film felt like

1:32:49.600 --> 1:32:52.679
<v Speaker 1>it was based in love and the idea of bringing

1:32:52.800 --> 1:32:56.839
<v Speaker 1>bringing people together in that way. Um. I thought music,

1:32:57.000 --> 1:32:59.080
<v Speaker 1>I thought there would be a musical artist or someone

1:32:59.120 --> 1:33:02.240
<v Speaker 1>that would create our that would connect people, but it

1:33:02.360 --> 1:33:05.479
<v Speaker 1>ended up being that film that that did it. And um,

1:33:05.520 --> 1:33:08.160
<v Speaker 1>I think it's the beginning of seeing other art forms

1:33:08.200 --> 1:33:11.680
<v Speaker 1>that can bring all people together without making people feel alienated.

1:33:11.680 --> 1:33:14.120
<v Speaker 1>Because you may have been in a theater with with

1:33:14.160 --> 1:33:17.160
<v Speaker 1>all black people, but I was in Westwood at I

1:33:17.320 --> 1:33:19.840
<v Speaker 1>Pick and I was like the only Black person in

1:33:19.880 --> 1:33:21.519
<v Speaker 1>there with a bunch of white people, and I was

1:33:21.720 --> 1:33:24.000
<v Speaker 1>I was happy about it because I got to see

1:33:24.000 --> 1:33:28.040
<v Speaker 1>other cultures watching the film too, appreciating it. So and

1:33:28.160 --> 1:33:32.880
<v Speaker 1>one more question, Jim Hey, I was interested in the

1:33:33.080 --> 1:33:37.320
<v Speaker 1>the correlation as you see. But you know, ticket sales

1:33:37.560 --> 1:33:41.080
<v Speaker 1>and visiting markets and and you said about not being

1:33:41.120 --> 1:33:43.800
<v Speaker 1>big because you have a following, but we all know

1:33:43.880 --> 1:33:50.800
<v Speaker 1>what global success means. And you know back in the nineties, uh,

1:33:51.280 --> 1:33:54.439
<v Speaker 1>it was of course a different world. But to actually

1:33:54.479 --> 1:33:57.559
<v Speaker 1>make I'm from Sweden, so so to to get the

1:33:57.640 --> 1:34:00.400
<v Speaker 1>great artists of I was working on face records and

1:34:00.520 --> 1:34:03.160
<v Speaker 1>law and all these records, bringing these artists in and

1:34:03.200 --> 1:34:06.040
<v Speaker 1>to have a presence. I think it's still as important,

1:34:06.479 --> 1:34:08.920
<v Speaker 1>but it's it's so hard to connect with the audience

1:34:08.960 --> 1:34:11.360
<v Speaker 1>and get the ticket sales now, as the gentleman from

1:34:11.400 --> 1:34:14.920
<v Speaker 1>Live Nation told us, because there is no presence and

1:34:14.920 --> 1:34:17.960
<v Speaker 1>there's his song song song songs, so what as a

1:34:18.479 --> 1:34:20.280
<v Speaker 1>you know, your motime, But it's do you know what

1:34:20.280 --> 1:34:23.640
<v Speaker 1>what does the Universal do to promote these acts in

1:34:23.800 --> 1:34:27.080
<v Speaker 1>foreign countries and how do they support bringing them over

1:34:27.160 --> 1:34:28.960
<v Speaker 1>these days? I have no clue. And it's like I

1:34:29.000 --> 1:34:32.720
<v Speaker 1>think it's really connected. Yeah, I mean I think I

1:34:32.840 --> 1:34:35.559
<v Speaker 1>touched on it a little bit before because the global

1:34:35.800 --> 1:34:39.040
<v Speaker 1>global marketing and supporting our acts around the world is

1:34:39.080 --> 1:34:42.559
<v Speaker 1>like a huge priority for US um and I can

1:34:42.600 --> 1:34:45.160
<v Speaker 1>tell you we come up with campaigns and plans that

1:34:45.240 --> 1:34:49.519
<v Speaker 1>are about each territory. And you know, we have marketing

1:34:49.560 --> 1:34:52.280
<v Speaker 1>people that really talk about what's happening in each territory

1:34:52.320 --> 1:34:54.720
<v Speaker 1>and I hold them responsible for making sure they know

1:34:55.160 --> 1:34:58.599
<v Speaker 1>how to impact that artists in each territory. And it's

1:34:58.640 --> 1:35:00.720
<v Speaker 1>not the same campaign for each artists. You know, I

1:35:00.760 --> 1:35:04.240
<v Speaker 1>expect them to know what will penetrate which artists is

1:35:04.240 --> 1:35:07.439
<v Speaker 1>the right person to collaborate with the local artists. They're like,

1:35:07.479 --> 1:35:09.439
<v Speaker 1>they have to know the touch and field of each X.

1:35:09.520 --> 1:35:11.880
<v Speaker 1>But the global aspect of it all is very important

1:35:11.920 --> 1:35:14.640
<v Speaker 1>us and we work with each territory to come up

1:35:14.680 --> 1:35:16.760
<v Speaker 1>with the plans for our X. I'll tell you at

1:35:16.760 --> 1:35:18.320
<v Speaker 1>the top of this year. And we do this like

1:35:18.360 --> 1:35:20.120
<v Speaker 1>two or three times a year. We go around the world.

1:35:20.160 --> 1:35:22.360
<v Speaker 1>I went to Sweden, I went to France. I went

1:35:22.400 --> 1:35:24.600
<v Speaker 1>to London with Steve and our head of international and

1:35:24.640 --> 1:35:27.439
<v Speaker 1>we presented all our top priorities for the year and

1:35:27.479 --> 1:35:29.760
<v Speaker 1>we talked about the plans for each of those X

1:35:30.040 --> 1:35:32.920
<v Speaker 1>and you know, in each office, we went to Spotify offices,

1:35:32.920 --> 1:35:34.960
<v Speaker 1>et cetera, and we talked about what our rollout and

1:35:35.000 --> 1:35:37.439
<v Speaker 1>they came to us with ideas and I mean, it's

1:35:37.439 --> 1:35:43.320
<v Speaker 1>a huge priority for us huge Ethiopia, You're incredibly charismatic.

1:35:43.880 --> 1:35:45.800
<v Speaker 1>As I say, I think you're gonna have to check

1:35:45.840 --> 1:35:49.000
<v Speaker 1>man on a regular basis because they're drawn to you.

1:35:49.320 --> 1:35:52.200
<v Speaker 1>But this has really been fabulous. I opening. I'm sure

1:35:52.200 --> 1:35:54.679
<v Speaker 1>everyone's agreeing with me that we've learned so much here today.

1:35:54.720 --> 1:36:07.320
<v Speaker 1>Thanks so much, Thank you for having than that wraps

1:36:07.439 --> 1:36:10.120
<v Speaker 1>up this week's episode of The Bob Left Sets podcast

1:36:10.439 --> 1:36:14.800
<v Speaker 1>with executive extraordinaire Ethiopia Have to Marry Him President of

1:36:14.880 --> 1:36:19.280
<v Speaker 1>Motown Records, Recorded live in Santa Barbara only a month ago.

1:36:20.360 --> 1:36:22.800
<v Speaker 1>She's a force of nature. Look out for her in

1:36:22.840 --> 1:36:36.880
<v Speaker 1>the future. Until next time, I'm Bob Left. Sez can

1:36:37.200 --> 1:36:47.320
<v Speaker 1>think of me reads don't know me? Exact must be out,

1:36:47.439 --> 1:36:48.400
<v Speaker 1>don't se