Synopsis for Sex Time And Radio Vol. 3: "The Cult of Personality"

Sex Time And Radio Vol. 3: The Cult of Personality is the second release in a four book series written by author, music historian, and on-air personality MARCUS CHAPMAN. While the entire series serves as an All Access VIP pass through the world of professional radio in the ‘90s & 2000s, Vol. 3: The Cult of Personality deals with the entry into, and life inside Chicago radio station WGCI. Not only was WGCI Chicago's #1 radio station at the time, but it was also considered by many industry insiders to be the top Urban Contemporary radio station in the country during this era. The station’s air staff produced nationally known alumni like Tom Joyner, Doug Banks, and current BET voiceover talent Rick Party; as well as other stars like Mike Love, Dr. Luv, Jeanne Sparrow, Crazy Howard McGee, Irene Mojica, Ramonski Luv, Joe Soto, First Lady, The Diz, Troi Tyler, Sam Sylk, and more. Author MC Marcus Chapman was WGCI’s youngest employee in this era, and he lets the reader experience the lifestyle of an on-air personality raw and uncut.  

This book contains encounters with celebrities like R Kelly, Aaliyah, Dr. Dre, Michael Jordan, James Brown, Erykah Badu, OutKast, Tyrese, Faith Evans, Lisa “Left Eye” Lopes, and many more.  It also contains info on how professional radio stations schedule their music; how comedians like Steve Harvey originally started in urban radio; and how great clubs of the ‘90s impacted the lives of on-air talents and their listeners.  The author also discusses the difference between “DJs” and “personalities”; what took place in staff meetings; sexual escapades with some of the city’s hottest women; and the challenges, frustrations & triumphs during his own rise from studio assistant to on-air radio stardom. Sex Time And Radio Vol. 3: The Cult of Personality by Marcus Chapman is a MUST READ for every mature listener who turned on a radio from the 1990s until now!  Pick up a copy now from here: http://www.amazon.com/Sex-Time-Radio-Vol-Personality/dp/1466434791/ref=ntt_at_ep_dpt_2

Chapter titles in the book include:

The 20 Dollar Challenge; The Name Game; Telephone Luv;
Meet You at the Party; A Shot at the Title;
JB, Aaliyah, and the Dr. Dre/Tupac Battle From the Grave;

The Afterset; The Rotation; Say My Name, Say My Name;
Black Coffee; Goin’ Postal; Standing On the Outside;
Break On Through to the Other Side!; Welcome to the Club;

Livin’ Like a Rock Star (And the Legend of the 3rd Floor); Birthday Licks; Sexorcism; Balance; Time For Me to Fly 

Index subjects for "Sex Time And Radio Vol. 1 & 2: Blueprint of a Radio Star"

They say you should never judge a book by its cover, but one good way to get an idea if you'd find a book interesting is by looking through its index.  This is the list of subjects that are included in the index to "Sex Time And Radio Vol. 1 & 2: Blueprint of a Radio Star", and thus are included in the book itself.  If you can relate to anything listed below you definitely want to check out this first book in the new "Sex Time And Radio" series coming Tuesday October 4th!

-M Chapman 

Aaliyah; Above the Law; Above the Rim; Adams, Patrick; Aerosmith; Afrocentric Rap;

“Ahh, Let’s Get Ill”; Ahh…the Name is Bootsy, Baby! ; AIDS; “Ain’t No Fun (If the Homies Can’t Have None)”;  “Ain’t No Future in Yo Frontin”; AKA nightclub; All ‘N All (album)

All-Star Game; Alpert, Marv; Alpha Kappa Alpha (AKAs); Alpha Phi Alpha (Alphas);

American Music Awards; AmeriKKKa’s Most Wanted; AMG; Ammons, Gene;

“And On and On”; “Anytime Anyplace”; Appletree (record store); “Aqua Boogie”,

Arabian Prince; Armando (radio personality); Armani, Giorgio; Arrington, Steve; 

As Nasty As They Wanna Be; Atlanta; Atlantic Starr; “Atomic Dog”; Audio Two;

Average White Band; Ayers, Roy; 

Babyface;  “Baby I’m Scared of You”;  “Bad Luck”; Baisden, Michael;  Baker, Ronnie;  Bambaataa, Afrika;  Banana, BBD;  Banks, Doug; “Banks, Doug Birthday Bash”; Bansemer, Keith; Bar-Kays; Barkley, Charles;  Bauer, Eddie;  Bavido, Dave; Beach Boys;  Beastie Boys; Beatles;  Bee Gees;  Bell Biv DeVoe (BBD);  Bell, Archie & the Drells;  Bell, Pedro;  “Be My Beach”;  Benson, George;  Berry, Fred “Rerun”; “The Best of the Old School”;  BET (Black Entertainment Television); Big Daddy Kane; Bigger And Deffer ; Billboard (music charts); Billboard Airplay Monitor; Billboard Book of Number One R&B Hits; Bismarck Hotel; “A Bitch Iz A Bitch”;  Black & Blue; Blackbyrds; Black Ivory;  Blackmon, Larry;  Black Moon;  Black Sheep; Blige, Mary J. ; Blow, Kurtis; Blowfly;  “Blowfly’s Rapp”; Blue Magic; Bobby Q Bobby; Bofill, Angela; “Bonita Applebum”;  Bonner, Leroy “Sugarfoot”;  Boogie Boys;  Boogie Down Productions (BDP); Boomerang; Bootsy; Bootsy? Player of the Year; Bootsy’s Rubber Band; “Bootzilla”;  “Bop Gun”;  “Boyz-N-the Hood”; Brand Nubian; “Brandy”;  B Rezell; Brailey, Jerome;  Braxton, Toni;  Breakin’;  Breakin’ 2: Electric Boogaloo;  “The Breaks”; “The Breakthrough”; Brick; Brides of Funkenstein; Brothers (street gang); “Brother’s Gonna Work It Out”; Brothers Johnson;  Brother to Brother;  Brown, Bobby;  Brown, James;  Thaddeus “Slideback” Brown;  Walter “Get Down” Brown;  Browne, Tom;  Brownstone;  B.T. Express; “Buddy (Remix)”; “Bump N’ Grind”; Bustin’ Out of L Seven; “Buy U a Drank”; By All Means Necessary (album); Byrd, Bobby;  Byrd, Donald;  Byrd, Gary;

Caldwell, Bobby;  Call Me (album); Cameo; Cameosis ; Campanis, Al;  Candido; Candy (album); “Card Sharks”;  Carew, Rod;  Carne, Jean;  Cartea; carts; Casablanca Records; Case; Cash Box Magazine; “Catch Me on the Rebound”; Catholic school; C-Bank;  C’est Chic;  Chapman, Rex; “Chase Me”; “Cher Chez La Femme”;  Chic (band); Chicago Bears; Chicago Bulls;  Chicago Cubs; Chicago Transit Authority see CTA; Chicago White Sox;  “Children of Production”; Chiles, Chilli;  Chi-Lites; Chip E.; “Chocolate City”; “Chosen Few” (DJs); Christ, Jesus; Christianity;  “Christmas Rappin”; The Chronic; Chuck D (also see Public Enemy);  Cincinnati Bengals;  Clark-Atlanta University; Classic Slow Jamms Vol. 1 (tape); Clemmons, Vic; Clinton, Bill; Clinton, George;  The Clones of Dr. Funkenstein; “Close the Door”; Coach (fashion design); “Cold Sweat”;  Cole, Natalie; Collins, Lee;  Collins, Lyn;  Collins, Phelps “Catfish”;  Collins, William “Bootsy” see Bootsy;  Columbia College;  “Come Into My House”;  Comiskey Park; Commodores; Computer Games;  Con Funk Shun;  Connors, Norman;  Contradiction (album); “Cool McCool”; Cooper, Gary “Mudd-Bone”;  “Cop Killer”; Cordett, Esther; Cosby, Bill; “Cosmic Slop” (song); Cosmic Slop (album);  Cowley, Patrick;  CPO;  Criminal Minded; Crusaders;  Crystal Grass; CTA; Cut Creator;

Da Brat;  Dahl, Steve;  Daley, Richard;  Dallas Cowboys;  Damn Right I’m Somebody; Dash, Stacey; Davis, Miles; Davis, Ray;  daypart (also dayparting); Daz;  “Dazey Duke Fest”;  “Dead Homiez”;  Dearborn, Mike;  “Dear Yvette”;  Death Certificate; The Death of Rhythm & Blues; Death Row Records;  DeBarge, El;  “Deep Cover”;  “Deeez Nuuuts”;  “Definition of a Thug Nigga”;  Def Jam Records; DeKalb; De La Soul; De La Soul is Dead; Dell, Shannon; The Dells; Delirious; Dent, Richard; DeShong, Bonnie;  Detroit Pistons;  Dickerson, Eric;  “A Different World”;  Digable Planets;  Digital Underground;  Dinosaur L;  “Disco Demolition”;  Disco Madness (album);  “Disco Madness” (radio show);  “Disco Party”;  “Discombobulator Bubalator”; Ditka, Mike;  Divine; Dixon, Liz;   The D.O.C.;  “Doggy Dogg World”;  Dogg Pound; Doggystyle; “Doing It to Death”;  Do It (Til You’re Satisfied) (album); “Do It (Til You’re Satisfied)” (song); Dolemite see Rudy Ray Moore;  “Don’t Believe the Hype”;  “Don’t Leave Me This Way”;  “Don’t Let It Go to Your Head”; “Dope Man”; Do the Right Thing; double cassette tape deck; Double Exposure;  “The Do Wop”;  Dramatics;  Dr. Buzzard’s Original Savannah Band;  Dr. Dre;  Dr. Funkenstein; Dr. Wax Records;  Du, Soon Ja;  Dudley, Bill;  Duerson, Dave;  Duke, George;  “Dumb Girl”; Dupri, Jermaine;  Dusty Groove Records;  Dusty Radio 1390  see WGCI-AM;  Dylan, Bob;  Dyson, Lon;  Dyson, Marv; 

Earth, Wind & Fire;  Eazy-Duz-It;  Eazy-E;  Ebay.com; Ebony magazine; Ecstasy, Passion & Pain;  Ed O.G. & Da BULLDOGS; Edutainment;  Efil4zaggiN  see Niggaz4Life; 87^th street;  El Coco; E Love;  Eminem; EPMD; Eric B & Rakim; “Eric B. is President”;  ESG; Eurythmics;  Evergreen Plaza;  “Everybody Have a Good Time”;  “Experience the Tune Master”;  “An Expo for Today’s Black Woman”; 

Faces Drums;  Family Reunion;  Fantastic Voyage; “fantasy of exclusivity”; Farley Jackmaster Funk; Farrakhan, Minister Louis; Fatback; Fat Boys;  FBI (Federal Bureau of Investigations);  Federal Communications Commission (FCC);  Fencik, Gary;  “Fight For Your Right (To Party)”; “Fight the Power”;  “The Final Chapter”;  “Fire” (song); First Choice;  Five Percent Nation;  “Flash Light”;  Flavor Flav;  Flirts, the;  Flying High On Your Love; Folks (street gang);  Follow the Leader;  Fonville, Rob;  Foster, Ronnie;  4D; Four Tops; 46 Defense;  Fouts, Dan;  Foxy Brown; Foxx, Redd;  Frankie J;  Franklin, Aretha;  Frazier, Brian “Furious”;  Frazier, Leslie;  Freaknik;  “Freaky Tales’;  Freeze;  “French Kiss”;  Fresh, Doug E.;  “Friday Night Audio”;  “Fuck Tha Police”;  Fuller, Steve;  Fulwood, Tiki;  Funkadelic; “Funkentelechy”;  Funkentelechy vs. the Placebo Syndrome;  Funk or Walk;  “Funky Drummer”;  “Funky Worm”; 

Gamble, Kenny;  “Gangsta Gangsta”;  Gang Starr;  Gannett;  Gap Band;  Gardner, Tanaa; Garvey, Steve; Gault, Willie; Gaye, Marvin;  Gaynor, Gloria;  George, Nelson;  Geto Boys; “Get Off Your Ass and Jam”;  “Get On Down”;  “Get Up, Get Into It, Get Involved”;  G Funk; Ghetto Music: the Blueprint of Hip-Hop;  Gill, Johnny;  Gilmore, Artis;  “Gin and Juice”;  Girbaud (fashion design); “Girls L.G.B.N.A.F.”;  “Give Up the Funk” see “Tear the Roof Off the Sucker”;  Glamour Girls; GloryHallaStoopid;  “Go Cut Creator Go”;  “Going Back to Cali”;  Goins, Glenn;  “Good Old Music”; Goody Goody;  “Good Times” (song);  “Good Times” (TV show);  Gordy, Berry;  GQ (band);  GQ magazine;  Grammy Awards;  Grandmaster Flash & the Furious Five;  Grasso, Francis;  Great Scott Records (also see Record Box);  Green, Al;  Green’s, Al Greatest Hits;  Greer, Al;  Grier, Pam;  Grey & Hanks;  “The Grunt”;  Gucci;  Guess (fashion design);  Gumble, Bryant & Greg;  Guru;  “Gutfest ‘89”;  Guy;  “Gz Up, Hoes Down”

Hall, Aaron;  Hall, Arsenio;  Hammond, Johnny;  Hampton, Dan; Hampton, Michael; Hancock, Herbie;  Hardcore Jollies;  Hardy, Ron;  Harlins, Latasha;  Harris, Norman;  Harris, Ricky;  Harris, Wood;  Hartenstine, Mike;  Haselrig, Jacquie;  Haskins, Fuzzy;  Hatchett, Andre;  Hatchett, Tony;  Hayes, Isaac;  Haywood, Leon;  Heard, Larry;  Heatwave;  Heavy D & the Boyz;  Heller, Jerry  Henderson, Jocko; Henderson, Michael;  Hendrix, Jimi;  Higher Learning;  “Hit and Run”;  Holloway, Loleatta;  Holmes, John;  Honey (album); “Hot Mix 5”; House Mike;  Houston, Thelma;  Houston, Whitney;  Howard, Adina;  “How Ya Like Me Now”;  H-Town;  Hudson, Al;  Hudson, Mike;  Huff, Leon; Humphrey, Bobbi;  “The Humpty Dance”;  Hunt, Gene;  Hunter, Terry;  Hurley, Kim;  Hurley, Steve “Silk”;  Hutch, Willie;  Hutchinson, Hugo “Hot Mixing”; Hyatt Regency;  Hyde Park Racquetball Club

“I Ain’t No Joke”;  “I Ain’t Tha 1”;  I Am (album); “I Can’t Live Without My Radio”;  “I Can’t Turn Around”;  Ice Cube;  Ice-T; “I Don’t Want Nobody to Give Me Nothing (Open the Door, I’ll Get It Myself)”;  “I Know You Got Soul”;  Illinois State University;  “I Love Music”;  “I’m a Big Freak”;  “I’m a Homeboy”; “I’m Bad”;  I’m Gonna Git You Sucka;  Imports record store;  I’m Still In Love With You;  “Indo Smoke”;  “I Need Love”;  “In Living Color”; “I Love Music”;  Instant Funk;  “intake process”;  Intelligent Hoodlum; Invisible Man’s Band;  Iowa;  IRS (Internal Revenue Service);  “Is It All Over My Face”;  Is It Something I Said? ;  “It’s Showtime at the Apollo”; “It Feels So Nice (Do It Again)”  It Takes a Nation of Millions to Hold Us Back;  “It Takes Two”;  “I Want’a Do Something Freaky to You”;  “I Want to Thank You”

Jackson, Freddie;  Jackson, Janet;  Jackson, Jesse;  Jackson, Michael;  Jackson, Reggie;  Jackson, Samuel L; Jackson 5 (and Jacksons); “Jack the Ripper”;  Jacobs, Debbie; Jam, Jimmy;  James, Bob;  James, Rick;  Jason, Kenny “Jammin”;  Jay-Z;  Jazzy Jeff & the Fresh Prince (also see Smith, Will);   The JB’s;  Jefferson, Marshall;  Jet magazine;  “Jimbrowski”;  Jimmy, Bobby & the Critters;  Jimmy “The Greek”;  Jodeci;  Johnson, Joel “Razor Sharp”; Johnson, John H.;  Johnson, Robert “P-Nut”;  Johnston, Bruce;  Jones, Marshall;  Jones, Quincy;  Jordan, Michael;  Jordan, Montell;  Joyner, Tom;  JP Chill;  Jungle Brothers;  “Jungle DJ”  see “Life Is a Jungle”;  “Just As Long As I Got You”; Just Ice; 

“Kanday”;  Kappa Alpha Psi (also see Nupes);  Kelly, R;  Kemp, Johnny;  Kendricks, Eddie;  Kent, Herb;  Kentucky Fried Chicken;  Kersey, Ron “Have Mercy”; keyboard bass; Khan, Chaka (also see Rufus);  Kid ‘N Play;  Kikrokos;   K-ill;  King, Alan;  King, Dr. Martin Luther;  King, Rodney;  Kingman, Dave;  Klein & M.B.O.;  Klugh, Earl;  KMD;  “Knee Deep”;  Knight, Gladys & the Pips;  Knuckles, Frankie;  Kool & the Gang;  Kool Moe Dee;  K104;  Kraftwerk;  Kranz, George;  KRS-One  (also see Boogie Down Productions);  Krush Groove;  Kurupt; 

LaBelle, Patti;  Lady of Rage;  Lady Reed (also see “Sensuous Black Woman”);  Lakeside;  Lakim Shabazz; La Rock, Scott (also see Boogie Down Productions);  Last Night a DJ Saved My Life: the History of the DJ;  Laws, Ronnie;  Leaders of the New School; Led Zeppelin; Lee, Kimora;  Lee, Spike;  “Le Freak”;  Lethal Injection;  “Let Me Ride”;  “Let No Man Put Asunder”;  Let’s Get it Started;  Let’s Stay Together;  “Let’s Stay Together” (song);  Let’s Take It to the Stage (album); “Let’s Take It to the Stage” (song);  Levan, Larry;  LeVert, Eddie; Lewis, Ramsey;  Lewis, Terry;  Liaisons Dangereuses;  Licensed to Ill;  “Life is a Jungle”;  Lifeline;  Lil’ Kim;  Lil’ Louis;  Lincoln Hall;  Liquid Liquid;  LL Cool J;  Lloyd Devastating Jackmaster;  Long Dong Silver;  Look Out For #1;  Loose Joints;  Los Angeles Lakers; Los Angeles Rams;  Los Angeles Riots of 1992; “Los Niños del Parque”;  Lost Records;  “Love and Happiness”;  Love Committee;  “The Love I Lost”;  “Love Is the Message”;  Love, Joeski;  Love, Monie;  “Love Sensation”;   The Low End Theory;  Lowrell;  Loyd, Overton;  LTD;  LTG Exchange; Luv, Ramonski;  Lynn, Cheryl;  Lynn, Fred

Mabry, Lynn;  The Mack;  Made in USA;  Madonna; Maggot Brain (album);  “Maggot Brain” (song);  “Mainline”; Malcolm X;  Mann, Herbie;  Marie, Angela;  Marie, Teena;  Marino, Dan;   Martin, Craig;  “Mary Mary”;  Marshall, Wilbur;  Mason, Harvey; Maxell tapes;  Mayfield, Curtis;  MC Breed;  MC Breeze;  MC Hammer;  MC Lyte;  MC Ren;  MC Shan;  McCartney, Paul; McClain, Janice;  McDonalds;  McGee, Crazy Howard;  McGriff, Jimmy;  McKinnon, Dennis; McMahon, Jim;  McMichael, Steve;  Melle Mel;  “Melodies”;  Melvin, Harold & the Blue Notes (also see Pendergrass, Teddy);  Mendel;  “The Message”;  “Message In Our Music”;  Message in the Music;  MFSB;  Miami Dolphins;  Michael, George;  Michaels, Jammin’ Dave;  Middlebrooks, Ralph “Pee Wee”;  Mint Condition;  Mista Grimm;  Mix Your Own Stars;  Mizell brothers (Larry & Fonce);  Mo’Betta Blues; Mojica, Irene;  Moments, the;  Monkees, the;  Montana, Joe;  Montana, Vince;  Moog synthesizer see keyboard bass; Moore, Rudy Ray (also see Dolemite);   Morrison, Walter “Junie”;  Mosson, Cordell “Boogie”;  Mother’s Finest;  Mothership Connection;  “Mothership Connection (Star Child)”;  Motor-Booty Affair;  Motown Records: Moulton, Tom;  “Move Your Body”;  “Mr. Wiggles”;  Muhammad, Honorable Elijah; Murder Was the Case;  Murphy, Eddie;  Music Box (also see Hardy, Ron) “Music is the Key”; Musique;    “My Adidas”;  Myers, Alicia; My Life (album);  “My Rhyme Ain’t Done”;

NAACP;  Nate Dogg;  National Basketball Association (NBA);  National Football League (NFL);  Nation of Islam;  Native Tongues;  Naughty By Nature;  Nelly; Newcleus;  New Edition;  New England Patriots;  New Jack City;   New Jack Swing;  “The New Style”;  New York City; New York Giants;  New York Knicks;  “New York New York”; “The Nigga Ya Love To Hate”;  Niggaz4Life;  “Night of the Living Base Heads”;  93^rd street;  95^th street;  “No Head, No Backstage Pass”;  Northern Illinois University (NIU);  The Northern Star;  “No Sleep Till Brooklyn”; Notorious B.I.G.; Nunnally, Keith;  Nupes (also see Kappa Alpha Psi);  “Nuthin’ But a G Thang”; NWA; NWA and the Posse 

Off the Wall; Ohio Players;  “Oh! Veronica”;  O’Jays;  “Old School Sunday”;  Oliver, Mickey “Mixing”;  Omega Psi Phi (Ques);  “On and On Tracks”;  “Once Upon a Time in the Projects”;  O’Neal, Ron;  106 Jamz;  “119” (also see Mix Your Own Stars);  One Nation Under a Groove (album);  “One Nation Under a Groove” (song);  “One of a Kind (Love Affair)”;  One Way (also see Hudson, Al);  “Only the Strong Survive”; Operation Push;  “Optimo”;  Originals, the

Paid In Full;  Pandy, Darryl;  “Papa’s Got a Brand New Bag”;  Paris (rapper); Parker, AJ;  Parker, Maceo;  Parker Jr., Ray;  Parlet;  Parliament  (also see Funkadelic);  Parliament Live-P. Funk Earth Tour;  “The Party Before the Party”;  Party, Rick;  “Pass the Peas”; Patra;  Paul, Billy;  “Paul Revere”; The Payback (album);  “The Payback” (song);  Payton, Walter;  “Peace Pipe”;  Pearl, Princess;  Pegue, Richard;  Pendergrass, Teddy (also see Melvin, Harold & the Blue Notes);  “People Make the World Go Round”; Peoples Instinctive Travels and the Paths of Rhythm;  Perry, William “The Refrigerator”;  Pete Rock & CL Smooth;  “Peter Piper”;  P-Funk see Parliament and Funkadelic;  “P-Funk (Wants to Get Funked Up)”;  Pharcyde; Pharris (DJ);  Phi Beta Sigma (Sigmas);  Philadelphia Classics;  Philadelphia Eagles;   Philadelphia International Records;  Philadelphia 76ers;  Phillips, “Air Man” Gene;  Phoenix Suns;  Phreek;  Pink Floyd;  Pink House; “Placebo Syndrome”; Places and Spaces; “Planet Rock”;  Playboy; Please Hammer Don’t Hurt ‘Em;  Poetic Justice;  Poitier, Sidney;  Polydor Records; Ponsar, Serge!; Poor Righteous Teachers; Porter, Art;  Powell, Kevin;  Powell, William; The Predator (album);  Prince;  Principle, Jamie;  Professor X the Overseer (also see X Clan);  “Proud To Be Black”;  Pryor, Richard;  Public Enemy;  “Peut etre…pas” (“The Other One”); Puff Daddy;  “Pull Fancy Dancer Pull”;  “Push It”

Queen;  Queen Latifah;  Ques (see Omega Psi Phi);  Quik, DJ       

Radio & Records (R&R);  “Radio Scope”;  Rags, Jim;  Raising Hell;  Ramp;  Rams Horn Records;  “R&B Classics”;  “R&B Spotlights”;  “Rapper’s Delight”; “Raw”;  Rawls, Lou;  Reagan, Nancy;  Reagan, Ronald;  “Rebel Without a Pause”;  Record Box (also see Great Scott Records);  “Regulate”;  Reid, L.A.;  Reynolds, Sheldon “Spinning”; Rhyme Pays;  Richardson, Mike;  Riley, Teddy;  Riperton, Minnie;  Ripple;  Rob Base & DJ EZ Rock; Robinson, Sylvia;  Robotnic, Alexander; Rocca, John;  Rock, Chris;  “Rock Creek Park”;  “Rock the Bells”;  “Rock the Boat”; Rolling Stone magazine;  Rolling Stones;  Rosario, Frankie;  Rose Royce;  Ross, Diana;  Ross, Sean;  Round 2 (album); “Roxanne Roxanne”;  Rozelle, Pete;  Rubin, Rick;  Ruffin, David;  Rufus (also see Khan, Chaka);  “Rumpofsteelskin”;  “Rump Shaker”;  Run-DMC;  Rush, DJ;  Rushen, Patrice;  Ruthless Records;  Ryan, Buddy;

Sade;  Salt-N-Pepa; Salsoul Orchestra;  Salsoul Records;  San Diego;  “Sanford & Son”;  San Francisco 49ers;  Saturday Night Fever;  Saturday Night the Album;  Sauers;  Saunders, Jesse;  “Say It Loud-I’m Black and I’m Proud”;  School Daze;  Schoolly D;  Scott, Dennis;  2^nd Hand Tunes;  Secret Weapon; “Self Destruction”; “Sensuous Black Woman Meets the Sensuous Black Man”;  “Sex Machine”;  Sex Packets;  Shante, Roxanne;  She Devil poster;  “She’s a Skeezer”;  “the shhh game”;  Shider, Gary;  Showdown (album); Side Effect;  Sigma Gamma Rho;  Silva, Dawn;  Silz, Scott “Smokin”;  Simmons, Russell;  Simpson, Donnie;  Simpson, O.J.;  “Sing a Happy Song”;  Singletary, Mike;  Singleton, John;  “Sir Nose D-Void of Funk”;  63^rd & Hayes;  Ski, Frank;  Skinny Boys;  “Skin Tight”;  Slave (also see Steve Arrington);  Slick Rick;   Sly & the Family Stone; Smith, Elroy;  Smith, Lonnie Liston;  Smith, Will (also see Jazzy Jeff & the Fresh Prince);  Snipes, Wesley;  So Full of Love; Soldier Field;  Solo (group);  Some Ole Fly Gangsta Sheet!; Songs in the Key of Life;   Soul For Real;  “Soul Power”;  “Soul Train”;  Soul Train Awards; Soul II Soul;  South Shore Commission; The Source magazine;  Sparque;  Special Ed;  Special K;  Spinners;  Spirit (album); Spoon, Marco;  “Squeeze the Trigger”;  Standing on the Verge of Getting It On;  StarKist Tuna; Starks, John “Jabo”;  Steele, Richard;  Steely Dan;  “Stomp” (song);  “Stop the Violence”;  Stop the Violence Movement;   Straight Outta Compton;  Strain, Sammy; Stripling, Sylvia;  Stubblefield, Clyde;  Stylistics;  Sugar Hill Gang;  Summer, Donna;  “Super Bad”;  Super Bowl;  “Super Bowl Shuffle”;  Super Fly;  Sure!, Al B.;  Survival (album);  “Survival” (song);  Sweat, Keith;  Sweet MD; Sweet Peter Jeeter; “Sweet Sticky Thing”; SWV; Sylvia see Robinson, Sylvia

“Take Your Dead Ass Home”;  Tales of Kidd Funkadelic;  “Talkin’ Loud and Saying Nothin”;  Taste of Chicago;  Taylor, Brenda;  TDK tapes; “Tear the Roof Off the Sucker”;  Technics 1200s; Tempest Trio;  Temptations; “That Girl’s a Slut”;  That Nigger’s Crazy;  Theismann, Joe;  Theus, Reggie;  “Think” (song); 3^rd Bass;  “Third Choice Theory”;  Thomas, Clarence;  Thomas, Grady;  Thomas, Joe;  Thomas, Rufus;  “Thousand Finger Man”;  Thriller;  “Time to Jack”;  Tittle, LaDonna;  TLC;  To Be True;  Todd, Pam;  Tone Master tapes;  Too Hot to Handle;  Too Legit to Quit;  Too Short;  “Top Billin”;  Top R&B Singles 1942-1988; Tougher Than Leather;  T-Pain;  Trammps;  Travelin’ at the Speed of Thought;  “Treat Her Like a Prostitute”;  Trent, Ron;  Tresvant, Ralph;  A Tribe Called Quest;  Trombipulation;  “True to the Game”;  T Sha Blee;  “TSOP”;  Tucker, C Delores;  “Turn Off the Lights”;  Turrentine, Stanley;  12 Play;  2 Live Crew;  2Pac (also Tupac);  Tyner, McCoy

Uncle Jam Wants You; Underground, Glenn; Urban Adult Contemporary (Urban AC);  Urban Contemporary (Mainstream Urban); Usher; UTFO;

Vandross, Luther;  Van Halen;  Vanilla Ice;  “The Vertical Joyride”;  Vibe magazine;  “Video Soul”;  Vincent, Rickey;  Virginia;  V103 see WVAZ;  Vuitton, Louis

Waddy, Frankie “Kash”;  “Walk This Way”;  Walsh, Bill;  War (band);  Washington Redskins;  Washington Jr., Grover;  Washington, Steve;  “Watching You”;  Wayans, Damon;  “W-BALLS”;  WBMX;  WDEK (DeKalb);  “WEFUNK”;  Wesley, Fred;  Westbound Records;  WGCI-AM (1390);  WGCI (107.5 FM); “What’s Happening” (TV show);  What’s the 411?;  Where Will You Go When the Party’s Over;  Whistle (rap group);  Whitburn, Joel;  White, Barry;  “White Lines”;  Whodini;  WHPK (88.5);  Wilkes, Sybil;  Williams, Boo;  Williams, Doug;  Williams, Lenny;  Williams, Mike;  Williams, Walter;  Williams, Wayne;  Williamson, Fred; Willi Wear; Wilson, Otis;  Winfrey, Oprah;  Withers, Bill;  “Wizard of Finance”;  WJPC (950 AM);  WJPC (106.3); WKDI (93.5 DeKalb); WKKC;  WLUP;  WNUR;  Wolfe, Colin; Womack, Bobby;  Womack & Womack;  Wonder, Stevie;  Wonder, Stevie’s Original Musiquarium I  Word Up! magazine  World Class Wreckin’ Cru; Worrell, Bernie;  WOWI (Virginia);  Wreckx-N-Effect;  WSSD; WTLC (Indianapolis); WVAZ (V103)  

X Clan; Xscape;

Yella, DJ; Yo! Bum Rush the Show; “Yo! MTV Raps”;  “You Be Illin”;  Young, Earl (also see Trammps);  Young, Marc;  “You Know How to Reach Us”; “You Know How We Do It”; “You’re Just the Right Size” ;  “Your Love”

Zeta Phi Beta (Zetas)

Marcus Chapman audio interview with HipHopRuckus.Com

Dangervision interviews Marcus Chapman (Author of ‘Sex,Time & Radio) [Audio] HipHopRuckus.Com

"History, Jealousy, Hook-Ups & Celebrity" a Talk with Controversial "Sex Time And Radio" author Marcus Chapman

This interview was conducted in April 2011 for the website aBlog4Guys.com:

Q: Hey Marcus, thanks so much for doing this interview with me, I just finished reading your book, and I enjoyed it immensely. After years of being on the radio, what made you want to sit down, write this book, and give your fans an inside look at your life?

A: Well first off, I wouldn’t use the term “fans” at all.  To me, that’s for singers, rappers, bands, actors & other people on the higher end of the entertainment industry, not radio people.  Anybody in radio who looks at listeners as fans is fooling themselves because even if they like you, your “fans” will be checking out the next person if you leave the station, so you can’t get caught up in the hype. Now in my case, the next person probably ain’t nowhere near as good as me, but that’s another story! (laughing)  

   As far as the book goes, I wrote it because I wanted to document not only my own life, but also what took place in the radio industry during the ‘90s & early 2000s. I wanted to show what it was like to really be that person who was working behind the microphone, and everything that went along with living that lifestyle.  That meant the music, the clubs, the concerts, the meetings, the women, the stress, the disappointments, and all the changes that happened leading up to today’s environment. It was actually supposed to be a movie script, not a book.  But now that the book’s been written, it’s one step closer to becoming a film.

Q: Sex Time And Radio, or STAR, is quite a title, when it was first emailed to me, the title immediately grabbed my attention.  How did you first come up with that title?

A: I came up with the title back around 2002, but I really don’t remember how or where I got it from. I think certain things in life just don’t have any explanation; they just are.  I can explain the significance of the title.  How I came up with it is a different story. I knew it was hot though, and that the “S.T.A.R.” acronym would give me a good marketing angle too.

Q: When you were a young child, was it always your dream to one day be on the radio and to be an entertainer, or did you dream of pursuing a totally different career path?

A: No, radio was never a “dream” of mine, but writing the book gave me a chance to look back and figure out how and why I got into it.  That’s what Part 1 of the book is about. It’s called “Blueprint of a Radio Star”.  The idea was to explore what kind of real life experiences a person could have that would lead them down that path.  I used my own life to show what those experiences might be, but anyone who’s gone into radio had to have something that led them in that direction.  What makes it good though is that I wasn’t just exploring what would make a radio personality; I was exploring what makes a radio star, and that’s a whole other level.  Like its one thing to be a basketball player, it’s another thing to be on the level of Michael Jordan or Kobe Bryant; people who are not only talented, but have the drive to be the best and be champions.  That was always my attitude towards what I was doing, but I wanted to dig deeper into what made that attitude in the first place. Plus you can’t be a personality without being a person, and those early life experiences were crucial in creating that attitude.

Q: Who were some of your early radio/entertainer idols?  Did you look up to any personality?

A: I didn’t look up to anybody on the radio, but I was definitely influenced by certain shows I heard.  I grew up in Chicago during the House Music era of the ‘80s, so I listened to a lot of mixes that aired on the different stations.  My favorite was a show called “Disco Madness” on WHPK with a DJ named Lee Collins.  That was back in like ’85-’86, but to this day it’s still my favorite radio show of all-time; musically speaking. I was also into the rap shows on WHPK that I started checking out in ’86. I documented the whole Chicago House scene in a chapter called “House Party”, and the hip-hop scene of the time in a chapter called “The Cool Scholar of New York”.  I don’t think anyone has ever written a better piece about growing up during that era of hip-hop, and I know nobody’s written a better one about the house scene.  The first-hand knowledge of the music & culture from those two chapters alone make the book worth owning.

Q: What was the feeling you got when you landed the job at Chicago's number one radio station and being the youngest employee there at the time?

A: Well I didn’t really “land the job” so to speak.  There was a whole series of events that took place during the summer of ’95 that eventually led to me working at the station. Matter of fact, I wasn’t even an actual employee of the station when I first worked there, and before that I was just showing up every night as if I was employed when I really wasn’t.  The whole process of how I made the transition from college graduate to working at a major station is covered in a chapter called “The 20 Dollar Challenge”.  It’s the first one in Part 3 of the book, which is called “The Cult of Personality”.  Actually there was so much happening at the same time in that last half of 1995 and early ’96 that it took several chapters to cover the era properly.  “Telephone Luv”, “The Name Game”, “Meet You at the Party”; all of those are about different aspects of that era, and all of the events were happening at the exact same time.  Before I started writing I had to really figure out what was going to go in what chapter so the story would flow well without jumping all over the place.  It was a pretty exciting time with a lot of exciting people to say the least.      

Q: Were all of your friends jealous that you got such a cool job at a radio station?

A: Good question; and that’s actually dealt with in the chapter I just mentioned; “Meet You at the Party”.  Most people who knew me at the time were pretty excited by the idea of knowing somebody at the station; even though I was only being heard in the background from time to time.  But for some people it was difficult to deal with because I was taking the attention away from them, without even trying to do so.  It all revolved around women, or the perception that I was gonna get more women than they were.  The reactions I got from others, and the results of how I chose to deal with it, make that a pivotal part in the whole Sex Time And Radio story.

Q: Did any of your friends/family members expect you to give them free CDs or concert tickets since you worked at the radio station?

A: If they did it was never brought to my attention.  The whole thing with that is I never tried to win people over by posing as “the hook up man”.  Some people think you automatically have access to free stuff when you work in radio, but a lot of times it’s not all that easy just to get things for yourself, let alone trying to get stuff for other people.  The promotions department handles all the prizes, not the people who work in the studio, and getting stuff from promotions can sometimes be a challenge.  CDs were a little easier because we could get them from the music director, but concert tickets?  Man, please! They had forms you had to fill out and limits to how many requests you could put in over a certain time period.  I wasn’t about to do all that shit just to be “hooking people up”.  Besides, I didn’t go into radio to give my friends & family freebies.  I wasn’t even thinking like that because that wasn’t the point of me being there.

Q: When you were out in the clubs, it must have been a pretty good pick up line to tell the girls that you worked at Chicago's number one radio station?  Did it get you laid a lot?

A: Pick up line? Man I would’ve NEVER said that to a woman. That’s lame as hell! (laughing)  First off, I was getting laid before I worked in Chicago radio, so I had already developed communication skills to get me there with girls.  Working at the station gave me the opportunity to get in more places, which led to me getting more chances to meet more girls.  My serious clubbing days started right around that same time, and the techniques I developed to meet women at parties is documented in that same chapter I spoke about earlier; “Meet You at the Party”.  It was really interesting to think back to that era, and all the different things I did & didn’t do at the clubs I went to.  Working at the station was certainly a plus, but I didn’t, and couldn’t, lean on that anyway because nobody knew who I was at the time.  Once my name started to get out there more, I still didn’t walk up to women telling them where I worked or who I was.  I’d ask them for their name and then tell them mine, but I let them figure out I was the guy from the radio station.  By doing it that way I didn’t come off like I was trying to be noticed, which is a turn off to a lot of women.  I was way smarter than that. Being too obvious makes you look like a corny lame.

Q: Please describe the feeling on your first day as an on-air personality?  Were you nervous?

A: Ha! That’s the great thing about this book.  I knew these were the types of things a lot of people wanted to know, so I wrote about them. The exact feelings I went through and thoughts I had during that first show are documented in the book too.  That’s covered in a chapter called “A Shot at the Title”.  I take you through the whole process of how the night unfolded, and it has an interesting plot twist to it.  Without giving it away, I’ll just say that Michael Jordan and the 1996 Chicago Bulls played a big role in what happened.  Matter of fact, you can actually hear the show I did that night on the audio page of my website, http://mcmarcuschapman.com  or  http://sextimeandradio.com  You can listen or download the audio for free.

Q: Were you able to sleep the night before?

A: Yeah.  I didn’t even know I was going on the air that night until a few hours earlier, so sleep wasn’t a factor.  Exactly why I didn’t know is another plot twist in the story.

Q: What was your favorite moment as a radio personality?

A: It’s hard to pick one moment, but I’d say the combination of hosting a hot show on the air then going to host the hottest club in the city every Saturday night in 1999 was easily the most fun I ever had; especially when I was on stage.  There were four personalities from the station hosting the same party, and at times all four of us were on stage together.  I was watching a lot of old concert footage of different bands from the ‘70s then, and hosting the club was like my version of being in a rock band. I was like the black David Lee Roth or Robert Plant!  Sometimes I was on stage by myself hyping the crowd up on the mic, and sneaking off with chicks to other parts of the club people didn’t even know existed! All that stuff is covered in the chapter “Livin’ Like a Rock Star (And the Legend of the 3^rd Floor)” and another one called “Balance”.  I take you right there with me through all those adventures so you can feel what it was like to be there.  That’s also where the best stories came from that sparked the whole Sex Time And Radio concept.  Broadcasting live from the “Up in Smoke Tour” that Dr. Dre, Snoop Dogg, Eminem, Ice Cube, and a bunch of other West Coast rap stars did in 2000 was a huge highlight too.  I also hosted the after party for it.  I was in Indianapolis by then.  That’s in the book too.   

Q: What was the worst moment as a radio personality?

A: Well again, it’s hard to pick out one.  I wish one was all I had (laughing).  Trust me, there were a lot of them that could qualify for “worst moment”, but that’s a big part of the whole Sex Time And Radio experience; and the experience of being in radio period.  People think it’s just a bunch of fun & games & glamour, but radio has crushed a lot of spirits man; A LOT of ‘em.  By the time you finish reading the book you’ll feel how much of a rollercoaster ride it can be and how easy it is to fall off and break your neck at full speed if you’re not careful; or get pushed off by the industry.

Q: Do you have any regrets?

A: That I was never heard consistently during the week in Chicago.  I was on everyday in Indianapolis & Dallas, and I was kicking ass.  There’s a certain rhythm you get into when you’re on the radio everyday.  When I got in my rhythm I was steamrolling cats like Jordan in his prime; nobody on the air could touch me.  Unfortunately listeners in my hometown never got to hear me on that kind of a roll because I was just doing weekends and “guest starring” for other people on their shows.  The whole city would’ve been much better off if I’d been on everyday.  Not just me, not just the station, but the whole city because I would’ve used my position to have a positive impact beyond just being the shit on the air or hosting parties.    

Q: Who is the worst person that you've ever interviewed?  Why?

A: I get asked that a lot, and the answer is nobody.  Interviews were never the focus of my shows, but when I had them the artists were usually courteous and happy to be on.  Some were better than others, but none of them were bad.  I did have a couple of not-so-great run-ins with artists, but they weren’t during interviews, and they were from some pretty surprising sources.  Those stories are documented in the book too.

Q: What was the number one perk about working at Chicago's number one radio station?

A: In the ‘90s I guess it was getting into clubs for free or occasionally getting free music; which would’ve been the same for the other cities I worked in.  But I hate the word “perk” because it makes it seem like those things were automatic because of the job, and trust me, that was not the case.  A lot of that stuff had to be earned, and it changed during the 2000s anyway.  It’s to a point now where I see cats complaining on Twitter about being shut out of clubs even though they’re on the radio.  I went through it too sometimes, and I wrote about it too.  The respect level just isn’t the same as it once was in a lot of cities, so the so-called “perks” can be hit or miss depending on the situation.     

Q: After getting your on-air position, it must have been fun to walk around the streets of Chicago as a quote unquote celebrity?

A: Man, please. That wasn’t automatic either, and I never really had that attitude.  Being on the radio is being in the spotlight, but it isn’t on the level of being in movies, on TV, or a pro athlete.  You can only be a celebrity to people who see you that way, so even if you’re doing really well, you can’t assume folks know who you are or will treat you like a star.  I wasn’t even on during primetime hours when I first got on, so most of the city didn’t know me at first.  There were some who saw me as a star because they listened to my show and actually heard how entertaining I was; then there were others who had never heard of me and could care less.  There were times when I got dissed out in public simply because of the time I was on.  Then once I got real good and got on in primetime I got treated a lot better.  I’ve experienced both ends of it, so I know the ups & downs.

Q: Do you have any favorite female listener moments?

A: Oh hell yeah.  There are several I can think of that happened in 1999 because those women & those events were so memorable, but really they’re throughout various points in the book.  Read it yourself and see if you can pick one! (laughing)  I’m thankful I met all of those women.  I’m still friends with some of them and would enjoy talking to the ones I lost contact with.  It would be cool to see how they’re doing now.

Q: What's the craziest/most shocking thing a listener has ever said to you?

A: Oh that’s easy.  A chick in Dallas called and said she masturbated while listening to me every night.  That’s in the “Subliminal Sedu’sa” chapter.  You want crazy, shocking sex stories?  That’s the chapter right there; or at least one of them.

Q: Was writing Sex Time And Radio one of the hardest projects you've ever undertaken?

A: It was THE hardest project because it was like re-living everything again, but it’s also the most gratifying because of the results.

Q: The book is divided into five different parts, what made you decide to structure the book in this fashion?

A: It’s structured that way due to the events and changes that took place.  Part 1 “Blueprint of a Radio Star” is the path that led to being in radio; as well as the path to being “that dude” sexually.  Part 2 “Rebel Music of a Sex Machine” deals with getting into college radio and the music & events that shaped my attitude.  Part 3 “The Cult of Personality” takes you inside life at Chicago’s top station in the ‘90s.  Part 4 “Road Warrior on the Industry Map” shows you what it’s like to work in professional radio away from your hometown; which is the scenario for many air personalities.  The 5^th and final part “Communication Breakdown” takes you through the decline of the radio industry in the first decade of the 2000s.  

Q: What was your favorite part in the book to write?  Why?

A: Part 3.  The fun to drama ratio was much better during those years.  I grew from being an assistant working the phones to the hottest air talent in town.  That 1995-1999 period means as much to me as college does for a lot of people.

Q: Do you regret writing about any of the topics in your book?

A: No I don’t. The experiences are authentic and they achieve the goal I was going for, which is for the reader to feel what it’s like to live that lifestyle.  I do feel a little awkward telling older people about it due to some of the topics and language, but it’s no different from listening to Richard Pryor & Rudy Ray Moore in the ‘70s, and the whole thing serves a good purpose overall.

Q: Has there been any backlash from any person about some of the candid material in your book?

A: Not yet, but I’m sure some will be coming sooner or later (laughing). The feedback from readers has been good overall because it’s a damn good book! The customer ratings on Amazon prove that.  I’ll put it up against anything else that’s out there competing for your entertainment dollar.

Q: What do you want your readers to come away with after reading your book, Sex Time And Radio?

A: There are a lot of things people will come away with after reading it.  I present solutions and different ways of thinking about the HIV & AIDS situation; better understandings of how music is chosen & programmed on radio stations; insight into the mind & soul of a man in the spotlight dealing with women; the roots of the male sex drive; all kinds of stuff.  Music history, radio, sex, different aspects of Sex Time And Radio will appeal to different people depending on what they find the most interesting.  

Q: What are some of your upcoming/future projects?

A: The #1 project right now is the re-release of Sex Time And Radio as a series of books instead of just one.  The ebook version has done very well; in fact, we hit #1 in the soul music category on Amazon.com twice during the month of March.  Re-releasing it as a series through a different company will give us better distribution for the paperback edition.  It’ll be easier and more cost effective for stores to order it, which in turn will lead to more readers and me doing book signing events. We’ll also have S.T.A.R. merchandise for purchase at those events, so it’s all about to get a lot bigger.

Q: And finally, where can my readers follow you and your new ventures?

A: I’m not hard to find at all.  I’m on both Facebook and Twitter @mcmarcuschapman.  I’m on facebook a little more because I have way more people on my page there, but I try to do some tweeting too.  I can also be reached through my site, http://mcmarcuschapman.com or http://sextimeandradio.com  The site has the audio page, which is like the soundtrack to the book.  It includes clips from various shows I did over the years, as well as interviews with people like Keyshia Cole, Rick Ross, Lisa “Left Eye” Lopes, Ice Cube, Nas, and other folks.  There’s a video page that has footage from inside the studio, links to nearly 1,000 great pics that relate to the contents of the book, and a page with other interviews I did to promote Sex Time And Radio.

Thanks, Marcus, so much for doing this interview with me for my site aBlog4Guys.com, I'm sure my readers will love this interview and your book.

Thank you too for having me on your site.