Marketing Maven Heads Music Foundation
Johnnie Walker began her career in music in 1978 at a small country station in Mississippi. It was there she discovered her natural ability to concoct creative marketing campaigns that made the masses take notice. Her talent took her from the Mississippi to Memphis, where while working at Magic 101 radio station she caught the attention of up and coming mogul Russell Simmons. She became Def Jam Recordings regional marketing rep in Memphis and within one year she was promoted from Regional Promotions Manager to National Director of Promotion. She later became the first female Sr. Vice President of Promotion for the Island Def Jam Music Group and the only female to ever hold that position within the company. Walker was instrumental in launching the careers of Redman, Method Man, Onyx, Montell Jordan and Foxy Brown!
In 1997, Walker continued her "WIN" philosophy with a move to New York City where she assumed the position of Vice President of R&B Promotion for Def Jam. Two years later, she restructured the company’s promotion department, created their much sought after “R&B Radio Promotions Guide,” and hired the company’s first national promotions field staff. This was most significant because the staff was primarily comprised of young, inexperienced field reps that Johnnie molded into a "winning force." Together, this force successfully marketed Russell Simmons' Eddie Murphy comeback movie, "The Nutty Professor,” Jackie Chan’s “Rush Hour” and several #1 Gold and Platinum albums from Jay-Z, Ashanti, Ja Rule, DMX, LL Cool J, Musiq, Dru Hill and others.
After 14 years at Def Jam Recordings, the marketing maven relocated to Los Angeles, CA and took the reins of Head of Urban Promotion for DreamWorks Records, marketing the musical careers of The Isley Brothers, Floetry, Burt Bacharach and many others.
In an effort to make the road less traveled become a smoother journey for those to come, in 1999, Walker founded NABFEME, the National Association of Black Female Executives in Music and Entertainment, Inc. NABFEME is a nonprofit professional organization, staffed by entertainment industry volunteers, whose mission is to raise the profile and increase the awareness of women of color in music and entertainment. The organization accomplishes its mission through activities that foster empowerment, education, mentoring, career development and networking opportunities. Her many accomplishments were made while being as a single parent to her daughter, Ramona.
It seems that life has come full-circle for Walker and in December of 2008 she accepted a position at the Executive Director of the Memphis & Shelby County Music Commission. She is back where she began using her experience and intense marketing skills to the benefit of the city’s past, present and future musical heritage. Since her arrival several noteworthy events have occurred: on-going educational workshops about the music business, showcase forums to display the rich talent here, public conversations with national recording artists, producers and executives, free consultations with entertainment law professionals and the Emissaries of Memphis Music Luncheon, where 11 women who have made a significant impact in the Memphis music community were honored. According to Walker that’s only the beginning.
Jae: What are some of your upcoming events?
Johnnie: We try to keep very busy. In addition to our regularly scheduled events (see bottom of page), for the month of June to help celebrate Black Music Month we are hosting free concerts in the park featuring Memphis Music. But we’re not just featuring African American artists. We’re pulling the acts from artists who have performed on Memphis Music Mondays.
We’re also working on “A Taste of Memphis,” which consists of three parts: a cook book, a CD and a concert. Right now, we’re soliciting recipes. We ask that they come from studio owners, restaurant owners that book talent, musicians, singers, songwriters—anyone local that’s involved in the music industry.
Also, I know it’s passed but I would like to mention what we were able to do with Lil Rounds of American Idol. We wanted to give her the recognition she deserves and let her know that we appreciate her putting Memphis on the map on a national scale. To do this, we were able to pull in City and County officials to prepare proclamations and certificates of recognition. We were also able to pull in The Museum of Rock & Soul to give Lil the salute she deserves.
Jae: Part of your job as Executive Director is not only to address issues that are important to local people in the music industry but to change the perception of the MSCMC. How has that been progressing?
Johnnie: It’s been going along pretty good. I’ve been here since November, a good full six months. In the beginning there was slight resistance and because of the lack of credibility we had in the past people did not fully understanding why the Music Commission was here. We had to take time just to address that, but now we actually have people calling and reaching out to us to be a part of and participate in our events. We also have people sending us e-mails and calling to tell us that they really like what we’re doing and asking to be added to our e-mail database so we can keep them abreast. Just today, we got a compliment for the Tri-State Defender newspaper telling us that they really appreciate what we’re doing and the position that we’ve taken to develop Memphis Music. It took a minute but everybody is getting on board. Anybody would want to be a part of positive business and that’s what we’re doing.
Jae: What is the purpose of MSCMC?
Johnnie: Our purpose it to promote and develop Memphis Music while preserving the rich musical heritage that rest within the borders of Memphis and Shelby County. From WC Handy to Elvis to Isaac Hayes, STAX, Willie Mitchell and Hi Records, Al Green--all of that is the heritage that this city rests upon. We want to preserve, build and develop at the same time.
Jae: Now, let’s talk about you? You were working here in Memphis when you got the call to work with Russell Simmons and Def Jam, right? How did you make that connection?
Johnnie: I was an on-air personality and program director of 101 radio station here in Memphis and I went to a conference. Back then the conference was the thing. That’s where you met people, that’s where you found out about the jobs, that’s where you got the hook ups. I was at an Impact conference and met Wes Johnson and Russell Simmons. They were talking to me about a LL Cool J Record I was not playing. We were not going to play that record. Russell and I were going back and forth and ultimately I won the word battle. Well, Russell’s thing was I would rather have you working for me than against me and asked me to consider coming to work for DefJam. At the time I wasn’t interested but they told me I would get $25,000 a year and $20,000 in expenses. So, what that equated to was $45,000. Well, at the time I was probably making $18,000 at the radio station. It didn’t take long to make a decision. I didn’t know anything about working at a record label, but I decided to dive in because the money looked good. I gave it a shot and it was a good decision. I was there for 15 years.
Many people tried to talk me out of it because it was a rap label and there weren’t very many women in power positions at that time. You heard all the horror stories of what women were doing to try to crack the glass ceiling. People told me not to ruin my radio career by going after something that was never going to be anything. I prayed about it. Sometimes you have to take things to God and he tells you the way to go.
Jae: Did you have your daughter at this time?
Johnnie: I sure did, and Ramona was one of the major factors in my decision. I was not one of those divorcees that was getting child support and alimony. Those were words in the dictionary, not in my life. It was just me and her, and I had to take care of her. I knew eventually she was going to want to go to college. She talked about it often and I was wondering how in the world am I going to send her to college on $18,000 a year! It (the Def Jam position) provided me with the opportunity to prepare a better life for her.
Jae: What was it like working for Russell Simmons, the “Godfather of Hip Hop”?
Johnnie: It was like going to college. Everyday was a different learning session and something new. He’s a visionary and someone to consistently learn from and be consistently amazed at. The thing about Russell I thought was absolutely incredible was he was the master at multi-tasking. For example, he could be on the phone and have all 8 lines lit up and be in the process of having conversations with all eight people. He could remember who was on each line and remember what he was supposed to be talking about without missing a beat. I would be left wondering how did he do that?
He also did things no one thought was possible. Like with Def Comedy Jam, people said it would never work and it ended up being one of the biggest shows on TV. Russell was just a big educator.
Jae: What made you create NABFEM?
Johnnie: Coming from Grenada, Mississippi and wanting to be in the radio industry and not having anyone to tell me anything that made any sense. At that time women were not at the forefront—actually we’re not at the forefront now—but now we’re doing more and have more positions. But when I first started trying to find someone female to help me and tell me something was very difficult. Women did not play a lot of roles. As I came up, broke a few barriers and was able to do a lot of things in this industry it came to me that I needed to give back. NABFEM is my way of taking what I’ve learned and sharing it with others. Then it became creating something that’s going to provide mentorship, an opportunity to come together and create things that will educate, motivate and inspire women. It’s also a unit that they can take ownership in and be very proud to be a part of.
The reason for that long name, National Association of Black Female Executives In Music & Entertainment, is because women are rarely referred to as executives. A woman can be at the freaking top of the totem pole and people will still refer to her by her first name, but a man is Mr. So-In-So. Take Sylvia Rhone, (of Motown and Universal Records) here this woman is the CEO of a major record label and people are addressing her by her first name. There’s nothing wrong with that if people know you and are in your inner circle but other than that she should be Ms. Rhone. Maybe that’s our fault. Maybe, even though we women had these high profile roles we didn’t see ourselves as executives. I wanted to change that by putting that word in our name. This is who we are we’re black, we’re female and we’re music executives. (For more info visit http://www.nabfeme.org)
NABFEM has 15 networks with 3,500 members across the country. Right now, the office is in New York. We may move it here to Memphis at some point.
Jae: After working in Memphis and LA what made you decide to come back to Memphis and head the MSCMC?
Johnnie: The decision was made for me. It wasn’t something I pursued but it was something that was consistently popping up in my life. There were several people telling me I should consider the position and eventually I did. I was in New York and I was doing great work there but I reached a point where I didn’t want to be involved with a label. The industry was deteriorating, and I was getting older. I no longer cared for that music (rap) anymore or that lifestyle. Here in Memphis, it’s slower and I can make my lifestyle what I want it to be. I don’t have to compete with the Puffy’s of the world. It just started to make sense and that’s why I came. It was just time. I’ve lived a very blessed life. I’ve been all over the country, the world and seen a lot of things I obviously would have never seen if I had stayed in Mississippi or even in Memphis for that matter. When I look back over my shoulders I have a lot to be thankful for. I feel like now is the time to dream a new dream and have a new vision. That new vision is here in Memphis. If I take the background I have and apply it to what we’re trying to build here at the Music Commission it becomes very significant. I can lend a lot to anyone who is looking to pursue a career in music.
Jae: What is Johnnie Walker’s formula for success?
Johnnie: That's a good one…probably patience, hard work, discipline and determination. I tell young people all the time you have to know when to leave the party. Just because other people are at the party all night doesn’t mean you have to stay at the party all night. When I went into a party I made sure the right people saw me there, I shook the right hands, I exchanged business cards with the right people and then I went home. You wouldn’t find me there at 4 a.m. dancing and drinking knowing I have to be up and at my best at 9 a.m. because I had an artist going on tour. No, no, no. You can apply that philosophy to other aspects of your life. You have to be disciplined.
You have to be determined and know what you can because people will tell you what you can’t do. You also need patience because there will be things that you want right now but know that if you’re disciplined, determined and work hard they’re coming.
Jae: Thank you for your time Ms. Walker.
In 1997, Walker continued her "WIN" philosophy with a move to New York City where she assumed the position of Vice President of R&B Promotion for Def Jam. Two years later, she restructured the company’s promotion department, created their much sought after “R&B Radio Promotions Guide,” and hired the company’s first national promotions field staff. This was most significant because the staff was primarily comprised of young, inexperienced field reps that Johnnie molded into a "winning force." Together, this force successfully marketed Russell Simmons' Eddie Murphy comeback movie, "The Nutty Professor,” Jackie Chan’s “Rush Hour” and several #1 Gold and Platinum albums from Jay-Z, Ashanti, Ja Rule, DMX, LL Cool J, Musiq, Dru Hill and others.
After 14 years at Def Jam Recordings, the marketing maven relocated to Los Angeles, CA and took the reins of Head of Urban Promotion for DreamWorks Records, marketing the musical careers of The Isley Brothers, Floetry, Burt Bacharach and many others.
In an effort to make the road less traveled become a smoother journey for those to come, in 1999, Walker founded NABFEME, the National Association of Black Female Executives in Music and Entertainment, Inc. NABFEME is a nonprofit professional organization, staffed by entertainment industry volunteers, whose mission is to raise the profile and increase the awareness of women of color in music and entertainment. The organization accomplishes its mission through activities that foster empowerment, education, mentoring, career development and networking opportunities. Her many accomplishments were made while being as a single parent to her daughter, Ramona.
It seems that life has come full-circle for Walker and in December of 2008 she accepted a position at the Executive Director of the Memphis & Shelby County Music Commission. She is back where she began using her experience and intense marketing skills to the benefit of the city’s past, present and future musical heritage. Since her arrival several noteworthy events have occurred: on-going educational workshops about the music business, showcase forums to display the rich talent here, public conversations with national recording artists, producers and executives, free consultations with entertainment law professionals and the Emissaries of Memphis Music Luncheon, where 11 women who have made a significant impact in the Memphis music community were honored. According to Walker that’s only the beginning.
Jae: What are some of your upcoming events?
Johnnie: We try to keep very busy. In addition to our regularly scheduled events (see bottom of page), for the month of June to help celebrate Black Music Month we are hosting free concerts in the park featuring Memphis Music. But we’re not just featuring African American artists. We’re pulling the acts from artists who have performed on Memphis Music Mondays.
We’re also working on “A Taste of Memphis,” which consists of three parts: a cook book, a CD and a concert. Right now, we’re soliciting recipes. We ask that they come from studio owners, restaurant owners that book talent, musicians, singers, songwriters—anyone local that’s involved in the music industry.
Also, I know it’s passed but I would like to mention what we were able to do with Lil Rounds of American Idol. We wanted to give her the recognition she deserves and let her know that we appreciate her putting Memphis on the map on a national scale. To do this, we were able to pull in City and County officials to prepare proclamations and certificates of recognition. We were also able to pull in The Museum of Rock & Soul to give Lil the salute she deserves.
Jae: Part of your job as Executive Director is not only to address issues that are important to local people in the music industry but to change the perception of the MSCMC. How has that been progressing?
Johnnie: It’s been going along pretty good. I’ve been here since November, a good full six months. In the beginning there was slight resistance and because of the lack of credibility we had in the past people did not fully understanding why the Music Commission was here. We had to take time just to address that, but now we actually have people calling and reaching out to us to be a part of and participate in our events. We also have people sending us e-mails and calling to tell us that they really like what we’re doing and asking to be added to our e-mail database so we can keep them abreast. Just today, we got a compliment for the Tri-State Defender newspaper telling us that they really appreciate what we’re doing and the position that we’ve taken to develop Memphis Music. It took a minute but everybody is getting on board. Anybody would want to be a part of positive business and that’s what we’re doing.
Jae: What is the purpose of MSCMC?
Johnnie: Our purpose it to promote and develop Memphis Music while preserving the rich musical heritage that rest within the borders of Memphis and Shelby County. From WC Handy to Elvis to Isaac Hayes, STAX, Willie Mitchell and Hi Records, Al Green--all of that is the heritage that this city rests upon. We want to preserve, build and develop at the same time.
Jae: Now, let’s talk about you? You were working here in Memphis when you got the call to work with Russell Simmons and Def Jam, right? How did you make that connection?
Johnnie: I was an on-air personality and program director of 101 radio station here in Memphis and I went to a conference. Back then the conference was the thing. That’s where you met people, that’s where you found out about the jobs, that’s where you got the hook ups. I was at an Impact conference and met Wes Johnson and Russell Simmons. They were talking to me about a LL Cool J Record I was not playing. We were not going to play that record. Russell and I were going back and forth and ultimately I won the word battle. Well, Russell’s thing was I would rather have you working for me than against me and asked me to consider coming to work for DefJam. At the time I wasn’t interested but they told me I would get $25,000 a year and $20,000 in expenses. So, what that equated to was $45,000. Well, at the time I was probably making $18,000 at the radio station. It didn’t take long to make a decision. I didn’t know anything about working at a record label, but I decided to dive in because the money looked good. I gave it a shot and it was a good decision. I was there for 15 years.
Many people tried to talk me out of it because it was a rap label and there weren’t very many women in power positions at that time. You heard all the horror stories of what women were doing to try to crack the glass ceiling. People told me not to ruin my radio career by going after something that was never going to be anything. I prayed about it. Sometimes you have to take things to God and he tells you the way to go.
Jae: Did you have your daughter at this time?
Johnnie: I sure did, and Ramona was one of the major factors in my decision. I was not one of those divorcees that was getting child support and alimony. Those were words in the dictionary, not in my life. It was just me and her, and I had to take care of her. I knew eventually she was going to want to go to college. She talked about it often and I was wondering how in the world am I going to send her to college on $18,000 a year! It (the Def Jam position) provided me with the opportunity to prepare a better life for her.
Jae: What was it like working for Russell Simmons, the “Godfather of Hip Hop”?
Johnnie: It was like going to college. Everyday was a different learning session and something new. He’s a visionary and someone to consistently learn from and be consistently amazed at. The thing about Russell I thought was absolutely incredible was he was the master at multi-tasking. For example, he could be on the phone and have all 8 lines lit up and be in the process of having conversations with all eight people. He could remember who was on each line and remember what he was supposed to be talking about without missing a beat. I would be left wondering how did he do that?
He also did things no one thought was possible. Like with Def Comedy Jam, people said it would never work and it ended up being one of the biggest shows on TV. Russell was just a big educator.
Jae: What made you create NABFEM?
Johnnie: Coming from Grenada, Mississippi and wanting to be in the radio industry and not having anyone to tell me anything that made any sense. At that time women were not at the forefront—actually we’re not at the forefront now—but now we’re doing more and have more positions. But when I first started trying to find someone female to help me and tell me something was very difficult. Women did not play a lot of roles. As I came up, broke a few barriers and was able to do a lot of things in this industry it came to me that I needed to give back. NABFEM is my way of taking what I’ve learned and sharing it with others. Then it became creating something that’s going to provide mentorship, an opportunity to come together and create things that will educate, motivate and inspire women. It’s also a unit that they can take ownership in and be very proud to be a part of.
The reason for that long name, National Association of Black Female Executives In Music & Entertainment, is because women are rarely referred to as executives. A woman can be at the freaking top of the totem pole and people will still refer to her by her first name, but a man is Mr. So-In-So. Take Sylvia Rhone, (of Motown and Universal Records) here this woman is the CEO of a major record label and people are addressing her by her first name. There’s nothing wrong with that if people know you and are in your inner circle but other than that she should be Ms. Rhone. Maybe that’s our fault. Maybe, even though we women had these high profile roles we didn’t see ourselves as executives. I wanted to change that by putting that word in our name. This is who we are we’re black, we’re female and we’re music executives. (For more info visit http://www.nabfeme.org)
NABFEM has 15 networks with 3,500 members across the country. Right now, the office is in New York. We may move it here to Memphis at some point.
Jae: After working in Memphis and LA what made you decide to come back to Memphis and head the MSCMC?
Johnnie: The decision was made for me. It wasn’t something I pursued but it was something that was consistently popping up in my life. There were several people telling me I should consider the position and eventually I did. I was in New York and I was doing great work there but I reached a point where I didn’t want to be involved with a label. The industry was deteriorating, and I was getting older. I no longer cared for that music (rap) anymore or that lifestyle. Here in Memphis, it’s slower and I can make my lifestyle what I want it to be. I don’t have to compete with the Puffy’s of the world. It just started to make sense and that’s why I came. It was just time. I’ve lived a very blessed life. I’ve been all over the country, the world and seen a lot of things I obviously would have never seen if I had stayed in Mississippi or even in Memphis for that matter. When I look back over my shoulders I have a lot to be thankful for. I feel like now is the time to dream a new dream and have a new vision. That new vision is here in Memphis. If I take the background I have and apply it to what we’re trying to build here at the Music Commission it becomes very significant. I can lend a lot to anyone who is looking to pursue a career in music.
Jae: What is Johnnie Walker’s formula for success?
Johnnie: That's a good one…probably patience, hard work, discipline and determination. I tell young people all the time you have to know when to leave the party. Just because other people are at the party all night doesn’t mean you have to stay at the party all night. When I went into a party I made sure the right people saw me there, I shook the right hands, I exchanged business cards with the right people and then I went home. You wouldn’t find me there at 4 a.m. dancing and drinking knowing I have to be up and at my best at 9 a.m. because I had an artist going on tour. No, no, no. You can apply that philosophy to other aspects of your life. You have to be disciplined.
You have to be determined and know what you can because people will tell you what you can’t do. You also need patience because there will be things that you want right now but know that if you’re disciplined, determined and work hard they’re coming.
Jae: Thank you for your time Ms. Walker.
