August 27, 2024 • 45 mins
Join us for Part 2 of our conversation with KJ Rose as she reveals her transformative journey, from signing to discovering her true calling in coaching. She shares with the guys her invaluable lessons learned from music industry giants like Clive Davis, and how these experiences shaped her passion for helping other artists find their unique strengths.
KJ Rose offers a deep dive into her personalized artist development strategies, including her impactful work with Lil Nas X. Learn how she tailors her coaching to each artist's narrative and strengths, ensuring they shine both in the studio and on stage. And hear about her collaborations with iconic figures like LL Cool J and Nas.
From directing performances to fostering brand collaborations, KJ's multifaceted role is crucial in an artist's career journey. Through high-profile campaigns and intimate coaching moments, KJ emphasizes the importance of continuous growth, constructive feedback, and creating supportive environments. Tune in to understand the intricate balance between artistry and branding and get inspired by KJ Rose's dedication to empowering artists at every stage of their careers.
"Unglossy: Decoding Brand in Culture," is produced and distributed by Merrick Creative and hosted by Merrick Chief Creative Officer, Tom Frank, hip hop artist and founder of Pendulum Ink, Mickey Factz, and music industry veteran, Jeffrey Sledge. Tune in to hear this thought-provoking discussion on Apple Podcasts, Spotify, YouTube, or wherever you catch your podcasts. Follow us on Instagram @UnglossyPod to join the conversation and support the show at https://unglossypod.buzzsprout.com/.
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Episode Transcript
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Speaker 1 (00:00):
on this episode of Unglossy.
Speaker 2 (00:02):
And that's what I bring to artists like LL.
I'm not toning down, but nowI'm going in.
You already got that part, butwhat if you actually went left
on here and not left justphysically, but left in how you
described it?
And what if you allowed thispart to breathe, so that by the
time, ha?
We not even expecting thatbecause you didn't start there.
And then what if you actuallytold me the story, so that then
(00:23):
there can actually be a peek init, as opposed to you tapping
out by the time you get to thefirst verse?
Speaker 1 (00:29):
From the top.
Yeah, I'm Tom Frank.
Speaker 3 (00:33):
I'm Mickey Fax.
Speaker 4 (00:35):
And I'm Jeffrey Sledge.
Speaker 1 (00:36):
Welcome to Unglossy, the Conan brand and culture.
I'm Tom Frank, partner andchief creative officer at Merit
Creative.
This is Mickey Fax, hip hopartist and founder and CEO of
Pendulum Inc.
And that is Jeffrey Sledge, aseasoned music industry veteran
who has worked with some of thebiggest artists in the business.
We're here to explore themoments of vulnerability,
pivotal decisions and creativesparks that fuel the
(00:57):
relationship between brand andculture.
Get ready for athought-provoking journey into
the heart and soul of brandingthe unscripted, unfiltered and
truly unglossy truth.
Unglossy is brought to you byMerrick Creative, looking to
skyrocket your business'svisibility and drive growth.
At Merrick Creative, we solveyour brand and marketing woes
(01:19):
With big ideas, decades ofexperience and innovative
solutions.
We'll draw in your targetaudience and keep them hooked.
Remember, creativity is key tosuccess.
Partner with Merit Creative andunlock your brand's potential.
Learn more at meritcreativecom.
And now part two of ourconversation with KJ Rose.
So you're having all thissuccess as an artist and a
(01:43):
recording, and what happened?
When did you decide totransform from performing to
coaching?
Speaker 2 (01:50):
The beginning of the transition into performance
direction, I would say happenedwith Carolyn Williams, who was
doing marketing at J Records atthe time, and so they had
artists over there.
They had been to my shows,everyone liked my level of
performance, but you know, itwas just the music, I guess,
wasn't, it wasn't hitting themthe way it needed to, and so it
(02:11):
was a.
It was a tough call because Iwanted.
I wanted that call to be aboutyou know me as an artist but it
was really about coaching otherartists and I had to have like a
heart to heart and say you know, you're not.
If you say yes, it's not thatyou're saying yes in lieu of
something not working out,because then you're just bitter,
(02:32):
you're a bitter coach.
And I said maybe this is thenatural progression.
You know, this is this and thisnot, or this.
And so once I started leaninginto helping artists to really
reintroduce them to themselvesthat was it and to help them
excavate assets and understandwhat their kind of areas of
(02:52):
strengths were and push thembeyond their perceived capacity,
I realized that that brought memore joy than being an artist,
and even though so, while I wasat Clive I left for a second, I
did a little performancedirection there, but then I
still left, went back on theroad with Janet and then I came
off the road and then I went towork at Sundance channel it was
(03:15):
channel, then now it's TV, andthen that's when I really put
out my album.
So you utilize every departmentfor my album marketing, you
know strategy, whatever it was,and promotions and then put out
my album called All Heart, noRegrets, and I did a radio tour
on that.
And then after that I felt likeI had completed the task right
(03:36):
and Dwayne Bastian giving metracks and believing in me to a
point where it it it wasn'ttranslating into a body of work,
and so I was like I gottacomplete this task.
And after I did that I was like, okay, now I'm going fully into
(03:56):
performance direction.
Artist development.
Speaker 4 (03:59):
I gotta go back, because what a lot of people
don't understand is getting anassistant job for Clive Davis or
Jimmy Iovine.
These are hard fucking jobs toget.
This ain't like just call thetemp agency.
You're working at such a highlevel and you're dealing with
such high level people who arecalling in and setting up music.
(04:21):
So I want to talk a little bitabout that.
Um cause, obviously Clive is,you know, an iconic music um
executive top three.
I was, I would put it at topthree.
Some people say five.
I was, I would say three of alltime.
So I want to talk a little bitmore about that.
Like, obviously I know you knowthe day-to-day duties were
taking care of him.
(04:42):
But what are some of the thingsthat you saw?
I know you talked about, youknow asking questions about why
you, you know, picked the singlefor Monica or Alicia or
whatever.
But what are a couple of thingsthat you saw that were like
eye-opening, I guess, and maybeyou used for yourself.
Speaker 2 (04:59):
No, that's a good question.
I would say my greatesttakeaways is watching him never
rest on yesterday's success,never resting on his past
laurels.
You know, if you know, ifAretha was at number one on a
Tuesday, he's going to keepworking to maintain, you know,
(05:21):
that level of dominance.
You know, no matter what artistum is is in that spot, uh, so
that was it Like.
Now I'm just like I may havehad a great Monday, but now we
got to keep going Like I givemyself a little bit of time to
just say great job.
I might go have some crab legscelebrate myself.
You know, whenever there's asmall or a big win, but I got to
(05:43):
keep going Like it's it's, I amin the grind within the next
few days, I would say.
Additionally, it was you knowhis work ethic.
You know he was there.
He was the last one to leavethe building, so I worked.
There were two of us and it wasPaula and myself, and then Dina
(06:08):
worked for Charles Goldstock.
So I went in between CliveDavis and Charles Goldstock and
I only worked now.
When I first started workingthere, I was just the
receptionist and I was happywith that because it allowed me
to record my music during theday and then work for Clive from
five to nine my music duringthe day and then work for Clive
from five to nine.
And so you know, people werecoming in, swizz and Alicia and
(06:29):
Tyrese, and you know, mario, andI'm just, I want to sing my
song but I'm like saying you gotto stay focused.
This is why you got hired.
And within a few months, theysaid, would I work for Clive?
And my initial thought was no.
And then my sister, cj CynthiaJohnson, you know, was like yo,
this is a great opportunity.
And I realized that no area orexpertise I had, this this would
(06:50):
be invaluable information.
And so then that's when Istarted working for him, and so
I would say like between thework ethic, and then, lastly, he
called everybody back.
Now I saw who got the returncalls quicker and it was the one
that wasn't persistent.
That was persistent but not,you know, kind of like unruly
(07:13):
and exhausting, but it was likefinding that great balance of of
checking in and and you know, Isaw the emails and so I think
that, um, watching, that is whyI'm so keen on making sure that
I get back to people, whetherthey got something from me or
not.
Right, whether there's an evenexchange or not, I still try to
(07:34):
make sure I respond to everyonethat that has an inquiry or that
just um wants some advice orjust wants to share.
Speaker 4 (07:44):
I got a little story about that getting back thing.
So because I should get atdudes all the time would hit me
with the yo I was gonna call you, but it's hectic.
I used to tell this story.
So when backstreet boys firstgot signed to jive, they got
signed by this guy named davemcpherson and dave um was a
young anr guy.
He didn't know clive at all buthe was working on the record
and he called, put a CD in.
(08:08):
At that time a messenger to CDwith a note to Clive.
He didn't know him at all.
He said look, these are likefour or five of the songs that
we recorded.
He introduced himself and blah,blah, blah.
He said you know, this record'scoming out on Jive and I would.
You know, I just would love toget your ear, like I just would
love to get your ear, like Ijust would love to get you, you
know, listen to it, let me knowwhat you think.
And he just put it in the thingand sent it Again.
(08:28):
He didn't know Clive, from acan of paint, never met him.
And about a week later maybeless, maybe less, maybe that
later that week or whateverClive messengered the CD back
with a four-page letter breakingdown each song, saying you know
this one is the bridge isn'tstrong enough on this one or
(08:48):
this one, the chorus breaking itdown.
And I used to tell people ifClive Davis can send a note back
to a guy he doesn't knowbreaking down songs, there's no
excuse.
You got for me telling me youcouldn't call me back.
There's no excuse.
You got for me telling me youcouldn't call me back.
There's no excuse, you justslack.
You know to get to that level.
You got to be so on point.
(09:11):
Obviously, as he was still isactually Like you got to be on
another level because you neverknow, sending that note back,
what that turns into later downthe road.
And that always impressed meabout him.
He was able to do that.
I didn't want to hijack it Backto you, kj.
Speaker 1 (09:28):
That's because KJ Rose wrote that letter.
Speaker 2 (09:33):
Wait, but here's the funny thing.
Here's the funny thing.
I did take a lot of dictationwhen I let him hear my record.
Imagine him regurgitating thosewords that I would dictate to
other people.
Yeah, email back.
(09:54):
I was like back to you youdon't have to say this, and so
you know his one.
One of his lines was I know youappreciate my candor that was
like that's how he opened it upyou're like, I know you
appreciate my candor.
Not sure if this is done.
So when he started I was like,oh my god, I could wrote this
and so no, but it was um, but Ireally appreciated that he took
(10:17):
the time to listen yeah and soum, those were some great, great
like educational moments.
Speaker 1 (10:30):
So, speaking of education, though, you you had
this real life education, butyou also went and got a degree
at business administration rightFrom Florida A&M, so there was
a bit of you.
Yes, that kind of was alreadythinking about this path even
back then, right?
Speaker 2 (10:41):
Well, I just figured, no matter what, I decided there
would be a big element to it.
So I wasn't.
I think I took these baby steps.
It was like there was aninternship being offered at
Pfizer in New York.
I was like, okay, I kind ofwant to do music now, just
because I probably sang the bestout of my friends at school.
I didn't think that constitutedan entire career in New York,
(11:03):
right.
But I was like, but maybe I'lljust work behind the scenes.
I just knew that I needed toget to New York and I got an
internship at Pfizer incorporate finance and um, and
that's when you know, the funnything is, after that I came back
, I graduated and then my umgood friend was is this when I
met the guys?
(11:24):
It might've been on thisinternship, because my good
friend Shelly, she's my soror Ipledged Delta and she was best
friends with John Platt Anybodyknow John, big John and so he
came to her graduation, where heruns publishing now, but at the
point, at that time, he was atEMI.
And so he came to our graduationand all of my friends was like
(11:48):
we're like that's the singer,that's the music girl and you
know, even at Jack the rapper.
I shouldn't even been there.
We just went one time samefriends Cause we were in Florida
I think this was in Tampa orsomething and big walk by and
they were like sing for him.
And I was like I'm not a clown,I'll just sing on the spot to
you know, um big John being ather house and they were like
(12:12):
sing for John.
I was like I'm not a clown andI'll just sing on the spot.
And he was like well, I'llleave tomorrow.
And I was like yeah, I am.
He put me with my firstmanagement team when I went out
for that internship and so ithelped me really cultivate this,
this gift, and and at the sametime, get you know, not dive
(12:35):
feet first or head first intointo the New York music industry
, but just almost liketentatively tiptoe into it.
Speaker 1 (12:45):
So we got to dive into the Rose effect.
Right, I mean, with the Roseeffect right now, you are
helping artists, you're writingbooks, you're doing it all right
now, but before we get to thebook, yes, so little Nas X,
right?
So he you got a.
You got an amazing recordbehind you.
Where did that come from?
(13:08):
And I guess was that one ofyour first clients, or would you
say it's one of your biggestones?
Speaker 2 (13:13):
It was the first for the world.
It was the biggest proof ofconcept.
I had been doing it when Ilived in New York before I moved
to LA.
While being records, uh, Iworked with a lot of independent
artists.
I then was a coach on, uh,chasing destiny, which was Kelly
Rowland show on BET.
Uh, this is when I got to LAand maybe 2015.
(13:36):
And so then from there, youknow, this was me stalking, like
Frank Gatson and um and StephenHill.
I'm like I know you got a show,I read it, it's happening, I
need to be on it.
And then fast forward to beingon an e-show called Revenge Body
that Khloe Kardashian had, andthey were looking for a
performance coach.
And so, you know, those were mykind of entry points into LA as
(14:00):
a performance director.
But I had also been goodfriends and my sorority, felicia
Fant, was at Columbia Records.
So when they got Lil Nas, hehad no performance points on the
board.
It was this song took thismeteoric rise, but now he needs
to do a video.
His next show was Stagecoachand then he was doing a Taco
(14:23):
Bell commercial, all within amonth, and so it was like how do
you take someone that isbrilliant, you know, and and
then, but help them now create astory, that um, that is able to
harness that brilliance, andthen you can tell that story for
45 minutes to an hour on stage.
And so she called me and wewent to work just in the studio
(14:48):
and helping him to reallyunderstand what that story and
to build that story.
So this was before you know, hewas his truest self.
Yeah, it came out.
This was you know all about,like what is Old Town Road?
Where are we going?
Why you care, why should wecare?
You know all about, like whatis Old Town Road?
Where are we going?
Why you care, why should wecare?
You know, like really digginginto those hard questions and
(15:09):
sometimes he's just like I don'tknow, but it was like it was
the repeating of it all, likewhat is this?
What is the messaging?
And so, you know, my job is tohelp you find the light, find
the story, and then push andaccess and then activate what
that looks like long before themusic comes.
So I've I stripped people downfrom you know the rhythm, the,
(15:31):
the, the um, the countenance,the, the movement, um, and
sometimes the sound.
Like what does this story looklike?
If there was no sound.
What does it look like if thenext few rows of people had?
They were visually impaired andthey only had sound.
You know how do you make surethat everybody feels included.
So, whatever their perceivedcapacity was, my job was to push
(15:55):
them beyond that, help themre-champion their story, help
them to show up for it.
And then we had to figure outwhat is your force and then, in
that, that's when we're able toseize the power of you telling a
story that can't be negotiatedor hijacked.
Speaker 4 (16:10):
Wow, now, did you come up with these concepts on
your own?
Is this something that you kindof studied from other people?
It was a combination of the two, to kind of put this together.
Speaker 2 (16:19):
It is, having been a performance artist and the
things that helped me getthrough that stage fright, and
everybody gets somethingdifferent right.
So there is the core of thethree verticals that I work from
, which is show up, embrace yourforce, seize your power.
But what I give to Polo G, Ican't get a Nas, and what I get
(16:41):
a Nas, I can't get an LL, and Ican't get that to Sweetie.
So everybody, then, we arebuilding their own toolkit to be
able to, um, you know, makesure they drop no moments, you
know.
And so I think one of the otherkind of moments I could have
retired I have two moments inone was working with LL and the
other one was working with Nas,and he had never headlined a
(17:05):
show on his own, and so lastFebruary he headlined at the
Garden.
Speaker 1 (17:10):
Wow, Up until last February he had never headlined.
Speaker 2 (17:15):
He had been with, I think, Wu-Tang, and he had been,
I think, with Lauren or Mary,but this was his first time ever
headlining a show, himself notbeing a guest.
And so, um, Dave, um, his, his,his manager brought me in and
we went to work and so Ilistened, you know, to like all
(17:39):
the songs top to bottom, and soI love that people allow me to
just be as rogue as I can be, asbecause I love the music, Right
, and I think you know I'mhip-hop, so you know, I was
listening to the music and hewas like, you know, you got some
notes for me and I like took ascroll and I was like do I have
notes for you, do I?
(18:00):
And I was like you know.
So for him, I think whathappens is you are on tour for
so long and you are tellingthese stories that you have
written back in the 90s, and sohow do you still tell it with
the same vigor and a newinspiration and a new excitement
(18:21):
?
How do you make sure thatyou're not just saying lyrics
based on routine, that we don'tleave any lyrics behind?
And so I was like yo, you'rethe only messenger we got and
your job is not to just speak tothe people that have grown with
you, but you're trying to getsome new ambassadors.
Your job ain't to just speak tothe people on the floor, but
we're trying to shoot to theback of the building.
(18:41):
So every lyric has its ownpulse.
You need to get up off thisflow.
You know what I mean.
Like I'm not giving him noeight count, but I'm like if you
brought the energy to you, knowthe lyrics and the phrases,
then your body would movedifferently.
One mic shouldn't look like ifI rule the world, we telling
different stories.
So what are the stories?
And so you know he was like hi,hi.
(19:02):
And so I was like oh, I'm sorry, I came in.
(19:34):
I know, I came in hot.
I came in hot, and so my jobwas to make so that we told one
story in the most powerful way.
And so, you know, sometimes Iwould stop, like the band I
don't know where I got thiscourage from, but they'd be
going I'd be like we're going tohave to stop, that we're going
to stop.
Can we?
Can we just stop one second?
And I was like, ooh, what didyou do?
And I was like yo, the drummer,just hit the coldest hit ever,
and I don't feel like youacknowledged it.
He was like, all right, and sothe acknowledgement could be a
(19:57):
pause.
The acknowledgement could be,you know, moving with your body.
The acknowledgement can belooking, but I'm only look.
I need everybody to acknowledgewhat's happening on this stage.
When you think it's cold, thenthe audience feels your energy
and then we just stand acrossthe building anyway.
Speaker 1 (20:15):
So is your job then?
Just so I completely understand, you in essence are the
director of the performance.
Yes, so every piece of it.
Yes, you are the one thatyou're.
You guys are practicingendlessly before you would go on
a tour and you're the behindthe minute, every moment that is
occurring.
Is that a good way to portrayit?
Speaker 2 (20:37):
great way to put it, and so it's funny when you said
performance coach initially,when you said, is that factual?
I was just going to let it be,because I gave myself a
promotion, after working withlittle mouse and elton john, to
be the performance director.
Okay and so, but always lookingfor ways to communicate what I
do, you know sometimes, you know, I think early on it was
exhausting because people wouldbe like, oh, you're a vocal
(20:59):
coach.
I'm like Nope.
Oh, you're a choreographer,nope.
So then I was like vocalcoaches deal with the instrument
, performance directors,performance coaches deal with
the behavior, and thenchoreographers give you the
eight count.
But a performance coach willmake the eight count count.
Right, that's my job.
So I always myself to a solidrocket booster.
(21:20):
You know where.
I help you course correct, Ihelp you get in flight, and then
, once we had figured out thatstrategy, I break away.
And so I always run.
I hope you get out of theblocks from a cold start.
I always run the first leg ofthis race of an artist and then
I pass the baton to whoever elseis next.
(21:41):
But it made no sense for LilNas to first be equipped with a
choreographer when we ain't gota story yet you know what I mean
.
You just see moves.
So the story is necessary, likethe resolving of things that
have brought you fear or causedyou to be a little less than
yourself or caused you to bedisappointed.
All those things are sonecessary in being tapped into
(22:07):
so that you can tell a storythat has no, and being tapped
into so that you can tell astory that has no.
It is not, it's free.
You can tell a story that showsyour freedom and that makes you
feel uninhibited.
Speaker 1 (22:21):
You're working with performers, but then we also
mentioned in the very beginningabout those collaborations with
brands.
Yes, how does that work?
What's your portion or part ofthat Like when you're working
with Doritos, adidas, amazon,some of these major brands that
you've gotten to work with?
Speaker 2 (22:36):
Yeah.
So I think some of that iscorporate too.
So for Lil Nas, I coached himwhen he was doing the Taco Bell
commercial and the Doritoscommercial and then the Uber
Eats commercial which thenbrought in Elton John.
So a lot of times those brandsare associated with the artist.
But then Did you do Logitechwith him?
Speaker 1 (22:57):
No, oh see, I did Logitech with him.
Speaker 2 (23:01):
Okay.
Speaker 1 (23:01):
For the Super Bowl.
I was thinking we ran into eachother at some point, but you
weren't part of that.
Okay, I was hoping you were.
Speaker 2 (23:08):
Yeah, do you work with Logitech?
Speaker 1 (23:11):
They are a past client of mine and at the time,
you know, they chose Lil Nas Xto be their ambassador for a
series called Creators.
And it was all abouttransitioning their brand to be
less about the individual piecesof equipment like a mouse and a
keyboard, but ratherinstruments for creators, yeah,
and so he became a big part ofthat Superbowl ad, all the
(23:32):
social media around it, and thatwas kind of an interesting time
because that was a bit of arisk for Logitech.
And it came right out with hisnext album, which I'm blanking
on the name of it, but it was alittle bit controversial.
Say it again.
Speaker 2 (23:48):
The Jack Carlow industry, baby, and all those
songs the monor um the call meby your name montero was the
next second album, right, yeahyes, that was it
Speaker 1 (23:59):
montero, yeah, yeah so that was an interesting time.
Logitech took a step and thenI'm not sure if they thought it
was a good one or not, becauseCause you know, interesting mix
of brands and and and andartists.
Speaker 2 (24:12):
Yeah.
Speaker 4 (24:14):
So you know Nas Mickey definitely knows this Nas
has been known as, like, notthe best performer.
So you had you're talking about, you had to pull a lot out of
him and let him be free, Right,and I remember I didn't go to
that garden show, but I heard alot about it and I heard it was
amazing.
Because did his mom, somebodyhe was crying or something at
(24:38):
the end of the show or something.
It was his mom, or something.
Anyway, that's not the point.
Speaker 2 (24:43):
Across the street from the garden.
Speaker 3 (24:48):
Yes, yes, what happened across the street from
the?
Speaker 2 (24:51):
door.
People aren't the bestperformers.
I just say people have not yettapped into the fullness of what
they can be.
You know that's how I, how I gointo this.
So we, we tapped into thefullness per vibe magazine and
some other magazines that night.
Speaker 4 (25:07):
They said that was one of his best performances I
was gonna say real quick, on theother side, with somebody like
ll who's mad energetic.
He's been performing forliterally probably 40 years now.
Yeah, 85 was the first album,so it's been 40 years.
I've seen him several times.
He's mad energetic.
You know he's doing the, thegear shift with the mic, stand
(25:29):
and then take his shirt off,like all that.
So how do you work with, howdoes that work with somebody who
is already like super energeticand very animated as a
performer?
What are you?
Speaker 2 (25:38):
toning him down.
Well, no, you know what?
well, maybe because, um, Iremember my friend uh nick and I
went to his album release andshout out to Claudine for even
thinking of me in this capacity.
We went to this album releaseand he pretty much performed
every song.
My friend looks at me because Iwas working with him on Passion
(26:02):
.
The next day, my friend looksat me, the new song.
It was a video shoot.
She was like, well, he seemslike a great performer.
What do you think you're gonnado?
And I was like, yeah, I hopethey don't call and say that
they're good.
I was like it occurred to meand so I started digging.
I was like what?
(26:23):
Because even before that, likea week prior, I was with
Claudine at the Four Seasons,with our friends Amber and DJ
Kiss, and and and Elle walked inand, um, and then she started,
he, she started telling us thatyou know he was working on this
new album and buh-buh, and, um,she told him what I did and this
(26:45):
really is how it happened.
It was like a couple of weeksago.
And then he said, well, whydon't you come upstairs, why
don't everyone come upstairs andlisten to the album?
And so it was myself here andhim literally across the table,
like performing every song to me.
He was like this was amazing.
(27:08):
And what I realized I had to,and and and this happens a lot
when you're like you never againrest on your past laurels you
never get too comfortable.
I'm always looking for ways tosharpen and to get better and to
have more armor from my artistand I was like what are you
going to do with him?
And I watched everything and Irealized that what I do for
(27:33):
certain clients I akin tosomeone walking into the salon
with long hair.
They're not trying to changethe length, they're just trying
to get some dimension, get somelayers and get some depth.
And that's what I bring toartists like LL.
(27:56):
I'm not toning down, but nowI'm going in.
You already got that part, butwhat if you actually went left
on here and not left justphysically, but left in how you
described it?
And what if you allowed thispart to breathe, so that by the
time ha, we're even expect themap because you didn't start
there?
And then what if you actuallytold me the story, so that then
there can actually be a peek init, as opposed to you tapping
(28:17):
out by the time you get to thefirst verse?
And what if I'm watching you onscreen and I really don't want
to break away because you mightdo something different as
opposed to the expectedperformance?
That I can go do five errandsand come back and know it won't
change.
So that became the conversationwith us for the Force.
Speaker 4 (28:37):
That's good, dope, dope Wow.
Speaker 3 (28:41):
That's dope.
I want to know that.
What you got, Mick, I'm sittinghere just in awe.
I mean I think that you know,as an artist myself and someone
who performs and just hearingthis incredible story from KJ
Rose, got to say the full name.
Speaker 1 (28:59):
Thank you, you know what I'm saying.
We're tight.
Now I can call her KJ.
Speaker 2 (29:05):
The only reason.
So it's funny because a friendwould be like no, say your whole
name, but Rose is my middlename and if you read the book
then you would also rememberthat Rosa is my paternal
grandmother's name, Rose is mymaternal grandmother's name and
Rosa is my mama's middle name,so I can't leave off the Rose.
Speaker 3 (29:25):
You can't leave off the Rose, that's why, I show
respect.
She said it.
She said it.
You know what I'm saying.
Like you got to listen to theblack woman man, that's what I
do you got?
Speaker 1 (29:37):
to listen to the black woman.
Speaker 2 (29:38):
You know, what I'm saying.
Speaker 3 (29:42):
I guess you say that a lot, but I'll say it now.
You know what I'm saying.
It's an ancestral thing, youknow again, you know I'm
inspired.
You know, like I think that youknow hearing these stories
working with iconic legends.
You know, in the, in the, inthe music industry, and even you
know new legends, right, lilNas X and the things that he was
able to accomplish, you know,with his first record and being
(30:02):
able to transform seeminglyInternet sensation, right Like
this guy was.
Just he was just posting stuffon whatever platform he was
posting it on and next thing,you know, it just kind of
catches fire and he becomes thisglobal artist and being able to
work with him.
So you kind of worked with threeto four generations of
different artists across thegamut of music and just to hear
(30:26):
how you're able to help somebodythat is, you know, wet behind
the ears like a Lil Nas X andsomebody that's seasoned like an
LL Cool J, and still come backwith great feedback to improve,
you know that just lets me knowthat there is still ways to
elevate yourself as an artist oras a person in general.
How do you become better thanyou were yesterday?
(30:46):
And I think that's the power ofwhat it is that you do and what
it is that you do, and I'm justgrateful for you to share these
things not only with us here atGlossy, but also our listeners,
because I think it's veryimportant.
I think that LL Cool J story isvery, very important for people
to hear.
This guy is a legend.
He's been doing this, like Jeffsaid, 39 years next year will
(31:07):
be 40 years that he would haveput out his first record and and
he'll, that means he'll be whatlike 55, you know yeah, yeah,
I'm gonna tell nobody's numbersomething you know, I mean you
know, but but how do you?
but then you.
But then you got to think like,how do you tell someone of that
stature, that caliber of artist, how to improve?
(31:31):
Like that is a when, when mostof these, most of the time they
have teams and they around yes,men and people that like to
massage the ego you come alongto help enhance what is already
there.
Right, even you just workingwith Janet because, like I know
for a fact, you listen to Janetor watch Janet when you were a
(31:52):
child.
Like that, to me that is alwaysgoing to be mind blowing.
For someone such as myself,Amen, amen.
Speaker 2 (31:59):
I got to say that.
You know, shout out to.
I learned from every artist,whether it is, you know, erica
Campbell or sweetie, or you know, ruby Rose, honey Baby.
I learn from every artist and Idon't judge the art.
That's not my job.
My job is to make sure thatwhatever they're saying, that
they believe, and sometimeswe've done things where it's
(32:22):
like they didn't really believein it.
I'm like, what else are wegoing to say then?
And so what I loved aboutworking with artists and so you
know what I loved about workingwith artists artists like Nas
and LL is that they were openfor the sharpening Right.
And so I was like when I got onset you know it's again you
(32:43):
just never know what the energyis like and how someone works
and where I may come in andimmediately pounce.
That's not how people work allthe time.
And so I got to give love tothe women at Def Jam.
That created a space for me tobe truly uninhibited, so that I
could actually be my best selfon that set, you know.
(33:06):
So it was like, I think, thatwhen I and then when I first got
there, I said to Elle, I said,look, because I prayed.
I was like, lord, how is thissupposed to go?
What do you want me to do?
Because sometimes, when you'rein the fullness of you, that
could be a lot for people, right, and it doesn't mean that you
change the core.
(33:27):
It may mean that you got togive yourself in bits, right,
but it's palatable, right.
So I was like, all right, lord,tell me the best way to go
about this.
So when I got there, I said tol, I said what is the best way
to serve you in the way that youwork?
And he said just contribute.
(33:50):
If you see something, I'm openfor your ideas and your
contributions.
And then they messed around andgave me a megaphone and I was
like, I mean, so it was like itwas.
I am always learning, I'm alwayslooking for the way to expand,
(34:11):
um, and so, yeah, I had thatopportunity to work on three of
his videos.
One comes out on Friday,proclivities with sweetie.
And so I got a shout out to thewomen that I've worked with,
you know, and so she's just ajoy, and so that video shoot
will come out on Friday and I'mjust, I'm grateful that I get to
serve people in this way, and Ialways tell them.
(34:35):
I don't give anybody somethingthey don't already possess.
You know, my job is just toirritate and agitate areas of
potential that they didn'trealize they had or that was
merely lying dormant, that's it.
And so once people realizebecause I think a lot of times
it's not the artist's idea forme to be there I'm talking about
(34:56):
the younger ones, where thetranslation for them is
something must be wrong becausethe label sends them in, and so
where I pull in, I'm just gladthat that nothing goes to waste,
right.
So, as an artist, knowing whatit felt like to have everybody
have an opinion on what I do, orto some someone to have a
(35:18):
constructive critique, whateverit was, so I learned very
quickly that my, in order tohave a great session, I've got
to disarm them in the beginning.
You know, I'm not above them,I'm not below them, I see where
you are, I am vulnerable.
First, before I ask for theirvulnerability, you know, I let
(35:41):
them know that if you are in mypresence, if you are and that's
my own work that I got to dowith, knowing I'm supposed to be
in that room, right.
So I've got to have a veryimpenetrable sense of confidence
so that I say to them, if youwere sent here, that means that
they are ready to fully investin you.
Speaker 3 (35:58):
Right, right.
Speaker 2 (35:59):
I wouldn't be here any other way.
Like I don't play around withthis, you know what I mean.
So I think, once they see that,like I remember one artist came
in and he was like look, I gotto go in an hour and I'm like,
but I got you for two, and he'slike.
I got to go, you know, get myclothes for the showcase
tomorrow and I was like theshowcase that is going to really
(36:21):
declare whether they keep youas an artist.
Is that the showcase we talkabout.
Talk about it.
Look at me and I'm like I muchrather you be ready for the
performance and not have a beltthan be looking good and not
have a good performance you know, so it's like I think, and
sometimes they'll understandlike who I am.
(36:42):
they're trying to figure outwhat generation I'm in because
i'm'm you know, I'm always withmy J's and I just, but then when
I talk I sound like I could betheir oldest sister.
So it is like a level of ofearned trust that has to happen
and and a mere respect, and so,like one of my I know I'm
talking now.
Y'all got me excited, buthere's one of my like favorite
(37:04):
moments as a coach.
There was Polo G Fonio and LilTJ.
Now I like to get there aheadof schedule so that I can dip
into everybody's room and justlet them know, because nobody
wants to be corrected in frontof other people.
Speaker 3 (37:21):
Right.
Speaker 2 (37:21):
Yes, right.
So I'm like all right, okay, Igot to do this quick, I got to
get in, but I had done a.
This was during the pandemic.
I had done a Zoom presentationfor Sony executives like a
workshop, and so I was a littlebehind.
So anyway, I get there.
They're already like kind ofstarting to do little pickups.
(37:41):
And you know, I'm askingso-and-so's manager or whoever
to like to, but they're notfocused on that.
I'm a small part, I'm the piecethey don't know they need, but
they will be happy that theyhave when I'm done, right.
No, and I can't be frustratedand just be like you need, I'm
just like that's okay, I'm goingto have to move slow and I have
to move strategically.
(38:03):
So the first time they yelledcut, I went into Lil TJ and I
said whose video is it?
And he was like mine.
I was like I can't tell.
And then I backed up and so Ialways know when I walk away
they're still looking at me.
I'd be like I can't tell.
So I'm like I need more, right.
So then I come back.
(38:23):
Then they yell cut again.
I go up to Polo G.
I was like yo, you know, we'vebeen here before, like if, if I
can't see you, nobody else canyou know?
I need you to have more eyecontact with the audience.
You know what I mean.
Pick your head up and then Iback off.
And then, with Fabio, I came in.
I was like yo, every time yougive me this grunt of energy, I
(38:46):
was like it is powerful but youdon't really believe it and so
it's not counting.
I need you to make it count,right.
So now I have gotten all ofthem individually right.
So then the next time they yell,cut I can yell at all three,
because I'm yelling in a way tojust empower them.
(39:06):
But they have each already hadmy wrath, my soft wrath.
Now, as a unit, I'm like whatare we doing Now?
I didn't have a megaphone there, but Lil TJ posted if you ain't
got no hype crew like this, nohype person like this, get rid
of me.
Your crew don't hype you uplike this, get rid of them.
(39:26):
And that was a video he put onTikTok that went viral, and so
it was like it's the momentsthat you can't read about.
Like I can only understandbecause of maybe the last
session I did Right.
This ain't a no book.
This comes from being booed atthe Apollo.
This comes from getting to havethese video shooting, them
saying ain't nothing for you todo in the video, and having to
(39:56):
go back to New York after you inLA for the video shoot, only
for Hev and his people to callyou a week later and say can you
do the remix of Big Daddy?
Right?
So then the, the un, mature meI'm not gonna say immature the,
the one that has not matured yet, would have said I'm good,
right, because I'm.
I've been here before.
I know how this works, y'allain't going to play me again.
But then the one that was alittle wiser said but then
they'll call somebody else, thesame person.
(40:17):
They don't know you well enoughfor this to be personal.
Anyway, that's all I got.
Speaker 1 (40:23):
Ooh, I got three last things to say.
Okay, Number one I think thebest quote I saw from you and I
loved it and I'm going to use itin some way.
Okay, If you don't know yourdopeness, we've got a problem.
That is a great, great, greatquote.
(40:44):
I love that.
My second thing for you yes.
Speaker 4 (40:48):
Great quote, I love that.
Speaker 1 (40:49):
My second thing for you yes, all these artists out
here, if you had, if there wasone artist that you're looking
at and you say, if I could havethat person for one hour, I
could, I could, I could makethem better, like who's that
artist that you think that you,that you want to work with, that
you haven't worked with?
That's a tricky thing to say.
It is a tricky thing to say.
(41:09):
I might've not asked that theright way, but who is that
artist, though, that you see somuch potential with?
Speaker 2 (41:16):
Okay, I like that You'll edit that other part out.
Speaker 1 (41:19):
I'll edit that.
Speaker 2 (41:20):
Let's see the artist that I see so much potential
with.
Let me just say that if I canhave an hour with the new
generation of female MCs, Iwould.
I would love to embolden them,empower them even more.
Speaker 1 (41:46):
I like that All right , and then we're going to end
with this.
Okay, since you're touchingbase with all these different
people yeah, you got three of uson here that do this show.
Speaker 2 (41:57):
Yes.
Speaker 1 (41:58):
Give us your tips.
What are we doing wrong?
What are we doing right?
Speaker 2 (42:02):
Well, I don't really work in the wrongs and rights, I
work in the current.
And then let's just go higher.
The current, let's go higher.
I would start with wanting tobe able to see jeff for sure,
because that's who brought me on, that's my homie.
I want to see his face, um, butno, I let me just say that what
(42:25):
you guys are doing is sonecessary so that people don't
forget the unglossy part.
Right, they just see thesemachines running smoothly and
they have no idea that what ittakes in the team of people that
are behind them, and then alsothe, the, the mindset and the
(42:49):
tools that one must have to keepthat machine going.
So, just to expose that on thisplatform, and each of you bring
something different, you know,in terms of your gifts and your
talents, and, and so I'mgrateful to be here, and so what
I have witnessed thus far showsme you're on your way.
Keep doing what you're doing KJRose.
Speaker 1 (43:14):
I think that says it all, Thank you.
Thank you for coming on.
Thank you for sharing so muchwisdom I have it's been an
absolute pleasure to hear yourstories.
I love it.
Speaker 2 (43:28):
Thank you so much for having me continue success and
I'll keep you posted on um.
You know all the good thingsand the new, the new wins on my
end.
Speaker 1 (43:39):
I can't wait to see all this stuff.
Speaker 2 (43:42):
Yes, and I have decided, you know cause?
I've spoken at a lot of, a lotof um, different corporate
events and um and music events,but I've never, you know,
because I've spoken at a lot, of, a lot of different corporate
events and and music events, butI've never, you know.
And and in my own life, I havethese power chants that help me
to encourage myself when I'mlike, ok, that was great, but
it's, but OK, what's next?
Right?
And so I've decided to have myown signature event called
(44:04):
Confidence Con.
And so I've decided to have myown signature event called
Confidence Con, and it is goingto be September 13th.
It is to awaken your personalstar power.
We were all born with it, butsomehow along the way, we
abandoned it.
So my job is to help youre-champion that story, energize
(44:27):
the story, help you rememberall the greatness that is in you
, help you to stop.
And even in my own life, I feellike I was watching a Will
Smith YouTube video and he wastalking about how you can be at
the highest point of good.
Right, you're like the best atbeing good, but like I'm also
trying to annihilate what greatlooks like.
(44:49):
And so that's what theConfidence Con will be about.
It will be your ultimatedestination to delivering
presence and confidence at peakperformance.
September 13th.
Speaker 1 (45:05):
People.
You better be there that is KJ.
Rose, the Rose Effect.
I love it, thank you have agreat day everybody alright,
folks, that's our show.
Tune in to Unglossy, the codingbrand and culture on Apple
Podcasts, spotify or YouTube,and follow us on Instagram at
(45:26):
unglossypod to join theconversation.
Until next time, I'm Tom Frank.
Speaker 4 (45:30):
I'm Jeffrey sledge.
Speaker 1 (45:33):
Smicky, that was good .
on this episode of Unglossy.
Speaker 2 (00:02):
And that's what I bring to artists like LL.
I'm not toning down, but nowI'm going in.
You already got that part, butwhat if you actually went left
on here and not left justphysically, but left in how you
described it?
And what if you allowed thispart to breathe, so that by the
time, ha?
We not even expecting thatbecause you didn't start there.
And then what if you actuallytold me the story, so that then
(00:23):
there can actually be a peek init, as opposed to you tapping
out by the time you get to thefirst verse?
Speaker 1 (00:29):
From the top.
Yeah, I'm Tom Frank.
Speaker 3 (00:33):
I'm Mickey Fax.
Speaker 4 (00:35):
And I'm Jeffrey Sledge.
Speaker 1 (00:36):
Welcome to Unglossy, the Conan brand and culture.
I'm Tom Frank, partner andchief creative officer at Merit
Creative.
This is Mickey Fax, hip hopartist and founder and CEO of
Pendulum Inc.
And that is Jeffrey Sledge, aseasoned music industry veteran
who has worked with some of thebiggest artists in the business.
We're here to explore themoments of vulnerability,
pivotal decisions and creativesparks that fuel the
(00:57):
relationship between brand andculture.
Get ready for athought-provoking journey into
the heart and soul of brandingthe unscripted, unfiltered and
truly unglossy truth.
Unglossy is brought to you byMerrick Creative, looking to
skyrocket your business'svisibility and drive growth.
At Merrick Creative, we solveyour brand and marketing woes
(01:19):
With big ideas, decades ofexperience and innovative
solutions.
We'll draw in your targetaudience and keep them hooked.
Remember, creativity is key tosuccess.
Partner with Merit Creative andunlock your brand's potential.
Learn more at meritcreativecom.
And now part two of ourconversation with KJ Rose.
So you're having all thissuccess as an artist and a
(01:43):
recording, and what happened?
When did you decide totransform from performing to
coaching?
Speaker 2 (01:50):
The beginning of the transition into performance
direction, I would say happenedwith Carolyn Williams, who was
doing marketing at J Records atthe time, and so they had
artists over there.
They had been to my shows,everyone liked my level of
performance, but you know, itwas just the music, I guess,
wasn't, it wasn't hitting themthe way it needed to, and so it
(02:11):
was a.
It was a tough call because Iwanted.
I wanted that call to be aboutyou know me as an artist but it
was really about coaching otherartists and I had to have like a
heart to heart and say you know, you're not.
If you say yes, it's not thatyou're saying yes in lieu of
something not working out,because then you're just bitter,
(02:32):
you're a bitter coach.
And I said maybe this is thenatural progression.
You know, this is this and thisnot, or this.
And so once I started leaninginto helping artists to really
reintroduce them to themselvesthat was it and to help them
excavate assets and understandwhat their kind of areas of
(02:52):
strengths were and push thembeyond their perceived capacity,
I realized that that brought memore joy than being an artist,
and even though so, while I wasat Clive I left for a second, I
did a little performancedirection there, but then I
still left, went back on theroad with Janet and then I came
off the road and then I went towork at Sundance channel it was
(03:15):
channel, then now it's TV, andthen that's when I really put
out my album.
So you utilize every departmentfor my album marketing, you
know strategy, whatever it was,and promotions and then put out
my album called All Heart, noRegrets, and I did a radio tour
on that.
And then after that I felt likeI had completed the task right
(03:36):
and Dwayne Bastian giving metracks and believing in me to a
point where it it it wasn'ttranslating into a body of work,
and so I was like I gottacomplete this task.
And after I did that I was like, okay, now I'm going fully into
(03:56):
performance direction.
Artist development.
Speaker 4 (03:59):
I gotta go back, because what a lot of people
don't understand is getting anassistant job for Clive Davis or
Jimmy Iovine.
These are hard fucking jobs toget.
This ain't like just call thetemp agency.
You're working at such a highlevel and you're dealing with
such high level people who arecalling in and setting up music.
(04:21):
So I want to talk a little bitabout that.
Um cause, obviously Clive is,you know, an iconic music um
executive top three.
I was, I would put it at topthree.
Some people say five.
I was, I would say three of alltime.
So I want to talk a little bitmore about that.
Like, obviously I know you knowthe day-to-day duties were
taking care of him.
(04:42):
But what are some of the thingsthat you saw?
I know you talked about, youknow asking questions about why
you, you know, picked the singlefor Monica or Alicia or
whatever.
But what are a couple of thingsthat you saw that were like
eye-opening, I guess, and maybeyou used for yourself.
Speaker 2 (04:59):
No, that's a good question.
I would say my greatesttakeaways is watching him never
rest on yesterday's success,never resting on his past
laurels.
You know, if you know, ifAretha was at number one on a
Tuesday, he's going to keepworking to maintain, you know,
(05:21):
that level of dominance.
You know, no matter what artistum is is in that spot, uh, so
that was it Like.
Now I'm just like I may havehad a great Monday, but now we
got to keep going Like I givemyself a little bit of time to
just say great job.
I might go have some crab legscelebrate myself.
You know, whenever there's asmall or a big win, but I got to
(05:43):
keep going Like it's it's, I amin the grind within the next
few days, I would say.
Additionally, it was you knowhis work ethic.
You know he was there.
He was the last one to leavethe building, so I worked.
There were two of us and it wasPaula and myself, and then Dina
(06:08):
worked for Charles Goldstock.
So I went in between CliveDavis and Charles Goldstock and
I only worked now.
When I first started workingthere, I was just the
receptionist and I was happywith that because it allowed me
to record my music during theday and then work for Clive from
five to nine my music duringthe day and then work for Clive
from five to nine.
And so you know, people werecoming in, swizz and Alicia and
(06:29):
Tyrese, and you know, mario, andI'm just, I want to sing my
song but I'm like saying you gotto stay focused.
This is why you got hired.
And within a few months, theysaid, would I work for Clive?
And my initial thought was no.
And then my sister, cj CynthiaJohnson, you know, was like yo,
this is a great opportunity.
And I realized that no area orexpertise I had, this this would
(06:50):
be invaluable information.
And so then that's when Istarted working for him, and so
I would say like between thework ethic, and then, lastly, he
called everybody back.
Now I saw who got the returncalls quicker and it was the one
that wasn't persistent.
That was persistent but not,you know, kind of like unruly
(07:13):
and exhausting, but it was likefinding that great balance of of
checking in and and you know, Isaw the emails and so I think
that, um, watching, that is whyI'm so keen on making sure that
I get back to people, whetherthey got something from me or
not.
Right, whether there's an evenexchange or not, I still try to
(07:34):
make sure I respond to everyonethat that has an inquiry or that
just um wants some advice orjust wants to share.
Speaker 4 (07:44):
I got a little story about that getting back thing.
So because I should get atdudes all the time would hit me
with the yo I was gonna call you, but it's hectic.
I used to tell this story.
So when backstreet boys firstgot signed to jive, they got
signed by this guy named davemcpherson and dave um was a
young anr guy.
He didn't know clive at all buthe was working on the record
and he called, put a CD in.
(08:08):
At that time a messenger to CDwith a note to Clive.
He didn't know him at all.
He said look, these are likefour or five of the songs that
we recorded.
He introduced himself and blah,blah, blah.
He said you know, this record'scoming out on Jive and I would.
You know, I just would love toget your ear, like I just would
love to get your ear, like Ijust would love to get you, you
know, listen to it, let me knowwhat you think.
And he just put it in the thingand sent it Again.
(08:28):
He didn't know Clive, from acan of paint, never met him.
And about a week later maybeless, maybe less, maybe that
later that week or whateverClive messengered the CD back
with a four-page letter breakingdown each song, saying you know
this one is the bridge isn'tstrong enough on this one or
(08:48):
this one, the chorus breaking itdown.
And I used to tell people ifClive Davis can send a note back
to a guy he doesn't knowbreaking down songs, there's no
excuse.
You got for me telling me youcouldn't call me back.
There's no excuse.
You got for me telling me youcouldn't call me back.
There's no excuse, you justslack.
You know to get to that level.
You got to be so on point.
(09:11):
Obviously, as he was still isactually Like you got to be on
another level because you neverknow, sending that note back,
what that turns into later downthe road.
And that always impressed meabout him.
He was able to do that.
I didn't want to hijack it Backto you, kj.
Speaker 1 (09:28):
That's because KJ Rose wrote that letter.
Speaker 2 (09:33):
Wait, but here's the funny thing.
Here's the funny thing.
I did take a lot of dictationwhen I let him hear my record.
Imagine him regurgitating thosewords that I would dictate to
other people.
Yeah, email back.
(09:54):
I was like back to you youdon't have to say this, and so
you know his one.
One of his lines was I know youappreciate my candor that was
like that's how he opened it upyou're like, I know you
appreciate my candor.
Not sure if this is done.
So when he started I was like,oh my god, I could wrote this
and so no, but it was um, but Ireally appreciated that he took
(10:17):
the time to listen yeah and soum, those were some great, great
like educational moments.
Speaker 1 (10:30):
So, speaking of education, though, you you had
this real life education, butyou also went and got a degree
at business administration rightFrom Florida A&M, so there was
a bit of you.
Yes, that kind of was alreadythinking about this path even
back then, right?
Speaker 2 (10:41):
Well, I just figured, no matter what, I decided there
would be a big element to it.
So I wasn't.
I think I took these baby steps.
It was like there was aninternship being offered at
Pfizer in New York.
I was like, okay, I kind ofwant to do music now, just
because I probably sang the bestout of my friends at school.
I didn't think that constitutedan entire career in New York,
(11:03):
right.
But I was like, but maybe I'lljust work behind the scenes.
I just knew that I needed toget to New York and I got an
internship at Pfizer incorporate finance and um, and
that's when you know, the funnything is, after that I came back
, I graduated and then my umgood friend was is this when I
met the guys?
(11:24):
It might've been on thisinternship, because my good
friend Shelly, she's my soror Ipledged Delta and she was best
friends with John Platt Anybodyknow John, big John and so he
came to her graduation, where heruns publishing now, but at the
point, at that time, he was atEMI.
And so he came to our graduationand all of my friends was like
(11:48):
we're like that's the singer,that's the music girl and you
know, even at Jack the rapper.
I shouldn't even been there.
We just went one time samefriends Cause we were in Florida
I think this was in Tampa orsomething and big walk by and
they were like sing for him.
And I was like I'm not a clown,I'll just sing on the spot to
you know, um big John being ather house and they were like
(12:12):
sing for John.
I was like I'm not a clown andI'll just sing on the spot.
And he was like well, I'llleave tomorrow.
And I was like yeah, I am.
He put me with my firstmanagement team when I went out
for that internship and so ithelped me really cultivate this,
this gift, and and at the sametime, get you know, not dive
(12:35):
feet first or head first intointo the New York music industry
, but just almost liketentatively tiptoe into it.
Speaker 1 (12:45):
So we got to dive into the Rose effect.
Right, I mean, with the Roseeffect right now, you are
helping artists, you're writingbooks, you're doing it all right
now, but before we get to thebook, yes, so little Nas X,
right?
So he you got a.
You got an amazing recordbehind you.
Where did that come from?
(13:08):
And I guess was that one ofyour first clients, or would you
say it's one of your biggestones?
Speaker 2 (13:13):
It was the first for the world.
It was the biggest proof ofconcept.
I had been doing it when Ilived in New York before I moved
to LA.
While being records, uh, Iworked with a lot of independent
artists.
I then was a coach on, uh,chasing destiny, which was Kelly
Rowland show on BET.
Uh, this is when I got to LAand maybe 2015.
(13:36):
And so then from there, youknow, this was me stalking, like
Frank Gatson and um and StephenHill.
I'm like I know you got a show,I read it, it's happening, I
need to be on it.
And then fast forward to beingon an e-show called Revenge Body
that Khloe Kardashian had, andthey were looking for a
performance coach.
And so, you know, those were mykind of entry points into LA as
(14:00):
a performance director.
But I had also been goodfriends and my sorority, felicia
Fant, was at Columbia Records.
So when they got Lil Nas, hehad no performance points on the
board.
It was this song took thismeteoric rise, but now he needs
to do a video.
His next show was Stagecoachand then he was doing a Taco
(14:23):
Bell commercial, all within amonth, and so it was like how do
you take someone that isbrilliant, you know, and and
then, but help them now create astory, that um, that is able to
harness that brilliance, andthen you can tell that story for
45 minutes to an hour on stage.
And so she called me and wewent to work just in the studio
(14:48):
and helping him to reallyunderstand what that story and
to build that story.
So this was before you know, hewas his truest self.
Yeah, it came out.
This was you know all about,like what is Old Town Road?
Where are we going?
Why you care, why should wecare?
You know all about, like whatis Old Town Road?
Where are we going?
Why you care, why should wecare?
You know, like really digginginto those hard questions and
(15:09):
sometimes he's just like I don'tknow, but it was like it was
the repeating of it all, likewhat is this?
What is the messaging?
And so, you know, my job is tohelp you find the light, find
the story, and then push andaccess and then activate what
that looks like long before themusic comes.
So I've I stripped people downfrom you know the rhythm, the,
(15:31):
the, the um, the countenance,the, the movement, um, and
sometimes the sound.
Like what does this story looklike?
If there was no sound.
What does it look like if thenext few rows of people had?
They were visually impaired andthey only had sound.
You know how do you make surethat everybody feels included.
So, whatever their perceivedcapacity was, my job was to push
(15:55):
them beyond that, help themre-champion their story, help
them to show up for it.
And then we had to figure outwhat is your force and then, in
that, that's when we're able toseize the power of you telling a
story that can't be negotiatedor hijacked.
Speaker 4 (16:10):
Wow, now, did you come up with these concepts on
your own?
Is this something that you kindof studied from other people?
It was a combination of the two, to kind of put this together.
Speaker 2 (16:19):
It is, having been a performance artist and the
things that helped me getthrough that stage fright, and
everybody gets somethingdifferent right.
So there is the core of thethree verticals that I work from
, which is show up, embrace yourforce, seize your power.
But what I give to Polo G, Ican't get a Nas, and what I get
(16:41):
a Nas, I can't get an LL, and Ican't get that to Sweetie.
So everybody, then, we arebuilding their own toolkit to be
able to, um, you know, makesure they drop no moments, you
know.
And so I think one of the otherkind of moments I could have
retired I have two moments inone was working with LL and the
other one was working with Nas,and he had never headlined a
(17:05):
show on his own, and so lastFebruary he headlined at the
Garden.
Speaker 1 (17:10):
Wow, Up until last February he had never headlined.
Speaker 2 (17:15):
He had been with, I think, Wu-Tang, and he had been,
I think, with Lauren or Mary,but this was his first time ever
headlining a show, himself notbeing a guest.
And so, um, Dave, um, his, his,his manager brought me in and
we went to work and so Ilistened, you know, to like all
(17:39):
the songs top to bottom, and soI love that people allow me to
just be as rogue as I can be, asbecause I love the music, Right
, and I think you know I'mhip-hop, so you know, I was
listening to the music and hewas like, you know, you got some
notes for me and I like took ascroll and I was like do I have
notes for you, do I?
(18:00):
And I was like you know.
So for him, I think whathappens is you are on tour for
so long and you are tellingthese stories that you have
written back in the 90s, and sohow do you still tell it with
the same vigor and a newinspiration and a new excitement
(18:21):
?
How do you make sure thatyou're not just saying lyrics
based on routine, that we don'tleave any lyrics behind?
And so I was like yo, you'rethe only messenger we got and
your job is not to just speak tothe people that have grown with
you, but you're trying to getsome new ambassadors.
Your job ain't to just speak tothe people on the floor, but
we're trying to shoot to theback of the building.
(18:41):
So every lyric has its ownpulse.
You need to get up off thisflow.
You know what I mean.
Like I'm not giving him noeight count, but I'm like if you
brought the energy to you, knowthe lyrics and the phrases,
then your body would movedifferently.
One mic shouldn't look like ifI rule the world, we telling
different stories.
So what are the stories?
And so you know he was like hi,hi.
(19:02):
And so I was like oh, I'm sorry, I came in.
(19:34):
I know, I came in hot.
I came in hot, and so my jobwas to make so that we told one
story in the most powerful way.
And so, you know, sometimes Iwould stop, like the band I
don't know where I got thiscourage from, but they'd be
going I'd be like we're going tohave to stop, that we're going
to stop.
Can we?
Can we just stop one second?
And I was like, ooh, what didyou do?
And I was like yo, the drummer,just hit the coldest hit ever,
and I don't feel like youacknowledged it.
He was like, all right, and sothe acknowledgement could be a
(19:57):
pause.
The acknowledgement could be,you know, moving with your body.
The acknowledgement can belooking, but I'm only look.
I need everybody to acknowledgewhat's happening on this stage.
When you think it's cold, thenthe audience feels your energy
and then we just stand acrossthe building anyway.
Speaker 1 (20:15):
So is your job then?
Just so I completely understand, you in essence are the
director of the performance.
Yes, so every piece of it.
Yes, you are the one thatyou're.
You guys are practicingendlessly before you would go on
a tour and you're the behindthe minute, every moment that is
occurring.
Is that a good way to portrayit?
Speaker 2 (20:37):
great way to put it, and so it's funny when you said
performance coach initially,when you said, is that factual?
I was just going to let it be,because I gave myself a
promotion, after working withlittle mouse and elton john, to
be the performance director.
Okay and so, but always lookingfor ways to communicate what I
do, you know sometimes, you know, I think early on it was
exhausting because people wouldbe like, oh, you're a vocal
(20:59):
coach.
I'm like Nope.
Oh, you're a choreographer,nope.
So then I was like vocalcoaches deal with the instrument
, performance directors,performance coaches deal with
the behavior, and thenchoreographers give you the
eight count.
But a performance coach willmake the eight count count.
Right, that's my job.
So I always myself to a solidrocket booster.
(21:20):
You know where.
I help you course correct, Ihelp you get in flight, and then
, once we had figured out thatstrategy, I break away.
And so I always run.
I hope you get out of theblocks from a cold start.
I always run the first leg ofthis race of an artist and then
I pass the baton to whoever elseis next.
(21:41):
But it made no sense for LilNas to first be equipped with a
choreographer when we ain't gota story yet you know what I mean
.
You just see moves.
So the story is necessary, likethe resolving of things that
have brought you fear or causedyou to be a little less than
yourself or caused you to bedisappointed.
All those things are sonecessary in being tapped into
(22:07):
so that you can tell a storythat has no, and being tapped
into so that you can tell astory that has no.
It is not, it's free.
You can tell a story that showsyour freedom and that makes you
feel uninhibited.
Speaker 1 (22:21):
You're working with performers, but then we also
mentioned in the very beginningabout those collaborations with
brands.
Yes, how does that work?
What's your portion or part ofthat Like when you're working
with Doritos, adidas, amazon,some of these major brands that
you've gotten to work with?
Speaker 2 (22:36):
Yeah.
So I think some of that iscorporate too.
So for Lil Nas, I coached himwhen he was doing the Taco Bell
commercial and the Doritoscommercial and then the Uber
Eats commercial which thenbrought in Elton John.
So a lot of times those brandsare associated with the artist.
But then Did you do Logitechwith him?
Speaker 1 (22:57):
No, oh see, I did Logitech with him.
Speaker 2 (23:01):
Okay.
Speaker 1 (23:01):
For the Super Bowl.
I was thinking we ran into eachother at some point, but you
weren't part of that.
Okay, I was hoping you were.
Speaker 2 (23:08):
Yeah, do you work with Logitech?
Speaker 1 (23:11):
They are a past client of mine and at the time,
you know, they chose Lil Nas Xto be their ambassador for a
series called Creators.
And it was all abouttransitioning their brand to be
less about the individual piecesof equipment like a mouse and a
keyboard, but ratherinstruments for creators, yeah,
and so he became a big part ofthat Superbowl ad, all the
(23:32):
social media around it, and thatwas kind of an interesting time
because that was a bit of arisk for Logitech.
And it came right out with hisnext album, which I'm blanking
on the name of it, but it was alittle bit controversial.
Say it again.
Speaker 2 (23:48):
The Jack Carlow industry, baby, and all those
songs the monor um the call meby your name montero was the
next second album, right, yeahyes, that was it
Speaker 1 (23:59):
montero, yeah, yeah so that was an interesting time.
Logitech took a step and thenI'm not sure if they thought it
was a good one or not, becauseCause you know, interesting mix
of brands and and and andartists.
Speaker 2 (24:12):
Yeah.
Speaker 4 (24:14):
So you know Nas Mickey definitely knows this Nas
has been known as, like, notthe best performer.
So you had you're talking about, you had to pull a lot out of
him and let him be free, Right,and I remember I didn't go to
that garden show, but I heard alot about it and I heard it was
amazing.
Because did his mom, somebodyhe was crying or something at
(24:38):
the end of the show or something.
It was his mom, or something.
Anyway, that's not the point.
Speaker 2 (24:43):
Across the street from the garden.
Speaker 3 (24:48):
Yes, yes, what happened across the street from
the?
Speaker 2 (24:51):
door.
People aren't the bestperformers.
I just say people have not yettapped into the fullness of what
they can be.
You know that's how I, how I gointo this.
So we, we tapped into thefullness per vibe magazine and
some other magazines that night.
Speaker 4 (25:07):
They said that was one of his best performances I
was gonna say real quick, on theother side, with somebody like
ll who's mad energetic.
He's been performing forliterally probably 40 years now.
Yeah, 85 was the first album,so it's been 40 years.
I've seen him several times.
He's mad energetic.
You know he's doing the, thegear shift with the mic, stand
(25:29):
and then take his shirt off,like all that.
So how do you work with, howdoes that work with somebody who
is already like super energeticand very animated as a
performer?
What are you?
Speaker 2 (25:38):
toning him down.
Well, no, you know what?
well, maybe because, um, Iremember my friend uh nick and I
went to his album release andshout out to Claudine for even
thinking of me in this capacity.
We went to this album releaseand he pretty much performed
every song.
My friend looks at me because Iwas working with him on Passion
(26:02):
.
The next day, my friend looksat me, the new song.
It was a video shoot.
She was like, well, he seemslike a great performer.
What do you think you're gonnado?
And I was like, yeah, I hopethey don't call and say that
they're good.
I was like it occurred to meand so I started digging.
I was like what?
(26:23):
Because even before that, likea week prior, I was with
Claudine at the Four Seasons,with our friends Amber and DJ
Kiss, and and and Elle walked inand, um, and then she started,
he, she started telling us thatyou know he was working on this
new album and buh-buh, and, um,she told him what I did and this
(26:45):
really is how it happened.
It was like a couple of weeksago.
And then he said, well, whydon't you come upstairs, why
don't everyone come upstairs andlisten to the album?
And so it was myself here andhim literally across the table,
like performing every song to me.
He was like this was amazing.
(27:08):
And what I realized I had to,and and and this happens a lot
when you're like you never againrest on your past laurels you
never get too comfortable.
I'm always looking for ways tosharpen and to get better and to
have more armor from my artistand I was like what are you
going to do with him?
And I watched everything and Irealized that what I do for
(27:33):
certain clients I akin tosomeone walking into the salon
with long hair.
They're not trying to changethe length, they're just trying
to get some dimension, get somelayers and get some depth.
And that's what I bring toartists like LL.
(27:56):
I'm not toning down, but nowI'm going in.
You already got that part, butwhat if you actually went left
on here and not left justphysically, but left in how you
described it?
And what if you allowed thispart to breathe, so that by the
time ha, we're even expect themap because you didn't start
there?
And then what if you actuallytold me the story, so that then
there can actually be a peek init, as opposed to you tapping
(28:17):
out by the time you get to thefirst verse?
And what if I'm watching you onscreen and I really don't want
to break away because you mightdo something different as
opposed to the expectedperformance?
That I can go do five errandsand come back and know it won't
change.
So that became the conversationwith us for the Force.
Speaker 4 (28:37):
That's good, dope, dope Wow.
Speaker 3 (28:41):
That's dope.
I want to know that.
What you got, Mick, I'm sittinghere just in awe.
I mean I think that you know,as an artist myself and someone
who performs and just hearingthis incredible story from KJ
Rose, got to say the full name.
Speaker 1 (28:59):
Thank you, you know what I'm saying.
We're tight.
Now I can call her KJ.
Speaker 2 (29:05):
The only reason.
So it's funny because a friendwould be like no, say your whole
name, but Rose is my middlename and if you read the book
then you would also rememberthat Rosa is my paternal
grandmother's name, Rose is mymaternal grandmother's name and
Rosa is my mama's middle name,so I can't leave off the Rose.
Speaker 3 (29:25):
You can't leave off the Rose, that's why, I show
respect.
She said it.
She said it.
You know what I'm saying.
Like you got to listen to theblack woman man, that's what I
do you got?
Speaker 1 (29:37):
to listen to the black woman.
Speaker 2 (29:38):
You know, what I'm saying.
Speaker 3 (29:42):
I guess you say that a lot, but I'll say it now.
You know what I'm saying.
It's an ancestral thing, youknow again, you know I'm
inspired.
You know, like I think that youknow hearing these stories
working with iconic legends.
You know, in the, in the, inthe music industry, and even you
know new legends, right, lilNas X and the things that he was
able to accomplish, you know,with his first record and being
(30:02):
able to transform seeminglyInternet sensation, right Like
this guy was.
Just he was just posting stuffon whatever platform he was
posting it on and next thing,you know, it just kind of
catches fire and he becomes thisglobal artist and being able to
work with him.
So you kind of worked with threeto four generations of
different artists across thegamut of music and just to hear
(30:26):
how you're able to help somebodythat is, you know, wet behind
the ears like a Lil Nas X andsomebody that's seasoned like an
LL Cool J, and still come backwith great feedback to improve,
you know that just lets me knowthat there is still ways to
elevate yourself as an artist oras a person in general.
How do you become better thanyou were yesterday?
(30:46):
And I think that's the power ofwhat it is that you do and what
it is that you do, and I'm justgrateful for you to share these
things not only with us here atGlossy, but also our listeners,
because I think it's veryimportant.
I think that LL Cool J story isvery, very important for people
to hear.
This guy is a legend.
He's been doing this, like Jeffsaid, 39 years next year will
(31:07):
be 40 years that he would haveput out his first record and and
he'll, that means he'll be whatlike 55, you know yeah, yeah,
I'm gonna tell nobody's numbersomething you know, I mean you
know, but but how do you?
but then you.
But then you got to think like,how do you tell someone of that
stature, that caliber of artist, how to improve?
(31:31):
Like that is a when, when mostof these, most of the time they
have teams and they around yes,men and people that like to
massage the ego you come alongto help enhance what is already
there.
Right, even you just workingwith Janet because, like I know
for a fact, you listen to Janetor watch Janet when you were a
(31:52):
child.
Like that, to me that is alwaysgoing to be mind blowing.
For someone such as myself,Amen, amen.
Speaker 2 (31:59):
I got to say that.
You know, shout out to.
I learned from every artist,whether it is, you know, erica
Campbell or sweetie, or you know, ruby Rose, honey Baby.
I learn from every artist and Idon't judge the art.
That's not my job.
My job is to make sure thatwhatever they're saying, that
they believe, and sometimeswe've done things where it's
(32:22):
like they didn't really believein it.
I'm like, what else are wegoing to say then?
And so what I loved aboutworking with artists and so you
know what I loved about workingwith artists artists like Nas
and LL is that they were openfor the sharpening Right.
And so I was like when I got onset you know it's again you
(32:43):
just never know what the energyis like and how someone works
and where I may come in andimmediately pounce.
That's not how people work allthe time.
And so I got to give love tothe women at Def Jam.
That created a space for me tobe truly uninhibited, so that I
could actually be my best selfon that set, you know.
(33:06):
So it was like, I think, thatwhen I and then when I first got
there, I said to Elle, I said,look, because I prayed.
I was like, lord, how is thissupposed to go?
What do you want me to do?
Because sometimes, when you'rein the fullness of you, that
could be a lot for people, right, and it doesn't mean that you
change the core.
(33:27):
It may mean that you got togive yourself in bits, right,
but it's palatable, right.
So I was like, all right, lord,tell me the best way to go
about this.
So when I got there, I said tol, I said what is the best way
to serve you in the way that youwork?
And he said just contribute.
(33:50):
If you see something, I'm openfor your ideas and your
contributions.
And then they messed around andgave me a megaphone and I was
like, I mean, so it was like itwas.
I am always learning, I'm alwayslooking for the way to expand,
(34:11):
um, and so, yeah, I had thatopportunity to work on three of
his videos.
One comes out on Friday,proclivities with sweetie.
And so I got a shout out to thewomen that I've worked with,
you know, and so she's just ajoy, and so that video shoot
will come out on Friday and I'mjust, I'm grateful that I get to
serve people in this way, and Ialways tell them.
(34:35):
I don't give anybody somethingthey don't already possess.
You know, my job is just toirritate and agitate areas of
potential that they didn'trealize they had or that was
merely lying dormant, that's it.
And so once people realizebecause I think a lot of times
it's not the artist's idea forme to be there I'm talking about
(34:56):
the younger ones, where thetranslation for them is
something must be wrong becausethe label sends them in, and so
where I pull in, I'm just gladthat that nothing goes to waste,
right.
So, as an artist, knowing whatit felt like to have everybody
have an opinion on what I do, orto some someone to have a
(35:18):
constructive critique, whateverit was, so I learned very
quickly that my, in order tohave a great session, I've got
to disarm them in the beginning.
You know, I'm not above them,I'm not below them, I see where
you are, I am vulnerable.
First, before I ask for theirvulnerability, you know, I let
(35:41):
them know that if you are in mypresence, if you are and that's
my own work that I got to dowith, knowing I'm supposed to be
in that room, right.
So I've got to have a veryimpenetrable sense of confidence
so that I say to them, if youwere sent here, that means that
they are ready to fully investin you.
Speaker 3 (35:58):
Right, right.
Speaker 2 (35:59):
I wouldn't be here any other way.
Like I don't play around withthis, you know what I mean.
So I think, once they see that,like I remember one artist came
in and he was like look, I gotto go in an hour and I'm like,
but I got you for two, and he'slike.
I got to go, you know, get myclothes for the showcase
tomorrow and I was like theshowcase that is going to really
(36:21):
declare whether they keep youas an artist.
Is that the showcase we talkabout.
Talk about it.
Look at me and I'm like I muchrather you be ready for the
performance and not have a beltthan be looking good and not
have a good performance you know, so it's like I think, and
sometimes they'll understandlike who I am.
(36:42):
they're trying to figure outwhat generation I'm in because
i'm'm you know, I'm always withmy J's and I just, but then when
I talk I sound like I could betheir oldest sister.
So it is like a level of ofearned trust that has to happen
and and a mere respect, and so,like one of my I know I'm
talking now.
Y'all got me excited, buthere's one of my like favorite
(37:04):
moments as a coach.
There was Polo G Fonio and LilTJ.
Now I like to get there aheadof schedule so that I can dip
into everybody's room and justlet them know, because nobody
wants to be corrected in frontof other people.
Speaker 3 (37:21):
Right.
Speaker 2 (37:21):
Yes, right.
So I'm like all right, okay, Igot to do this quick, I got to
get in, but I had done a.
This was during the pandemic.
I had done a Zoom presentationfor Sony executives like a
workshop, and so I was a littlebehind.
So anyway, I get there.
They're already like kind ofstarting to do little pickups.
(37:41):
And you know, I'm askingso-and-so's manager or whoever
to like to, but they're notfocused on that.
I'm a small part, I'm the piecethey don't know they need, but
they will be happy that theyhave when I'm done, right.
No, and I can't be frustratedand just be like you need, I'm
just like that's okay, I'm goingto have to move slow and I have
to move strategically.
(38:03):
So the first time they yelledcut, I went into Lil TJ and I
said whose video is it?
And he was like mine.
I was like I can't tell.
And then I backed up and so Ialways know when I walk away
they're still looking at me.
I'd be like I can't tell.
So I'm like I need more, right.
So then I come back.
(38:23):
Then they yell cut again.
I go up to Polo G.
I was like yo, you know, we'vebeen here before, like if, if I
can't see you, nobody else canyou know?
I need you to have more eyecontact with the audience.
You know what I mean.
Pick your head up and then Iback off.
And then, with Fabio, I came in.
I was like yo, every time yougive me this grunt of energy, I
(38:46):
was like it is powerful but youdon't really believe it and so
it's not counting.
I need you to make it count,right.
So now I have gotten all ofthem individually right.
So then the next time they yell,cut I can yell at all three,
because I'm yelling in a way tojust empower them.
(39:06):
But they have each already hadmy wrath, my soft wrath.
Now, as a unit, I'm like whatare we doing Now?
I didn't have a megaphone there, but Lil TJ posted if you ain't
got no hype crew like this, nohype person like this, get rid
of me.
Your crew don't hype you uplike this, get rid of them.
(39:26):
And that was a video he put onTikTok that went viral, and so
it was like it's the momentsthat you can't read about.
Like I can only understandbecause of maybe the last
session I did Right.
This ain't a no book.
This comes from being booed atthe Apollo.
This comes from getting to havethese video shooting, them
saying ain't nothing for you todo in the video, and having to
(39:56):
go back to New York after you inLA for the video shoot, only
for Hev and his people to callyou a week later and say can you
do the remix of Big Daddy?
Right?
So then the, the un, mature meI'm not gonna say immature the,
the one that has not matured yet, would have said I'm good,
right, because I'm.
I've been here before.
I know how this works, y'allain't going to play me again.
But then the one that was alittle wiser said but then
they'll call somebody else, thesame person.
(40:17):
They don't know you well enoughfor this to be personal.
Anyway, that's all I got.
Speaker 1 (40:23):
Ooh, I got three last things to say.
Okay, Number one I think thebest quote I saw from you and I
loved it and I'm going to use itin some way.
Okay, If you don't know yourdopeness, we've got a problem.
That is a great, great, greatquote.
(40:44):
I love that.
My second thing for you yes.
Speaker 4 (40:48):
Great quote, I love that.
Speaker 1 (40:49):
My second thing for you yes, all these artists out
here, if you had, if there wasone artist that you're looking
at and you say, if I could havethat person for one hour, I
could, I could, I could makethem better, like who's that
artist that you think that you,that you want to work with, that
you haven't worked with?
That's a tricky thing to say.
It is a tricky thing to say.
(41:09):
I might've not asked that theright way, but who is that
artist, though, that you see somuch potential with?
Speaker 2 (41:16):
Okay, I like that You'll edit that other part out.
Speaker 1 (41:19):
I'll edit that.
Speaker 2 (41:20):
Let's see the artist that I see so much potential
with.
Let me just say that if I canhave an hour with the new
generation of female MCs, Iwould.
I would love to embolden them,empower them even more.
Speaker 1 (41:46):
I like that All right , and then we're going to end
with this.
Okay, since you're touchingbase with all these different
people yeah, you got three of uson here that do this show.
Speaker 2 (41:57):
Yes.
Speaker 1 (41:58):
Give us your tips.
What are we doing wrong?
What are we doing right?
Speaker 2 (42:02):
Well, I don't really work in the wrongs and rights, I
work in the current.
And then let's just go higher.
The current, let's go higher.
I would start with wanting tobe able to see jeff for sure,
because that's who brought me on, that's my homie.
I want to see his face, um, butno, I let me just say that what
(42:25):
you guys are doing is sonecessary so that people don't
forget the unglossy part.
Right, they just see thesemachines running smoothly and
they have no idea that what ittakes in the team of people that
are behind them, and then alsothe, the, the mindset and the
(42:49):
tools that one must have to keepthat machine going.
So, just to expose that on thisplatform, and each of you bring
something different, you know,in terms of your gifts and your
talents, and, and so I'mgrateful to be here, and so what
I have witnessed thus far showsme you're on your way.
Keep doing what you're doing KJRose.
Speaker 1 (43:14):
I think that says it all, Thank you.
Thank you for coming on.
Thank you for sharing so muchwisdom I have it's been an
absolute pleasure to hear yourstories.
I love it.
Speaker 2 (43:28):
Thank you so much for having me continue success and
I'll keep you posted on um.
You know all the good thingsand the new, the new wins on my
end.
Speaker 1 (43:39):
I can't wait to see all this stuff.
Speaker 2 (43:42):
Yes, and I have decided, you know cause?
I've spoken at a lot of, a lotof um, different corporate
events and um and music events,but I've never, you know,
because I've spoken at a lot, of, a lot of different corporate
events and and music events, butI've never, you know.
And and in my own life, I havethese power chants that help me
to encourage myself when I'mlike, ok, that was great, but
it's, but OK, what's next?
Right?
And so I've decided to have myown signature event called
(44:04):
Confidence Con.
And so I've decided to have myown signature event called
Confidence Con, and it is goingto be September 13th.
It is to awaken your personalstar power.
We were all born with it, butsomehow along the way, we
abandoned it.
So my job is to help youre-champion that story, energize
(44:27):
the story, help you rememberall the greatness that is in you
, help you to stop.
And even in my own life, I feellike I was watching a Will
Smith YouTube video and he wastalking about how you can be at
the highest point of good.
Right, you're like the best atbeing good, but like I'm also
trying to annihilate what greatlooks like.
(44:49):
And so that's what theConfidence Con will be about.
It will be your ultimatedestination to delivering
presence and confidence at peakperformance.
September 13th.
Speaker 1 (45:05):
People.
You better be there that is KJ.
Rose, the Rose Effect.
I love it, thank you have agreat day everybody alright,
folks, that's our show.
Tune in to Unglossy, the codingbrand and culture on Apple
Podcasts, spotify or YouTube,and follow us on Instagram at
(45:26):
unglossypod to join theconversation.
Until next time, I'm Tom Frank.
Speaker 4 (45:30):
I'm Jeffrey sledge.
Speaker 1 (45:33):
Smicky, that was good .
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