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10 Questions with ... Johnnie Walker
August 22, 2017
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BRIEF CAREER SYNOPSIS:
Radio and recorded music executive. My career began in Country radio as an announcer, which led to a stint in Black Radio in Memphis. I later segued to Def Jam Recordings where I remained for 15 years. I rose from regional rep to National to VP and SVP. I later advanced to Head of Black Music for DreamWorks Records. Most recently I was in City government where I utilized my career background for the operations of the Memphis Music Commission. I was the Executive Director.
1) What are you working on these days?
I'm the CEO and Founder of NABFEME, which a group of us organized in 1999. NABFEME is the National Association of Black Female Executives in Music & Entertainment, Inc., a nonprofit networking empowerment resource base for women. The organization currently manages 20 networks in the U.S. and Networks in Canada and Africa. We even have a network Based in Lagos, Nigeria. NABFEME Africa was established in March of this year (2017). NABFEME Africa will play a very significant role in the organization's women's empowerment mission. Aside from equipping the organization with an eminent opportunity to expand, NABFEME Africa grants us a global opportunity to address a global problem, "Gender Equality." By our relationship with the team in Nigeria, we believe our plan to mentor, empower, and exhibit the outstanding work done by many women in Africa, will help us to facilitate our long-term vision of empowerment, sisterhood and change. NABFEME Africa is led by ChiChi Nwoko, CEO of "Hey,What's On," a multi-media consulting and production company.
2) I have heard a lot of stories, what was it like working at Def Jam when you were there?
We were a family team! Everything was about the meaning of that logo ... I believe we all had an imaginary Def Jam logo tattooed on our chests! It was a great opportunity to learn the business and grow. At Def Jam, you didn't just work records. You worked TV shows, movies, fashion, video games, energy drinks ... we had our fingerprints in a lot of places! The artists were different in their own respective ways, however that didn't matter ... our job was to deliver the artists and the projects ... and that's what we did, together! I'd have to say my staff was one of the best in the business!
3) What's in your future?
Great question! I'm working on some projects that will be meaningful to me and all of the artists that I work with ... stay close!
4) When you are not working, what do you like to do?
Spend time with my grandchildren and spoil them to the 200th degree
5) Could you list all of your mentors?
That would take some tugging! I would lean more towards the staff that I had at Def Jam. I carefully picked each of them; many had never worked in the record business. However, they opened to me and allowed me to pour myself in. They were a very strong, connected team that executed perfectly. Many of them are in different jobs now; however, some like Bill Evans, Drew Rives and Ron Hurd are among today's top music executives.
6) Anything different about today's artists?
It seems everyone has a microwave mentality. They just want it quick ... now! Make a record and put it on iTunes ... that's all it takes! People send me links to songs and I don't have a clue who they are. I love the technology being used, and while it made some of the processes easier ... it didn't necessarily make them better. You just can't take people and relationships out of music. Most music purchases or interactions are generated by emotion and I don't get much emotion out of a link.
7) How did you transition from radio into the music business?
I was PD for KRNB in Memphis and we did not play Rap. Of course, that did not stop reps from Rap labels approaching us to get their music played. I was at a conference in Atlantic City and Wes "Party" Johnson approached me about a LL Cool J song that I was not playing. He gave me his pitch, introduced me to Russell Simmons and they went at it. I remained steadfast as to why the record didn't work for the station's format or my programming goals. I suppose I had the better argument as later I got a call from Wes saying that Russell wanted me to come to work for Def Jam. He quoted Russell as saying, "That girl can talk ... I'd rather have her talking for me than against me! Later, I was hired!
8) What's your advice for artists and producers wanting to break into the music scene?
Be patient, overnight successes go as quickly as they come ... Be disciplined, you gotta know when to leave the party! Put the work in ... there is no elevator to success ... you gotta take each step to make it to the top! Pray!
9) How do you see the future for Urban music and Urban radio?
I see a shift. Recycled beats are losing their steam. Artists are finding unique ways to bring back "real" music. I think good, relative, story-filled R&B music is coming back and radio will make the adjustment when and where it needs to.
10) Would you explain the differences between being a Regional rep and a National or VP in promotions?
The regional rep is basically the label's "eyes and ears" in the market and is responsible for the label's interaction with radio, clubs, colleges, media, the fans or any marketing opportunity that will boost the label's goals and objectives. The National or VP has basically the same responsibility, but with a broader spectrum ... meaning all stations, all markets and everything contained within ... including marketing, scheduling, dealing with artists and artist management, budgets, staff management, etc. I was in a conversation with Russell Simmons once and I said, "I'm not sure that's my market ... he said, huh? The whole damn country is your market!" Oh well...
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