10 Questions with ... Johnnie Walker

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 Exec. Director.

1) What are you working on these days?

I'm the CEO/Founder of NABFEME, which is a group of us organized in 1999. NABFEME is the National Association of Black Female Executives in Music & Entertainment, Inc., and we're holding a 5k Walk/Run/Bike Crusade Against AIDS in Philadelphia, this Saturday September 22nd at MLK Park on MLK Drive (West River Drive) at 8a. HIV/AIDS is attacking our African-American community, especially women; 61% of new cases are African-American women. We want to raise awareness and increase education in this matter. NABFEME has partnered with Bebashi Transition To Hope, the Bike Coalition of Greater Philadelphia, Performance Bicycle, and the City of Philadelphia to execute this event. 1K, 2K, 5K walk or ride; we just want people join in. All donations go directly to Bebashi Transition To Hope and it's tax deductible. Here's a link to sign up or donate, NABFEME.

2) Would you share with us more about your organization?

NABFEME, a nonprofit networking empowerment resource base for women, is headquartered in Memphis. The organization currently manages 20 networks in the U.S. and two Networks that operate internationally in Canada and Africa. NABFEME Africa was established in 2017. I'm so proud of the work NABFEME Africa is doing. Recently they held an event, #WomenInMotion featuring Accelerate TV Executive Colette Otusheso at Work Station in Lagos, Nigeria. NABFEME Africa also grants us an opportunity to address a global problem, "Gender Equality."

3) How do you remember your days at Def Jam?

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.

4) When you're not working, what do you do?

Spend time with my grandchildren and spoil them to the 200th degree

5) What mentors have played important roles in your career?

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 are among today's top music executives.

6) Do you see any differences with 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's 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 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 a station 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 the late 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) Any advice for artists and producers wanting to break into the music business?

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) What does the future hold 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. Good, relative, story-filled R&B music is coming back, and radio will make the adjustment when and where it needs to.

10) For those new on the business side of music, would you explain the differences between being a Regional rep and a National or VP/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...