Words: May 2004 Archives

May 28, 2004

The Ru Report #136

Give My Regards…Comeback Trail
Tony Award winning actress-singer Tonya Pinkins is more than a woman.

She's a force to be reckoned with.

And I'm not only talking about on the New York stage, where she has blazed her trail with marvelous performances in Encores! Presentation of "House Of Flowers," "Play On!," "The Vagina Monologues," "Merrily We Roll Along," "The Wild Party," and her Tony Award-winning turn in "Jelly's Last Jam."

This Chicago-reared divorced mother of four's life story is one of relentless resilience.

"I often say it took twenty-seven years in prison to make Nelson Mandela [the] President. And sometimes those hard things that you go through are actually what are making you strong." This is Tonya Pinkins chatting it up in her lilac and green accentuated, plush dressing room, backstage at Broadway's Neil Simon Theater, where she just finished banging out a Saturday afternoon matinee of the critically-acclaimed musical "Caroline, Or Change."

The room is quiet sans the dripping overhead air-conditioning. She just finished meditating, and is ready to talk about all things Tonya.

In recent weeks, much has been made about "The Trials of Tonya Pinkins"--as The New York Times titled it on a splashy Arts & Leisure section cover story that ran the day of the show's star-studded opening. In the heart-wrenching story, Ms. Pinkins' life was on full-blast.

Here's a summary of facts: She's 42. She is the single mother of three boys (ages 16, 13, 5) and a seven-year old daughter. Grew up a Roman Catholic in the suburbs of Chicago, to hard working civil servant parents. Dropped out of the prestigious artsy-fartsy university Carnegie Mellon and moved to New York City for her first Broadway production at the tender age of 19. She toiled as a restaurant hostess. She fell and love and married Ron Brawer, a soap opera music director and birthed him two sons. (This was her second marriage.) Got on board for the George C. Wolfe directed hit "Jelly's Last Jam" where she was fired then later rehired. During her first Tony Award winning heyday, she was served divorce papers while signing autographs outside of the theater. It gets really muddy soon after. Grueling custody battles ensued. Exorbitant child support payments endured. Her success was being used against her. Lots and lots of legal wrangling. Slow work cycles. Two more children born out of wedlock. No support from their fathers. Public Assistance!

When it rains, it pours.

"It was a little scary because it was big. It was big," she comments about the Times spread. "And then it was just the sense that everybody--because I didn't read it before I went onstage, of course--so there was this sense that all of these people knew something about me and I didn't even know what they knew."

Tonya Pinkins has been to hell and back. How did she survive it all?

"Well, anything can be hurt, harmed or destroyed ultimately so that would be really all that I can say about that," she shares. "Taking responsibility for why I created everything that is in my life and trying to see it as an opportunity to meet and face something and grow" is what she divulges about her survival tactic.

Even Oprah Winfrey is singing her praises. In the May edition of O: The Oprah Magazine the editors heralded Ms. Pinkins as one of the Ten Women in America Who Will Take Your Breath Away in 2004.

"It's really wonderful," she says. "You know, I may have been loved and embraced this much before in my life but if I was I wasn't conscious enough to really appreciate it and that's what it feels like. It feels like God is loving me through the media, and through the people that come and see the show and the other actors. That's what it feels like. It feels like God is playing with me and loving me and I'm so glad that I am awake and aware and able to just be in gratitude about it."

She's quite spiritually centered as you can guess. An anointing warmth is felt by anyone who comes into her presence. She has every reason to be in good spirits. She's a proud member of the Los Angeles-based Agape Church of Religious Science, which she explains "takes from the teachings of every religion." Ms. Pinkins has been a practicing member of the good-mannered denomination for over two years now.

It's not Scientology or any cult like sect where you have to pay to be a member, either.

"The belief is that every religion is seeking the one God," she continues. "And so if you just study all the text, you are just finding the different languages in which people talk about one thing."

She has applied the teaching and the principals from the church--also considered "New Thought, Ancient Wisdom"--into an intensive motivational workshop for fellow thespians, titled "Tonya Pinkins: The Actorpreneur Attitude," which she instructs once or twice a year. "It takes three days of my life that I really don't eat or sleep much and I have to recover from it because it's a high," she gushes. "It's such an incredible high. It's like being on stage. It's that kind of high."

"I'm not into evangelisms or prophesizing. So I want people to come to something because it's something they want to come to, rather than me sort of actively going after them and seeking them."

She reveals that ninety-nine percent of all actors do not make a living in their profession. "We have the highest failure rate of any profession on the planet."

Well, she's not in the failing business anymore.

Tonya Pinkins is on a whirlwind, scoring a 2004 Tony Award nomination for "Best Leading Actress In A Musical" for "Caroline, Or Change." It's an award that she is highly favored to win.

"I think it is definitely the hottest race going," she beams. "The women in it are all extraordinary. Extraordinary. Any one of us can receive this award. I think that just being on the path to it has provided an incredible opportunity for me to see myself and look at what comes up for me. And that's always a good thing. So however the award goes on Tony night, I still get to do this incredible play that is very transformative for me and for every one who sees it."

But playing devil's advocate, I would be remiss if I didn't think out loud that winning a Tony Award couldn't keep her from being nearly destitute. She concurs.

Looking ahead. The true blue Renaissance Woman is putting the finishing touches on a live album, which she recorded at Joe's Pub recently. It's titled My Shining Hour and features music from the famed composer Harold Arlen, whom she will perform an American Songbook Series at his centennial birthday tribute next spring at Jazz at Lincoln Center. "I could've been born in this time and sang this music," she says with much zeal. "It just sat so perfectly in my voice." The self-produced set will soon be available on her website.

She also just wrapped a role as a medic in John Turturro's forthcoming Romance And Cigarettes, where she plays opposite James Gandolfini. In the movie musical, she lip-synchs Bruce Springsteen's "Red Headed Woman," while nursing "The Sopranos" star back to good health.

Ms. Pinkins is also on the small screen, too. Regularly, she takes on the role of Livia Frye Cudahy on the long-running, hit soap opera "All My Children."

"It's really great to be on there because I have watched it since the first page turned. I'm from the number one ‘All My Children' city in the country so I love that show. And it's like a childhood dream to grow up and be on show that you watched for so many years."

She's also signed a book deal with Hyperion/Disney for a success book that she is currently working on.

So is this a case of the old adage of "feast or famine" ringing true?

"No, I don't believe that," she contemplates. "I really do think that as you believe it is done onto you and there is a sense in the universe where there is balance. The universe always seeks to balance things out."

Tonya Pinkins is proof positive of one woman who has done one helluva balancing act.

Showtime

A "Wonderful Town" it is indeed. Billed as a "New York City Musical" with music by Leonard Bernstein, "Wonderful Town" stars two-time Tony Award winner Donna Murphy in this dazzling show based on the play "My Sister Eileen" by Joseph Fields and Jerome Chodorov and the stories by Ruth McKenney. "Wonderful Town" centers on two small-town sisters from Ohio, Ruth and Eileen Sherwood, as they turn up in the big city and find life in the Big Apple is a lot more complex than they thought it would be. And it all takes place on Greenwich Village's Christopher Street--where drama and mayhem still exists. "Wonderful Town" originally opened on Broadway in 1953 and was an instant hit, winning five Tony Awards including Best Musical. Fifty years later, the musical still hasn't lost its luster. The Kathleen Marshall-directed show has netted five 2004 Tony Award nominations, including Best Revival of A Musical. This is "Wonderful Town"'s first Broadway revival. The musical comes from Encores!, where it was presented in 2000. It is the first musical to move from Encores! since their highly successful "Chicago" in 1996. With dreamy music and dance numbers that will make you want to "kick it up," "Wonderful Town" is a wonderful treat! It's also the first show at the newly-named Al Hirschfeld Theatre (formerly the Martin Beck), named in honor of the late great celebrity caricaturist.

Stages
Tony Award-winning actor Brian Stokes Mitchell ("Man Of La Mancha") is the newly minted President of The Actors' Fund of America. He succeeds Tom Dillon, who was on board in the position for 15 years. Mr. Dillon is now designated President Emeritus. In his new duties, Mr. Stokes Mitchell--a 25-year acting veteran--will represent The Actors' Fund to the entertainment community and will chair the Board of Trustees, which creates and oversees the policies of The Actors' Fund. Founded in 1882, The Actors' Fund of America is the national human service organization helping all entertainment professionals in television, film, music, theatre, opera and dance. The Actors' Fund's broad spectrum of programs includes comprehensive social services, supportive and affordable housing, career counseling, and skilled nursing and assisted living care. Close to 16,000 people a year receive assistance from the organization's offices in New York City, Los Angeles and Chicago.

The long-running hit TV sitcom "Frasier" may be over, but the show's special guest star, two-time Tony Award winner Bebe Neuwirth ("Chicago") can still kick up her heels on the New York stage. The diva dynamo is currently starring in "Here Lies Jenny," described as a theatrical event featuring the music of Kurt Weill and playing at Off-Broadway's Zipper Theatre. Conceived and directed by Tony Award winner Roger Rees ("The Life and Adventures of Nicholas Nickleby") and featuring choreography by Tony Award winner Ann Reinking ("Fosse"), the show centers on a one-time saloon singer at the end of the line who arrives at a bar that, like her, has seen better days.

On June 2, the singer-dancer-actress will be a special guest performer at a Gala Benefit evening called "Songs of Sass and Seduction" presented by The Collegiate Chorale and its music director Robert Bass. This all goes down at Doubles, in the Sherry Netherland Hotel in New York City. The program will include selections by Gershwin, Sondheim, Weill, Bernstein and Puccini. Lauren Flanigan and Mr. Rees will also be featured. This event for The Collegiate Chorale represents a fundraising event and supports The Chorale's education programs in New York City schools as well as its audience development program. Founded in 1941 by Robert Shaw, The Chorale has established a national reputation through its commitment not only to the traditional choral repertoire but also to American music.

Move over music industry. New York theater is taking initiatives to sell, sell, sell. With bonus incentives! According to a publicist for the hot new Off-Broadway musical, "BARE: A Pop Opera," a free 11-song soundtrack is being distributed with the purchase of each ticket. The EP, featuring the current cast of "BARE," is produced by Sh-K-Boom's Kurt Deutsch and show composer Damon Intrabartolo and contains 11 songs currently featured in the show. Since opening on April 21, the buzz around the show--directed by Kristin Hanggi--has been quickly building and the musical is now playing to sold out crowds nightly at the American Theatre of Actors. The news of the EP comes soon after the announcement that "BARE" will transfer to an off-Broadway location to be announced with performances to resume on September 21, 2004. Featuring a book by Jon Hartmere Jr. and Damon Intrabartolo, music by Mr. Intrabartolo with lyrics by Mr. Hartmere, "BARE" explores the pains and pleasures of five high school seniors at a co-ed Catholic boarding school as they struggle to grow up in these complicated, conflicted, contemporary times. When the show was originally produced in Los Angeles, it was supposed to run for 32 performances at an 87-seat theater on Santa Monica Boulevard. Four months later, it had become a multi-award-winning sensation. Performances will resume on September 21at an Off-Broadway venue to be announced. The soundtrack will be distributed for promotional purposes throughout the summer.

Ousted "American Idol" finalist Jennifer Hudson may be making her way to the big apple stage. According to insiders, the powerhouse vocalists from Chicago may sign on the dotted line to join the cast of the charming Off-Broadway musical "Fame On 42^nd Street, which is currently playing to packed houses at The Little Shubert Theater. That's one of many offers being fielded as prospects after her stint on the contractually bound "American Idol" concert tour, which kicks off on July 14 in Salt Lake City. Ms. Hudson should feel right at home--her fellow "American Idol" finalist Marque Lynch is knocking them dead in the lead role of Tyrone Jackson in the same show.

There's talk that my girl Sarah Jones will transfer her critically-acclaimed one-woman show "bridge & tunnel" to Broadway's Helen Hayes theater in the future. But until then, she's won an Obie Award for her performance(s). "The 49^th Annual Village Voice Obie Awards" were held at New York's Webster Hall, last week. Other Obie winners included Viola Davis ("Intimate Apparel"), Lili Taylor ("Aunt Dan and Lemon"), Jefferson Mays ("I'm My Own Wife") and Tonya Pinkins ("Caroline, Or Change"), among others. The Obie Awards honors the best in off-Broadway theater.

I did it! Thanks for the support.

Nobody wants you when you're down and out!!!

Message Karu F Daniels or email him directly at therureport@aol.com

©2003 The Ru Report™. All Rights Reserved~~P.O. Box #25 Bushkill PA 18324

Posted by Karu F. Daniels at 01:16 PM | Comments (0)

May 27, 2004

AAPRC Weekly: Judy Smith

Judy Smith
Weber Merritt & Smith

If you could open a dictionary and look up the term "power broker," it's very likely you'd find a picture of Judy Smith. For nearly 20 years, this

Judy Smith
Founder and Partner
Weber Merritt & Smith
Washington DC

If you could open a dictionary and look up the term "power broker," it's very likely you'd find a picture of Judy Smith. For nearly 20 years, this preeminent media consultant has been called upon to lend her communications and legal skills to history-making court cases, Fortune 500 companies, national and international organizations, foreign governments and the President of the United States. It seems the entire world has Judy Smith on speed dial.

As a founding member and partner in the public relations firm Weber Merritt & Smith, Smith oversees public relations and strategic communications and heads the firm's crisis communications unit. Currently, she is communications counsel for the manslaughter trial of former NBA star Jayson Williams. Prior to her work at Weber Merritt & Smith she was a partner in Qorvis Communications and president of JAS Communications––a firm she started in 1997 to represent a number of high profile corporate, sports, entertainment and political clients. Among those clients were Monica Lewinsky and her family, whom Smith represented during the Clinton impeachment proceedings. Prior to launching JAS, Smith served as senior vice president of corporate communications at NBC. There, Smith managed over 100 communications employees, served as NBC's chief spokesperson for domestic and international programming and business ventures, and helped launch one of the industry's most successful cable TV stations, MSNBC.

Smith possesses an impressive track record of corporate, agency, government and non-profit work, but in addition to her skills and experience in media and communications, Smith also brings an accomplished legal mind to the table. She graduated from the American University Law School in 1986, where she was the first African-American woman ever to make Law Review (she went on to serve as executive editor).

After earning her J.D. while working full-time during the day and attending classes at night, Smith went on to serve as a prosecutor and special counsel to the U.S. Attorney of the District of Columbia. There she oversaw both legal and communications work on a number of high profile criminal and civil cases––including the prosecution of former Mayor Marion Barry for drug possession. Additionally, Smith served as associate counsel and deputy director of public information in the Office of the Independent Counsel. In that capacity she managed legal as well as national and international public information for the Iran Contra prosecution of Oliver North and several other defendants.

In 1991, Smith was appointed deputy press secretary and special assistant to President George Bush. In the White House she provided communications advice on a wide range of foreign and domestic issues, including welfare reform, health care reform, the budget debate and the allegations of sexual harassment made by Anita Hill during the Clarence Thomas nomination.

Smith is frequently featured in national publications such as the Washington Post, the New York Times and the Wall Street Journal. As a public relations and legal expert, she appears on major television networks including CNN, MSNBC and FOXNews.

Smith's skills have been called upon during the Chandra Levy investigation and the Enron Congressional inquiry. She worked with the United Nations Foundation and the World Health Organization on the SARS scare. She has advised some of the world's largest corporations, including Bell South, Union Pacific and Federated Department Stores; cities and municipalities around the country; and foreign governments including Haiti, the Philippines, Zimbabwe and the Kingdom of Saudi Arabia. Over the years, Judy Smith has been put to the test again and again, and each time she passes with flying colors.

What drew you in to communications? Was there a moment early in your career that really confirmed it for you, that this is what you were meant to do?

I started out in non-profit communications and I developed an interest in law. I had several people tell me that I argued well, so I decided to go to law school. The combination of communications and law was a good one. It was a match made in heaven. What attracts me to communications is the power of words, and words are the most powerful way to convey messages.

You hold a unique position for an African-American female within our profession. What specific choices (i.e. schooling, jobs, etc.) did you make along your career path that lead you to the successful and esteemed position that you hold today?

The choices that I have made have always been things that have captured and held my interest, not solely financial reward.

You were already working as a public relations specialist when you went back to school for a law degree. What precipitated that move? How do you put your legal skills to work in PR?

The legal skills gained in law school are an important component in effective communications. Being able to think quickly on your feet, to analyze quickly and thoroughly are skills important to both professions.

With the exception of your stint at NBC, your career seems to be centered around politics and government. What attracts you to that arena?

My involvement in politics and government has just gotten the most attention. And my work in these areas has taught me to assess a situation quickly. My career has really been well rounded, working for a varied list of clients including Fortune 500 companies, national associations, and high-profile individuals and corporations facing crises.

As a public relations professional, you've had to navigate the media through some of the most controversial incidents in recent political history––Monica Lewinsky, Marion Barry, Iran-Contra, etc. How do you prepare, mentally and strategically, for projects of that magnitude?

While working on such high profile projects as those mentioned above, as well as the Chandra Levy family, the SARS outbreak and the Jayson Williams case, I strategically assess the situation and realize that the situation may change at any moment. Preparing multiple plans of action while keeping focused on the main agenda makes it all work for me.

Can you describe a typical day when you were Deputy Press Secretary in the first Bush White House?

The average day was long. I was usually at work by seven a.m. and I might get off around eight or nine p.m. It was like being a firefighter at times. Having to look at an issue, assess it, develop a plan, and act on it all within minutes kept me pretty busy. Probably the most exciting thing about being at the White House was being at the center of where everything happens.

What's the most important lesson you learned during your tenure in the White
House?

The importance of keeping on your toes, being able to make quick and decisive decisions. The importance of being able to become an expert on an issue in five minutes or less and then be able to move on to the next crises or issue.

You went from the White House to NBC. What made you choose broadcasting at that point in your career?

It's still all about communications and TV is one of the best ways to convey messages to the masses. Being at NBC put me on the other side of the fence for a change and it was different and yet rewarding.

You left NBC to strike out on your own with J.A.S. Communications. Had you always planned to open your own agency? Describe the transition from corporate executive to entrepreneur and agency work.

While working at NBC, I hit a glass ceiling––having been a vice president with the chances of being president very unlikely. After I left, and while vacationing, I received calls from colleagues and friends in the business. These calls prompted me to do my own thing, and with the contacts I had made and with the support I had, I did it.

No one gets to where you are professionally without being a relationship expert. For PR professionals, what's your best advice for managing relationships with journalists and with clients?

The best way to manage relationships with clients and the press is to be dependable and to maintain a sense of integrity and honesty. You must me able to rely on them and they must be able to rely on you. It's a symbiotic relationship.

Do you ever find yourself politically or ethically at odds with a client or potential client/project? How do you manage that aspect of your career?

It's bound to happen, but hopefully not too often. And if it does, you must offer them the best advice possible and taking advantage of that advice is up to them. Avoiding anything unethical goes without saying.

What's a typical day like for you?

Long, but rewarding in the end. I'm never bored because of the varying clients that I work with. Working on issues ranging from multimillion-dollar lawsuits, to new and exciting health care issues, from high profile cases to microscopic genetic therapy, I'm always pretty busy.

You're an African-American and a woman who operates in the upper echelon of industries that have been primarily "boy's clubs." How often do you find yourself having to navigate race and gender issues?

Everyday. And it's not an uncommon thing to deal with for African-Americans in general. I tend to make the best of the situation by bringing the best I have to the table, providing them with the best services, and leaving a lasting impression.

What's been your biggest challenge so far?

I can't say that there has really been a “biggest challenge." Every project or issue I work on for a client is a challenge, uniquely demanding in their own right.

To date, you seem to have made many successful transitions throughout your career, what do you see in your professional future?

Life is about transition. It's constantly changing and evolving, and the key is to make the changes positive and rewarding. I invite change by taking on new and exciting tasks, and I look forward to anything that leads me to that direction.

How do you maintain balance in your personal life?

It's a struggle. I keep in mind that my family is the most important thing in my life. When you die, no one puts on your gravestone that "I wish I would have worked harder."

Message Judy Smith and the AAPRC and tell them what you think

AAPRC's Mission
The African-American Public Relations Collective (AAPRC) is an assemblage of professionals who provide communication conduits among clients, journalists, media and our communities. We come together as a collective because we recognize the importance of building those same conduits amongst ourselves.

A great deal of what we do is professional development––updating our skills, keeping pace with technology, refining and streamlining processes, providing a forum to tackle the issues that impact our work environment––but we believe our professional lives benefit most from the forging of effective alliances. Connected to one another, we possess the power of a nationwide body of committed, knowledgeable practitioners with an eye on the future.

As we move into the 21st century at lightning speed, mass media and its potent messages occupy an ever-larger part of our daily lives and our collective psyche. The AAPRC is focused on helping our members gain a deeper understanding of media's force and supporting their growth as powerful participants in the global communications network.

AAPRC's Contact
GQ Media & Public Relations
1650 Broadway Suite 1011
New York NY 10019
1212 765 7910
1212 765 7905
aapublicistcoll@aol.com

Posted by Gwendolyn Quinn at 08:54 AM | Comments (2)

The Herbert Holla

Herbert's Hot Picks
thu(27): guernica - blessed/selly/reborn/monica pineda - soul/funk/house/hiphop
thu(27): show - stretch armstrong/guests - hiphop/rock/old school

Herbert's Hot Picks
wed(26): cielo - louie vega/kevin hedge/nicholas matar - classics/house
wed(26): apt - rich medina/guest djs - soul/afrobeat/old school/funk/classics
wed(26): belmont lounge - emskee - soul/old school/disco/classics/funk/80s
wed(26): 25 ave b - louie gorbea/jaze art remote - house/live funk
wed(26): afterwork/rumor - snatch 1/m.o.s./self/kaos - hiphop/r&b/reggae/classics
wed(26): afterwork/scratch - dj big ben - hiphop/r&b/reggae/80s/rock/classics
wed(26): angel bar - scratch famous/teflon - reggae
wed(26): marquee - stretch armstrong - rock/old school/hiphop
wed(26): lotus - ani/guests - hiphop/rock/80s/r&b/reggae
wed(26): show - dj reach - hiphop/r&b/reggae/rock
wed(26): bob - rholi rho/5th platoon - hiphop/r&b/reggae/80s
wed(26): capitale - m.o.s./suss one/guests - hiphop/r&b/reggae/80s/rock
wed(26): aubette - qool marv - soul/funk/r&b/afrobeat/house/world - 8pm to 2am
wed(26): sob's - dead prez/last poets/guests - 212.243.4940 - also thursday
wed(26): open air - neil armstrong/5th platoon - soul/funk/r&b/hiphop - new cd!!!
wed(26): pangea - ody rock - hiphop/r&b/reggae/rock/80s
wed(26): filter 14 - small change aka "chicklets"/satamile/doomer - electro/breaks
wed(26): mission - dj will/dj val/johnnie osbourne - hiphop/r&b/reggae/classics/80
wed(26): volume/bk - matty heilbronn/joeskie - house/electro/dub

thu(27): guernica - blessed/selly/reborn/monica pineda - soul/funk/house/hiphop
thu(27): show - stretch armstrong/guests - hiphop/rock/old school
thu(27): joe's pub - mary mack - hiphop/r&b/reggae/classics
thu(27): marquee - reach - hiphop/r&b/reggae/80s
thu(27): serena - naomi - hiphop/r&b/rock/soul
thu(27): nocturne - stretch armstrong - hiphop/rock/old school/80s
thu(27): sullivan room - spinna/jay locke - house/soul/classics
thu(27): apt - small change aka chuckles - soul/funk/electro/everything weird
thu(27): afterwork/kanvas - dj sweets - hiphop/70s/80s - 6pm
thu(27): afterwork/gallery - guest djs/live brazilian+cuban+caribbean sets - 7-4
thu(27): afterwork/flat - dj elle - hiphip/soul/reggae/old school/classics - 6pm
thu(27): afterwork/tangerine - do it - hiphop/reggae/classics - 6pm till 2am
thu(27): afterwork/jade terrace/china club - big ben - hiphop/r&b/reggae/latin
thu(27): afterwork/la gazelle/time hotel - goldfinger/june - hiphop/r&b/soul
thu(27): afterwork/chetty red - van vader - soul/afro/reggae/classics - 7pm til
thu(27): afterwork/club b52 - dj dallas green - hiphop/r&b/reggae/classics - 5:30
thu(27): diva lounge/nj - dj rara - salsa/merengue/reggaeton/bachata/hiphop/house
thu(27): 6's & 8's (old 205 club) - greg poole/dj st. james - rock/electro/80s
thu(27): rhone - melvin moore/todd sines - sexy house music
thu(27): madame x - dj cato/tigerstyle productions - hiphop/soul/funk/world/reggae

fri(28): starfoods - thank god it's freedom - the illest - see gigs above!
fri(28): frying pan - nickodemus/mariano/guests - house - turntables on da hudson!
fri(28): coral room - rich medina/guests - afrobeat/afro house - jump n funk!
fri(28): big 6/upstairs - kervyn mark/live visuals/live vocals - house/dub
fri(28): apt - spinna - soul/classics/rare groove/original funk/old school rap
fri(28): ruby falls - marc ronson - hiphop/r&b/rock/reggae/80s/old school
fri(28): blur - rekha/dub cub/live visuals - bollywood disco - axe somebody!
fri(28): afterwork/sequoia's - willie rodriguez/john sciascia - latin/hiphop/r&b
fri(28): afterwork/vue - big ben/guests - hiphop/r&b/reggae/latin
fri(28): plaid - jcny/guests - hiphop/r&b/rock/80s/reggae/classics/house
fri(28): blvd - reach/guests - hiphop/r&b/reggae/house
fri(28): planet 28 - guest djs - 70s + 80s soul classics/deep, jazzy, gospel house
fri(28): the flat - scientific/cato - hiphop/r&b/reggae/classics/80s/afrobeat/soul
fri(28): 2i's - wimpy bee - hiphop/r&b/reggae/classics/80s/house
fri(28): lunchbox/west side hwy - omar - hiphop/r&b/reggae/classics/soul
fri(28): lot 61 - dj soul/ski-hi - hiphop/r&b/reggae/classics
fri(28): nocturne - riz/sizzahands - hiphop/r&b/reggae/classics/house
fri(28): 9 1/2 - big ben - hiphop/r&b/reggae/rock/80s/house
fri(28): jade terrace/china club - dj eleven - hiphop/rock/80s
fri(28): lq - roy/andre/spin-one - all things latin/80s/reggae/r&b
fri(28): vue - derrick spaulding/jinx paul - hiphop/r&b/reggae/classics/latin
fri(28): deep - kulcha - hiphop/r&b/reggae/classics - hosted by lala (mtv)
fri(28): quo - crooked/dj dove - hiphop/house/r&b/reggae/80s
fri(28): joe's pub - kaos - hiphop/r&b/reggae/classics

sat(29): lot 61 - herbert - hiphop/80s/reggae/rock/house
sat(29): 106 vanderbilt/bk - house party - free food/beer - hiphop/reggae/soul
sat(29): ida mae - jozen - hiphop/r&b/reggae/classics/neo soul/rare grooves
sat(29): 40/40 - rahlo/k.o. - hiphop/r&b/reggae/classics/80s
sat(29): coral room - reach friedman - hiphop/r&b/80s/rock
sat(29): shelter - timmy regisford - house!
sat(29): eugene - jcny/guests - hiphop/r&b/reggae/house/80s
sat(29): pm - crooked - hiphop/rock/house/80s/r&b/reggae
sat(29): canal room - rocktacon - hiphop/r&b/80s/rock/house
sat(29): angel - clay nizzle - hiphop/r&b/old school/funk/soul/rock
sat(29): mission - stormin normin - hiphop/r&b/reggae/classics
sat(29): vue - roy/andre/spin-one - all things latin/80s/reggae/r&b
sat(29): chetty red - van vader - hiphop/r&b/reggae/classics/old school/80s
sat(29): filter 14 - john b - hiphop/r&b/reggae/80s/old school/soul
sat(29): satalla - ayite ajaavon/dj mike - african music
sat(29): lea - dj mano - 80s/classics/funk/rock/soul/hiphop
sat(29): plaid - stretch armstrong/riz - hiphop/r&b/reggae/classics/rock
sat(29): sullivan room - francis harris/guests - techno/hard house

sun(30): fez uptown - marc smooth/guests - rare groove/soul/hiphop/reggae/classics
sun(30): hammerstein - goldie/joeski/stretch/dave hollands/porn stars - 8666668932
sun(30): manhatta - greg poole/dinesh/darshan jesrani - house/broken beats/garage
sun(30): crash mansion/blvd - dj rodney/live reggae music - reggae/reggae/reggae
sun(30): spirit - small change/esg live/hardtop/michael t/justine - all tings rock
sun(30): copacabana - shannon/tka/k7/judy torres/george lamond/strafe/more - live
sun(30): joe's pub - evil d/lord sear/butta l - classic hiphop/reggae/old school
sun(30): pravda - obah - soul/funk/old school/afrobeat
sun(30): lotus - stretch armstrong - hiphop/80s/r&b/rock/old school
sun(30): nocturne - showbiz - hiphop/r&b/classics/reggae
sun(30): madame x - liftkid - house/brazilian/afrobeat - drink specials - 9 to 2am
sun(30): flat - soulfinger sam/boodakhan - hiphop/r&b/reggae/classics
sun(30): social club - dj will/dj self - hiphop/r&b/reggae/classics/soca
sun(30): noche - self - hiphop/r&b/reggae/classics

mon(31): apt - cucumber slice - soul/funk/rare grooves/latin/uprock/old school
mon(31): cielo - francois k - future dub/space vibes/abstract grooves (aka house)
mon(31): lot 61 - reach/ody roc - hiphop/reggae/rock/house/r&b
mon(31): bungalow 8 - dj soul - hiphop/r&b/80s/classics/rock
mon(31): pangaea - suss.one/m.o.s. - hiphoph/r&b/reggae/classics

tue(01): joe's pub - guest djs/live performances - soul/funk/classics/hiphop
tue(01): belmont lounge - qool marv - soul/funk/r&b/old school/house/afro/world
tue(01): afterwork/bar below/bk - ayana soyini - reggae - 7pm
tue(01): afterwork/aubette - snatch 1 - hiphop/r&b/reggae/soul/classics - 6:30pm
tue(01): nocturne - reach/cassidy - hiphop/r&b/reggae/classics
tue(01): open air - jlayne/elijah/guests - rare grooves/70s/80s/old school/house
tue(01): sapphire lounge - eman/lola - house/deep grooves
tue(01): lobby - da union reps/massive b - hiphop/r&b/reggae/classics - loonacy
tue(01): whiskey hotel - dj jvc - hiphop/rock/80s/r&b/classics/house
tue(01): suite 16 - stretch armstrong/aphrodita - hiphop/rock/80s/old school
tue(01): the park - dj stu bronze - rock - free bbq from 10 to 11:30
tue(01): village underground - mark whitfield project - live jazz - 9:30 - free

Herbert's Heard
"Caught Up" -- Usher
"Lord You Know" -- Camron feat. Jaheim
"Long Train Runnin'" -- Doobie Brothers
"Spread My Wings" -- Troop

Word As Bond
Freedom last week was off-the-hook. Straight up. For really really real. It was packed from about 11:30 on, the door had to shut down, lots of lovely ladies in the house as usual (we always get 'em in there somehow) and we were blessed with a notable suprise outing by the one-and-only Grand Puba. You know ... the one that "makes your stinkbox wet." He gave a thumbs-up to the food--especially the French fries--that we serve till 2 in the morning. Big shout out to everyone for coming by, and not hating on us for making y'all wait in a line outside. Y'all par-teeed all night with us--me and Cosi were grooving really really hard till 4:25 in the AM. The bouncers were definitely hating on us, cuz they were itching to go home already, but we smoothed them over with some Two Tons of Fun, Chaka Khan, Nina Simone and classic house favorites. Thanks again to DJ Marc Smooth, Stone Jackson, the Starfoods staff, C Black, Lovett Hines, Rare Form and the rest of the players for helping to make this event the best NYC has to offer!

Big shouts to Chuck Wilson, Sharkie and Babygrande Records for the Monday early-
night jumpoff. I had a good time. Check out what this up-and-coming label has in store for the massives by clicking here: Babygrand.com. After that, I hurried over to the huge birthday party at Gallery. Big shout out to Gram, Howie McDuffy, Chad Hogan and Seth Zaplan, not-to-mention Green Lantern, J. Period and DJ Self for holding it down, also not-to-mention affiliates of OutKast who stopped on through to hang with Herbert. We had some problems in the back room with the sound, but it really didn't make a difference. All y'all that came thru know how hot and intimate and fun and sexy the night was. Thanks again coming out!

In other news ...

I saw "Troy" the other day. It was a good flick that did a great job of portraying the self-destructive destiny of civilization and efficiently communicating the its underlying catalyst: man's weaknesses, which are, frankly, women and war. Now, what the freaking hell is up with all that plastic surgery??? I know we're all naturally hell-bent on immortality and finding a "Fountain of Youth," but really, though. Princesses and queens with shiny, Saran Wrap faces that do not match the skin tone and composition of their necks below? And wise, old kings with weird little noses that look like lumps of Wasabi? What the hell is wrong with wrinkles? Don't they represent wisdom, achievement and success? The movie should've been called "Battle of the Botox." In hindsight, they did a real fine job of portraying society's weaknesses.

Finally, I would like to say for the record: There's nothing wrong with rocking the color pink. Sorry Obah. And for now on, Herbert's gonna be real "EPMD" with industry connections until proven worthy otherwise. Really "Strictly Business," feel me?

Brotherly/Sisterly love, world peace, good health and excellence,

P.S. -- Poor kid! (Thanks, Graficman): smlinks.com/sotw/why/

Herbert's Gigs
fridays - freedom - starfoods - 64 e. 1st b/w 1st+2nd aves
#1 illest underground friday night party in nyc, son-n-n-n!
classic hiphop/soul/dancehall/80s/house/classic r&b/funk
no dress code - dancing - food till 2am - $6 peach punch
$5 on my list ... rsvp djherbert@earthlink.net

saturdays - lot 61 - 21st st + the west side highway
hiphop/r&b/80s/rock/reggae/house - 1 year strong!!!!
11:30pm to 4am - sexy + upscale + hot + dancing!!!!!
$10 all night ... rsvp djherbert@earthlink.net

thursdays - tonic - 727 7th ave b/w 48th + 49th
new 3 floor sexy mega sports lounge in times square!
6pm to 12am - hiphop/r&b/house/some 80s + reggae
no cover - great food - 20 plasma tvs!

Message DJ Herbert and tell him what you think

Posted by DJ Herbert at 08:25 AM | Comments (0)

May 26, 2004

Tech Sessions #2

Vocals
As a producer, by far the hardest thing that this head needed to get around was the fine art of getting a good…no scratch that…a great vocal take out of a performer who is not exactly on his or her game.

Coming in a lot of us think it's all about a hot beat and blazing track and then get a rude awakening the first time we are knee-deep in the inevitable artist freak-out. If it hasn't happened to you yet, don't worry it will.

Since everyone is different so are the freak-outs. You've got your garden variety temper tantrums that get real nasty because somebody is slamming down those crispy new $200 headphones that you just got. Then you have the polar-opposite sulking freakouts that bring a silence so uneasy you'd think the control room was Bill Clinton's bedroom the day the Monica scandal broke.

In the middle is the most typical, and for me, the one I hate to see the most: pure frustration. The other two are easy because they usually signal the end of the day for one reason or another or they usually pass after a short break.

Pure frustration demands that you have to walk through exactly what is keeping the artist from taking themselves where they need to go. Seriouslym whether you know it or not, a good producer is instinctively a shrink by nature who can listen to a major list of problems without making a person feel like what they are saying doesn't matter.

Everybody has life situations that tend to cast a real good or really bad look on someone's attitude when they get in the booth. A trick I have learned is in situations, where we're working on more than a couple of tracks with someone, is to have every Pro Tools session available that we have on that artist.

I'll never forget a deadline day that was all about getting a club track done in a very short amount of time. The only problem was that a very serious situation had gone down with a homeboy of the artist just before he got to the studio.

Understandably dude was not in the mood to represent a good time so we flipped it up and switched gears to a really dark track that he had always liked but had never been able to finish writing to.

In one take, we got the foundation for three verses and the hook. In three more takes, everything was stacked, ad-libs, the whole nine. The grand total was 14 minutes and after he was done…we got our club track and that only took another 45 minutes.

It was all about finding out where he needed to go to get into his zone and then it was on. Really that's all it's ever about. We all love those days where shit just goes right. Just record and go; those happen to.

It's a fine line. Knowing when to push, when to back off, when to listen, when to inspire and when to go home. There's a million and one reasons as to why things can hit a wall. Its up to you to figure out how to climb over it.

Glover is one half of the Atlanta, GA based production squad The Audio Assassins which are founding members of The Elements. You can find them both at Audioassassins.com and theelementsinc.com

Message Glover with your studio drama and how you resolved it

Posted by Glover at 10:08 AM | Comments (6)

May 25, 2004

Perspective: Ernie Paniccioli

Ernie Paniccioli
Photographer/Lecturer/Author

Job history
I worked at all kinds of gigs, from busboy to waiter to truck driver to

Ernie Paniccioli
Photographer/Lecturer/Author
Brooklyn NY

Job history

I worked at all kinds of gigs, from busboy to waiter to truck driver to bodyguard to NY Telephone System Analyst to Verizon Computer Sciences teacher, to Hip Hop lecturer, author, and photographer.

What are you currently working on?

I am archiving my years and years of photography. I'm also fielding offers to do a DVD on my life, my art, my work, and my experiences. I have several upcoming major gallery shows and working on ideas for my second book.

Your day-to-day responsibilities?

My day-to-day responsibilities include being a Father, husband, freedom fighter, and truth teller. I educate folks about the major chance of the renewal of a draft and the current evil regieme in control of this country.

What inspires/motivates you?

My family, my acceptance from my peers, the respect and love for my photography, and the fact that I have not only survived, but am being called by many a legend.

How do you balance your personal and professional life?

My family is the core, spiritual values, manhood, and the desire to help educate the next generation or two of youth keep me feeling young and strong.

What career achievement are you most proud of?

The respect of the streets, the people, the gallery owners, and those who buy, read, and appreciate my book Who Shot Ya?

What was your biggest personal/career mistake and what did you learn from the experience?

My biggest mistake was trusting art directors with my original slides and being too trusting with industry people promising me album covers work, etc. Now everything is written down and cleared by my attorney.

Guiding principles?

To whom much is given, much more is expected. If I have any degree of fame and I don't use it to help educate and uplift others, then it is a wasted gift.

Birthday? Where you grew up? Where you went to school?

My birthday is 02/26/47. I was born and raised in Brooklyn and went to school on the planet Earth.

Message Ernie Paniccioli and tell him what you think

"Urban Blight: The Graffiti Photographs of Ernie Paniccioli" runs from May 21 - July 01, 2004 at Eyejammie.com!

Posted by Ray Tamarra at 09:11 AM | Comments (7)

May 24, 2004

Survey Says #7

Please complete this week's survey:

1. The last three (3) CDs that you bought:
2. Artist, producer, and possible featured guest you'd choose to record

Please complete this week's survey:

1. The last three (3) CDs that you bought:
2. Artist, producer, and possible featured guest you'd choose to record your hit single:
3. Best music performer/entertainer:
4. Most promising new artist:
5. Most slept-on artist:

Column inspired by Lion-ess and yashaya. Thank you.

Send in your survey questions and photo and be a guest columnist for next week's edition.

Message The Crusade with your Survey Says responses

Posted by Ray Tamarra at 01:02 PM | Comments (16)

May 23, 2004

The Ru Report #135

Give My Regards…Raisin' Up
Acclaimed theater director Kenny Leon is riding high.

The Tallahassee born and St. Petersburg-bred dynamo is actually on an Amtrak train from the nation's capitol to the Big Apple during our talk time on this sunny spring afternoon. He has a hit on his hand with his big Broadway debut--the critically--acclaimed, star-studded revival of Lorraine Hansberry's classic play "A Raisin In The Sun," currently playing at the Royale Theatre.

"I've always loved this particular play and I've always loved the writing of Lorraine Hansberry so it was a heated decision," he shared about being approached to revive the 45-year-old play, a few years ago. "I just needed to make sure that I had full artistic control of the project and David Binder and the estate sort of guaranteed that so we went from there."

The 48-year-old Mr. Leon is an accomplished theater wizard in his own right. So that made it easy for his demands to be met. As a celebrated producer and director, he is the co-founder and Artistic Director of True Colors Theatre Company, dedicated to diversity and the preservation of African American classics. The company is based in the quite colorful city of Atlanta, and Mr. Leon has designs to shift the paradigm of how theater is executed, in regards to people of color. "Most of American theater is Anglo European at the center and then they diversify around the edges with one Black play and one Hispanic play. I want to turn that model inside out where the center is African American work," he confided.

He served as Artistic Director of the Alliance Theatre Company for thirteen years and has directed regionally at the Oregon Shakespeare Festival, Milwaukee Repertory Theater, Dallas Theater Center, San Jose Rep, Indiana Rep, Goodman, Huntington, Hartford Stage, Cincinnati Playhouse in the Park, Geva Theatre, Long Wharf, BAM, Georgia Shakespeare Festival, Arena Stage and the Theatre of the Stars.

"My approach to directing is just to work off the instincts of the people that I cast in the roles, and to have them own choices that fit into my larger parameter of what I think the play is," he added. "It's about laying out creative vision about the play and then having each actor bring in personal contributions, having that fit and working off of their instinct. It's ensemble billing and having people rely on each other and telling their stories together."

While at the Alliance, the debonair graduate and honorary Ph.D. of Clark Atlanta University produced ten world premieres , including Elton John's "AIDA," Pearl Cleage's "Flyin' West" and "Blues for an Alabama Sky," and Alfred Uhry's "The Last Night of Ballyhoo". He made his Off-Broadway debut at The Public Theater directing Thulani Davis' "Everybody's Ruby."

"A Raisin In The Sun" has brought him into a bigger league, however. With its amazing casting (Sean "P. Diddy" Combs, Phylicia Rashad, Audra McDonald and Sanaa Lathan), its sell-out audiences, its critical acclaim and multiple award nominations, it is no doubt that this play has exceeded expectations. "I never had any trepidation [about doing it on Broadway]. I wanted to do the play and I believed in this play and I always felt I could do a good job with it, so it was never that. I mean, who would run from an opportunity to do what I guess is the greatest American play ever written?"

And with a media blitz only worthy of a true Broadway event, "A Raisin In The Sun" has had its share of inner turmoil, too. "The hardest part of this was keeping the press out of what was really happening in the rehearsal hall and the excitement about Puffy coming to the show and doing that," Mr. Leon revealed. "We had five stars including Bill Nunn and people wanted to come at us. People are always telling you what you can't do, so it was a lot of activity outside of rehearsal hall which had nothing to do what was inside rehearsal hall. So I think it's just a matter of being under the spotlight more so for this production than other productions."

Some of the hype has helped, too. But Mr. Leon is no newcomer to acclaim, however. He is the recipient of the MIT Eugene McDermott Award and was chosen Top 20 To Watch by The Financial Times.

Just a few weeks ago, People magazine listed him in their annual buzz-heavy 50 Most Beautiful Issue, amongst the likes of camera-ready celebs like Halle Berry, Beyonce, Julia Roberts and Johnny Depp. He shrugs off the adulation, though. "I'm humble and grateful for the acknowledgment but I have to put that in the right place," he stated. "That's only the people of that magazine. It helps the show and it helps my career and makes people aware of who I am and what I'm doing. But in terms of the vain part of it, it doesn't mean very much, you know. It's just a subjective opinion."

He attributes his dashing good looks to his 'wonderful' momma's genes. A good old country boy, he is the eldest of five siblings and doesn't make a habit of telling too much of his personal business. "I try not to talk about personal stuff. I like to keep them separate," he added.

Everyone asks him about Puffy on Broadway. To the unknowing eye and ear, it does seem far-fetched for one of hip hop's most notorious personalities to have the discipline for the Great White Way. But like I've always said, 'If he can run a marathon, he can do just about anything.'

"He made it very easy because he's just a humble person who had tremendous respect for the art form and he was brutally honest in announcing that he hadn't done stage before but he totally respects it," Mr. Leon explained. "He was in a good place to work with. He didn't fight me but if he didn't understand something, he was able to tell me very strongly 'I don't understand what you're talking about' and I think I was sort of a country boy and I was raised to be very direct and to be very honest. So we hit if off from the beginning because I was just telling the truth and he would respond to me likewise."

The sometimes-actor has played the lead role of Walter Lee Younger, himself, in three previous productions of the play. So he is somewhat an authority in the role. "He's more Walter Lee," Mr. Leon divulged. "I think Walter Lee certainly has an arrogance and certainly has a vulnerability and what I wanted everyone to feel in him is sort of the struggle that many African American men go through to just try to be men in their own household and certainly trying to be a man in America. I think that Sean is hitting it right on in terms of what I see with that character."

More on Puffy: "He taught me that sometimes in America, we think we're giving 100 percent but as African American men that may not be enough. We don't need to spend time complaining about racism, we need to spend time doing something about it. And he's a man that has always done something about it. That was a great thing for me to be around."

Looking ahead, Mr. Leon will revisit Langston Hughes' "Tambourines to Glory" with True Colors. And then comes his biggest undertaking: directing opera for Nobel Prize winning novelist Toni Morrison. "She wrote an opera called 'Margaret Garner.' It's a prequel to 'Beloved' and it's my first attempt at directing opera and trying to deal with an issue we have not come to terms with in this country, which is that of slavery."

Toni Morrison. Slavery. Opera. In the new millennium?

Hmmmm.

"I think the opera is the only venue for us to do something effective about slavery. I think Black people don't want to see it and White folks don't want to see it because we have not dealt with it properly," he continued. "So I think in the world of opera where everything is supposed to be dramatic and bloody and grand scale, [it works]. It's like what Toni Morrison said to me, 'We're doing a story but if folks could look at those people as people and not as slaves, then we can do some healing.'

"So my approach to doing that story is 'What will it look like to tell that story without the straw hats and the bails of cotton and none of the baggage that reminds people that it's slavery?' I think I can do that in a way that has us look at these people as people. Once we do that, I think we will move forward and understand what slavery really was: an economic tool to help build this country. That's all it was, economics"

Three-time Grammy Award winning composer Richard Danielpour is on board. So is opera divas Jessye Norman and Denyce Graves. Next spring "Margaret Garner" will open and play in cities such as Detroit, Cincinnati and Philadelphia before coming to the Big Apple.

"My goal is set to higher standards," Mr. Leon concluded.

From his mouth to God's ears!

Showtime
With six Tony Award nominations under its belt, the most moving musical on the Great White Way is "Caroline, Or Change." Starring Tony Award winner Tonya Pinkins ("Jelly's Last Jam"), the moving musical takes place in Louisiana in 1963, just around President Kennedy's assassination and during the Civil Rights movement. Caroline is the Black maid of a Southern Jewish family, who recently went through the loss of their matriarch, and inherited her best friend. In an attempt to bond with, and teach her erstwhile stepson some tough love, the frustrated step-mom makes a pact with Caroline regarding left-over change found in the laundry. The title has a double meaning, referring to the myriad social changes swirling around the family and that spare change. Directed by Tony Award winning theatrical wiz George C. Wolfe with music by Jeanine Tesori ( "Thoroughly Modern Millie") and Tony Kushner ("Angels In America"), "Caroline, Or Change" is the hardest show to beat during this year's award tour. Ms. Pinkins, who has been through hell and back in her personal life, gives her all with this heart-wrenching performance. The "chamber musical" began its life with a sold-out run at The Public Theater before opening on Broadway at the Eugene O'Neill Theater on May 2.

Stages
First there was Mos Def in "Topdog/Underdog." Then Russell Simmons brought the pain with "Def Poetry On Broadway." And Sean "P. Diddy" Combs" has outdone himself with his striking debut in the critically-acclaimed "A Raisin In The Sun." Now comes news that Queen of hip-hop/soul Mary J. Blige may be on the Great White Way before we know it. Just so happens that since she got a thumbs up for her portrayal of Sunny Jacobs a few months back in Off-Broadway's "The Exonerated," tongues behind the scenes in the theater world were wagging. Hip hop culture has revitalized the marketplace of fashion, film, television and of course recorded music. And now it has taken its stake on Broadway. It has been well documented how the Kenny Leon-directed "Raisin…" is doing big numbers at the box office. That's why Creative Battery--producers of the forthcoming theatrical adaptation of "A Color Purple" --has set their sights on Ms. Blige. The Ru Report has learned that producers are eagerly pursuing the Grammy Award-winning music star to play the role of the sassy, sexually-liberated Shug Avery, replacing Adriane Lennox, who has done out of town workshops of the show and was prepared to make her long-overdue splash on Broadway. Apparently, it all boils down to the bottom line. And apparently, it may be well worth it. Ms. Blige was recently confirmed to appear on "The 58z^th Annual Tony Awards," scheduled to take place at Radio City Music Hall on June 6. The ceremony--hosted by Best Actor nominee Hugh Jackman--will air live on CBS in a special three-hour presentation.

The lovely and leggy Brenda Braxton returns to Broadway's "Chicago" this week, starring as Velma Kelly. We all remember the insatiable Miss Braxton, most popular from her long running stint in Broadway's"Smokey Joe's Cafe," for which she received a 1995 Tony Award nomination, the NAACP Theater Award, the city of Chicago's Jefferson Award and a Grammy Award for Best Cast Album. She also co-directed and choreographed the 2001 "Dreamgirls" Concert and most recently appeared in "House of Flowers" for the Encores! series at New York's City Center and in the Off-Broadway production of Langston Hughes' "Little Ham." Other Broadway credits include "Jelly's Last Jam," "Legs Diamond" and the original production of "Dreamgirls," which she hopes to be a part of the forthcoming Broadway revival. Miss Braxton is the recipient of the Dr. Martin Luther King Jr. Living the Dream Award given by New York Governor George Pataki and the Josephine Baker Award from the National Council of Negro Women for her work as founder of Leading Ladies Just for Teens, seminars geared to empowering teenage girls.

On June 7, at its annual gala benefit, The York Theatre Company will present Carol Channing with The Oscar Hammerstein Award for lifetime achievement in musical theatre. Co-hosted by gossip guru Liz Smith, the award is presented as the highlight of a gala concert evening, which begins with a cocktail reception and silent auction at the Citigroup Executive Auditorium. A star-studded concert performance featuring the cast of"Avenue Q," and "Wicked"'s Kristin Chenoweth, among others will lead into a festive champagne dinner with the cast, featuring a brief live auction and entertainment to follow. The evening benefits the York Theatre's Developmental Reading Series and education programs. The Oscar Hammerstein Award is named for the lyricist-librettist who helped to define the American musical theatre. The award was created by the late Janet Hayes Walker, and is administered by The York Theatre Company with the endorsement of the Hammerstein family and the Rodgers & Hammerstein Organization. For those who don't know, Ms. Channing is a superstar of the stage. Since her 1948 Broadway debut in Blitzstein's "No For An Answer," her Broadway appearances include "So Proudly We Hail," "Let's Face It, Lend An Ear," "Gentlemen Prefer Blondes," "Show Girl," "Pygmalion," "The Millionairess," "The Vamp," "Four On A Garden," "Wonderful Town" and "Lorelei." She won the Tony Award in 1964 for her legendary portrayal of Dolly Levi in Jerry Herman's "Hello Dolly!". She has since played the role in over 5000 performances, including a smash London engagement at the Drury Lane Theatre. She received a Tony Award for lifetime achievement in 1995. The York Theatre Company, now beginning its 35^th season, is the only theatre in New York City--and one of very few in the world--dedicated to developing and fully producing new musicals, and preserving neglected, notable shows from the past. Ticket prices range from $150 to $1,000.

Acclaimed actress and director Regina Taylor may have been booted out of "The Color Purple" project, but she's still garnering praise and accolades for one of her most recent works of art. The "Drowning Crow" playwright's critically acclaimed musical "Crowns" garnered four Helen Hayes Awards last week at the John F. Kennedy Center in Washington, D.C. Each year the Helen Hayes Awards, named for the first lady of American theater and Washington, D.C. native, Helen Hayes, honors the achievement in professional theater in the D.C. area. The four awards "Crowns" netted were in the following categories: Outstanding Resident Musical, Outstanding Director of a Resident Musical, Outstanding Musical Direction for a Resident Play or Musical and Outstanding Supporting Actress in a Resident Musical for Lynda Grávatt. Ruben Santiago-Hudson also scored two awards (Outstanding Lead Actor in a Non-Resident Production, Outstanding Non-Resident Production) for his remarkable "Lackawanna Blues," which is being crafted into an HBO telefilm by George C. Wolfe.

The six-time Tony Award-winning musical "Thoroughly Modern Millie" is closing on June 20, after playing 32 previews and 904 regular performances at Broadway's Marquis Theatre. Based on the film of the same name, the musical features a book by Richard Morris and Dick Scanlan, music by Jeanine Tesori and lyrics by Mr. Scanlan.

…Take the bitter with the sweet. Easy come, easy go.

Message Karu F Daniels or email him directly at therureport@aol.com

©2003 The Ru Report™. All Rights Reserved~~P.O. Box #25 Bushkill PA 18324

Posted by Karu F. Daniels at 11:49 AM | Comments (0)

The Herbert Holla

Herbert's Hot NYC Picks
wed(19): cielo - louie vega/kevin hedge/nicholas matar - classics/house
wed(19): apt - rich medina/guest djs - soul/afrobeat/old school/funk/classics

Herbert's Hot NYC Picks
wed(19): cielo - louie vega/kevin hedge/nicholas matar - classics/house
wed(19): apt - rich medina/guest djs - soul/afrobeat/old school/funk/classics
wed(19): belmont lounge - emskee - soul/old school/disco/classics/funk/80s
wed(19): afterwork/white rabbit/145 east houston - greg poole - garage/hiphop/rock
wed(19): afterwork/rumor - snatch 1/m.o.s./self/kaos - hiphop/r&b/reggae/classics
wed(19): afterwork/scratch - dj big ben - hiphop/r&b/reggae/80s/rock/classics
wed(19): angel bar - scratch famous/school/hiphop
wed(19): lotus - ani/guests - hiphop/rock/80s/r&b/reggae
wed(19): show - dj reach - hiphop/r&b/reggae/rock
wed(19): bOb - rholi rho/5th platoon - hiphop/r&b/reggae/80s
wed(19): cafe del bar - dj twice - ska/rocksteady/roots/dub/dancehall
wed(19): pm - crooked - hiphop/80s/top 40/rock/house/reggae - Very Exclusive!
wed(19): capitale - m.o.s./suss one - hiphop/r&b/reggae/80s/rock
wed(19): aubette - qool marv - soul/funk/r&b/afrobeat/house/world - 8pm to 2am
wed(19): manhatta - greg poole/dinesh/djinji brown/t-bird(la) - house/broken beat

thu(20): crobar - dj herbert - hiphop/r&b/rock/reggae/house/80s - 7PM till ...
thu(20): guernica - blessed/selly/reborn/monica pineda - soul/funk/house/hiphop
thu(20): satalla - kevin hedge/ananda project live/waipara live - house
thu(20): show - colleen shannon(playboy)/big ben - hiphop/rock/old school
thu(20): joe's pub - mary mack - hiphop/r&b/reggae/classics
thu(20): marquee - reach - hiphop/r&b/reggae/80s
thu(20): serena - naomi - hiphop/r&b/rock/soul
thu(20): afterwork/kanvas - dj sweets - hiphop/70s/80s - 6PM
thu(20): afterwork/flat - dj elle - hiphip/soul/reggae/old school/classics - 6PM
thu(20): afterwork/tangerine - do it - hiphop/reggae/classics - 6PM till 2AM
thu(20): afterwork/jade terrace/china club - big ben - hiphop/r&b/reggae/latin
thu(20): afterwork/la gazelle/time hotel - goldfinger/june - hiphop/r&b/soul
thu(20): afterwork/chetty red - van vader - soul/afro/reggae/classics - 7pm til
thu(20): afterwork/gallery - nickodemus/greg caz/osiris/live drums/live horns - 7
thu(20): dorsia - dj m.o.s. - hiphop/r&b/reggae/80s/rock
thu(20): apt - language/lindsey/duane - electro/black 80s/bboyism/soul/funk
thu(20): diva lounge/nj - dj rara - salsa/merengue/reggaeton/bachata/hiphop/house
thu(20): 6's & 8's (old 205 club) - greg poole/dj st. james - rock/electro/80s
thu(20): quo - omi - hiphop/rock

fri(21): starfoods - thank god it's freedom - the illest - see gigs below!
fri(21): frying pan - nickodemus/mariano/guests - house - turntables on da hudson!
fri(21): apt - qool marv - soul/classics/rare groove/original funk/old school rap
fri(21): afterwork/open air - synapse/mondee/7:30 - hiphop/funk/soul/electro
fri(21): afterwork/sequoia's - willie rodriguez/john sciascia - latin/hiphop/r&b
fri(21): afterwork/vue - big ben/guests - hiphop/r&b/reggae/latin
fri(21): plaid - camillo/jcny - hiphop/r&b/rock/80s/reggae/classics/house
fri(21): blvd - reach/guests - hiphop/r&b/reggae/house
fri(21): planet 28 - guest djs - 70s + 80s soul classics/deep, jazzy, gospel house
fri(21): the flat - scientific/cato - hiphop/r&b/reggae/classics/80s/afrobeat/soul
fri(21): 2i's - wimpy bee - hiphop/r&b/reggae/classics/80s/house
fri(21): lunchbox/west side hwy - omar - hiphop/r&b/reggae/classics/soul
fri(21): lot 61 - dj soul/ski-hi - hiphop/r&b/reggae/classics
fri(21): deep - kulcha - hiphop/r&b/reggae/classics - hosted by lala (mtv)
fri(21): nocturne - riz/sizzahands - hiphop/r&b/reggae/classics/house
fri(21): crobar - tom stephan/aaron james/lily of the valley - house/hiphop/rock
fri(21): 9 1/2 - big ben - hiphop/r&b/reggae/rock/80s/house
fri(21): slainte - waiwan/alison crockett/sean b/yellowtail - freeskool/drumnbass
fri(21): quo - crooked/dj disciple - hiphop/house/r&b/reggae/80s
fri(21): spirit - satoshi tomeii/hector romero - house
fri(21): joe's pub - snatch one - hiphop/r&b/reggae/classics
fri(21): bauhaus - dj m.o.s./peter paul - hiphop/r&b/reggae/80s/rock/house/soul
fri(21): soho:323 - stretch armstrong/stuart bronz - hiphop/rock/80s/old school
fri(21): revival - dj crazy ed - hiphop/r&b/reggae - lyrics to go!
fri(21): jade terrace/china club - dj eleven - hiphop/rock/80s
fri(21): lq - roy/andre/spin-one - all things latin/80s/reggae/r&b

sat(22): lot 61 - herbert - hiphop/80s/reggae/rock/house
sat(22): volume/bk - francois k/rich medina/language/dirty dietz - soul/rock/house
sat(22): 40/40 - rahlo/k.o. - hiphop/r&b/reggae/classics/80s
sat(22): coral room - reach friedman - hiphop/r&b/80s/rock
sat(22): discotheque - hud - hiphop/r&b/reggae/classics
sat(22): shelter - timmy regisford - house!
sat(22): eugene - jcny/m.o.s. - hiphop/r&b/reggae/house/80s
sat(22): ida mae - jozen - hiphop/r&b/reggae/classics/neo soul/rare grooves
sat(22): lea - dj mano - 80s/classics/funk/rock/soul/hiphop
sat(22): pm - crooked - hiphop/rock/house/80s/r&b/reggae
sat(22): canal room - rocktacon - hiphop/r&b/80s/rock/house
sat(22): angel - clay nizzle - hiphop/r&b/old school/funk/soul/rock
sat(22): mission - stormin normin - hiphop/r&b/reggae/classics
sat(22): vue - roy/andre/spin-one - all things latin/80s/reggae/r&b
sat(22): plaid - stretch armstrong/riz - hiphop/r&b/reggae/classics/rock
sat(22): chetty red - van vader - hiphop/r&b/reggae/classics/old school/80s
sat(22): sullivan room - tom parris/francis harris/sofa king - techno/hard house
sat(22): savannah - snatch one/showcase bashment - hiphop/r&b/reggae/classics
sat(22): deep - big ben - hiphop/r&b/reggae/rock/80s/house
sat(22): southpaw/bk - dj eleven/sake 1/ayres/nick catchdubs - hiphop/soul/80s
sat(22): filter 14 - john b - hiphop/r&b/reggae/80s/old school/soul

sun(23): fez uptown - marc smooth/guests - rare groove/soul/hiphop/reggae/classics
sun(23): joe's pub - evil d/lord sear/butta l - classic hiphop/reggae/old school
sun(23): pravda - obah - soul/funk/old school/afrobeat
sun(23): lotus - stretch armstrong - hiphop/80s/r&b/rock/old school
sun(23): nocturne - showbiz - hiphop/r&b/classics/reggae
sun(23): madame x - liftkid - house/brazilian/afrobeat - drink specials - 9 to 2am
sun(23): flat - soulfinger sam/boodakhan - hiphop/r&b/reggae/classics
sun(23): mumbai - live reggae artists/live reggae deejays - big tings a gwan!!!
sun(23): social club - dj will/dj self - hiphop/r&b/reggae/classics/soca
sun(23): noche - self - hiphop/r&b/reggae/classics

mon(24): apt - cucumber slice - soul/funk/rare grooves/latin/uprock/old school
mon(24): cielo - francois k - future dub/space vibes/abstract grooves (aka house)
mon(24): lot 61 - reach/ody roc - hiphop/reggae/rock/house/r&b
mon(24): sway - guests - rock/soul/reggae/old school/hiphop - skateboard dudes
mon(24): bungalow 8 - dj soul - hiphop/r&b/80s/classics/rock
mon(24): pangaea - suss.one/m.o.s. - hiphoph/r&b/reggae/classics

tue(25): 6's + 8's - pete rock/dj language/eli/rob wonder - soul/funk/hiphop
tue(25): joe's pub - guest djs/live performances - soul/funk/classics/hiphop
tue(25): belmont lounge - qool marv - soul/funk/r&b/old school/house/afro/world
tue(25): afterwork/bar below/bk - ayana soyini - reggae - 7PM
tue(25): afterwork/the flat - reborn/esnavi live - hiphop/funk/afro/soul - 7-11
tue(25): afterwork/aubette - snatch 1 - hiphop/r&b/reggae/soul/classics - 6:30PM
tue(25): nocturne - reach/cassidy - hiphop/r&b/reggae/classics
tue(25): open air - jlayne/elijah/guests - rare grooves/70s/80s/old school/house
tue(25): sapphire lounge - eman/lola - house/deep grooves
tue(25): lobby - da union reps/massive b - hiphop/r&b/reggae/classics - loonacy
tue(25): whiskey hotel - dj jvc - hiphop/rock/80s/r&b/classics/house
tue(25): suite 16 - stretch armstrong/aphrodita - hiphop/rock/80s/old school
tue(25): the park - dj stu bronze - rock - free BBQ from 10 to 11:30
tue(25): babalu's - mario winans/carl thomas/loon/8ball + mjg/kenny dark - PM

Herbert's Heard
"Got It Twisted" -- Mobb Deep (still)
"This Time, Baby" -- Jackie Moore
"I Can't Believe I Loved Her" -- Peven Everett
"???????????????" -- New Camron and Jaheim!!!
"Movin'" -- Brass Construction

Word As Bond
God bless New Jersey! Two days at the Shore, and I've got two arms full a dang mosquito bites, a lobster-red farmer's burn that's stingin' like a mother, a potty mouth full of "g"-less gerunds (got me runnin' around talkin' like a freakin'redneck), and a nasty stomach ache from a big, big, BIG mistake of a late-night meal at Denny's. You know, somehow I was able to avoid the Denny's experience growin' up in the 'burbs--maybe that's why I couldn't help but pull off the highway when I saw the pretty sign. Not only that, but the conversation over these nachos somehow got around to the topic of Herpes, another thing I safely avoided whilst growin' up in the 'burbs (and to this day). Not many of us would go on vacation and end up at Denny's talkin' about herpes.

And I don't know what them scientists are talkin' about with all this ... cicada stuff. We're supposed to be plagued with a swarm of biblical proportions, millions and billions of fat, ugly, prehistoric looking bugs that eat trees. Jersey don't know nothin' about that stuff. Jersey's got a plague of gnats that'd rather eat meat than trees. You can't run or hide from these little bastids--they follow you no matter where you go. You breathe in, and you eat a few thousand. I sent my mom off to the local WaWa (you guys don't know nothin' about WaWa) to get me some Skin So Soft (the local bug repellant), but by the time she got back, I was already on the ground, dead, covered in gnats, eaten almost up to the bone. But hey! At least I got to hit Big Ed's earlier that day for an all-you-can-eat ribfest.

Back to business ...

I gotta da hot sheet this week comin' up, with some big gigs at big places. First, Freedom is always rockin'. Always. The dance floor is live, the vibe is cool, calm and casual, and the music is dope. We DEFINITELY need more dudes. That's for real for real. We got too many chicks in there. Last week, there were like 100 girls and 20 guys, and it looked kind of crazy. Big shout to Dominique, a.k.a. Black Thunder, a.k.a. Nigma for bringing some fun heads down. And big shout to Earle from NYU for always representing, and Howie McDuffy for making a suprise guest appearance. And also a big shout out to Michael Jones from Ali Shaheed Muhammed's camp for supportinng. Tomorrow night, I got the main event slot numero uno shift at CROBAR for an all night blast that should be kind a live. Then, Saturday, we got the 1 year anniversary of Lot 61 Saturdays, and then, Monday, it's madness: A Babygrande Records release party sponsored by Urb at Mission, and then Howie McDuffy's big ol' birthday bash for himself, Gram Oliver, Chad Hogan and Doggy Dog Zaplan at Gallery. Herbert's doing big things. You can never ever ... ever ever .. ever ever ... never ever ... ever ... never ever ... ever ever never ever git on my level. Sissies!

(I mean that. I really do. I'm a killer.)

Big shout out to the Starbucks in Midtown. I'm not going to tell you exactly where it is, because it's one of the few left that still have big soft chairs, and I really don't feel like knocking somebody out over a big soft chair. Big shout out to John Legend for signing with Columbia/Sony Music last Friday. Mazel Tov, doggy! Can't wait for the album. Happy Birthday to the man, the myth, the legend, my all-time favorite musician Stevie Wonder.

(I wonder what song he plays at HIS birthday party.)

A moment of silence, please, for the following legends of music who've passed on recently: the "father" of reggae music, Sir Coxsone Dodd, and Elvin Jones, one of the most powerful and amazing percussionists in music history.

Good health, happiness, love, success and peace to you all,

PS--Go Smarty Jones!!!!!!!!!!

Herbert's Gigs
thursday - may 20th - crobar (530 w. 28th b/w 10th + 11th aves)
fuel for truth presents "are you all talk or action?????????"
learn the facts about israel's struggle! know the truth!!!!!!!!
7PM to 2AM - dj herbert/marc elias - hiphop/house/rock/80s/reggae
NO COVER - 1 HR open bar! - free food - raffles - big giveaways!!
rsvp: djherbert@earthlink.net - Peace In The Middle East!!!!

friday - freedom - starfoods (64 e. 1st b/w 1st + 2nd aves)
#1 illest underground friday night party in nyc, doooooods!
classic hiphop/soul/dancehall/80s/house/classic r&b/funk
no dress code - dancing - food till 2 - $6 peach/cran punch
$5 on my list ... rsvp: djherbert@earthlink.net

saturday - lot 61 - 21st st + west side hwy
hiphop/r&b/80s/rock/reggae/house - 1 Yr Anniversary!!!!
sexy + upscale + hot + dancing
$10 all night ... rsvp: djherbert@earthlink.net

monday - may 24 - mission (217 bowery + rivington, l.e.s.)
babygrande records' 2-year anniversary party sponsored by urb magazine
check out sharkey's new LP "sharkey's machine" (4 out of 5 stars in urb)!!

7:30 to midnight - No Cover - open bar till 9pm - hiphop/rock/soul by me!! Rsvp: djherbert@earthlink.net - check it out: Flashenhanced.com/sharkey

Then it's on to ...

monday - may 24 - gallery/gershwin hotel (7 east 27th b/w 5th + madison)
sirius radio + draft records invite you to celebrate the birthdays of:
howie mcduffy/gram oliver/seth "dog" zaplan/chad hogan!!!!!!!!!!!!!!
10PM to 4AM - no cover at door - 2 HR Open Bar - music provided by:
green lantern(eminem's dj)/mark ronson/enuff/self/goldfinger/Herbert!!
Come Correct - Strict Door Policy!! - rsvp: djherbert@earthlink.net

Message DJ Herbert and tell him what you think

Posted by DJ Herbert at 09:41 AM | Comments (1)

May 19, 2004

In Rotation: David Muhammad

David Muhammad
Social Life Promotions

Other gigs: Freelance Journalist, Hip Hop Director for WSUM 91.7FM, on

David Muhammad
Consultant/Promoter/DJ
Social Life Promotions
Madison WI/Chicago IL

Other gigs: Freelance Journalist, Hip Hop Director for WSUM 91.7FM, on the grind for '05 til infinity.

Feeling The New Records From: Ghostface's Pretty Toney, Twista's Kamikaze, Asheru's 48 Months, Krumbsnatcha, Lil Scrappy & Trillville (F.I.L.A. is crazy), and Murs' 3:16.

Still Pushing From The 03: Jay Z's Black Album, Jaylib's Champion Sound, Ludacris' Chicken and Beer, Sevenheads Compilation's No Edge Ups In South Africa, TI's Trap Muzik, RZA's Birth of A Prince, DP'z RBG, Family Tree's Treehouse Rock, and Immortal Technique's Revolutionary Vol 2.

Always Feeling: Public Enemy's Takes a Nation of Millions, Pete Rock & Cl Smooth's Mecca and The Soul Brother, EPMD's Buisness as Usual, Main Source's Breakin Atoms, Nas' Illmatic, BIG's Ready To Die, Jay Z's In My Lifetime Vol. 1, Terminator X's Valley of The Jeep Beats, Scarface's Mr. Scarface Is Back, Gangstarr's Daily Operation, Easy E's Easy Duz It, Paris' The Devil Made Me Do It, Big Daddy Kane's Long Live The Kane, Geto Boys' We Can't Be Stopped, Dr. Dre's The Chronic, Diamond D's Stunts, Blunts, and Hip Hop, Showbiz & AG's Runaway Slave, Too $hort's Short Dog's In The House, 2Pac's All Eyez on Me, Redman's Whut Thee Album, Snoop Dogg's Doggystyle, Stevie Wonder's Songs In The Key of Life, Earth Wind & Fire's All in All, Fela Kuti's Zombie, Ismael Rivera's Esto Si Es Lo Mio, Ray Barretto's Indestructible, Pete El Conde's Este Negro Si Es Sabroso, Don Omar's The Last Don, Daddy Yankee's Los Honrones De Yankee, Lisa Lisa & Cult Jam, Prince's Parade, Roy Ayers's Runnin Away, Wu-Tang's 36 Chambers, GZA's Liquid Swords, Raekwon's Cuban Linx, Danzig's Danzig, Motorhead's Ace of Spades, The Above The Rim Soundtrack, The Juice Soundtrack, LL Cool J's Bigger and Deffer, Gil Scott Heron anything, D'Angelo's Voodoo, Carl Thomas's Emotional, and of course Sade's Promise

My People Are Cool: Because they tolerate my cynical humor, rants, and harrassment to stop eating pork.

Kicks: I'm an Adidas head-Rod Laver or Stan Smith, Nike-Air Jordan 5 (the emerald and purple ice ones), Air Max's, Puma Roma's, and the K1X Whitey-the AF1 alternative.

Bad Habits: Dusty Groove's, Friendster, not working out, procrastinating, pastries, coffee, and caffiene.

Always Find Myself Watching: "Dave Chappelle," "Making The Band 2," "Iron Chef," "Surviving Nugent," "Mundos," "Sopranos," VH1 specials, "Tavis Smiley," Min. Farrakhan tapes.

Restaurants: Soul Vegetarian (Chi), Ahirah's (NYC), Mirage (NYC), Versailles (MIA), Los Comales (Chi), and Your Black Muslim Bakery (OAK).

Find Me Drinking At: Slicks (Chi), The Estate (Chi), Sonotheque (Chi)Visions (ATL), 2J's (San Juan, PR), Lazer (San Juan PR), Babalu (NYC), Joe's Pub (NYC), APT(NYC), NV (NYC).

Comedians: Robin Harris, Charlie Murphy (he's the best part of the "Chapelle Show" to me), Paul Mooney, Dane Cook, old Eddie Murphy, old DL Hughley, and Bernie Mac.

Sports: Football-Philadelphia Eagles, Basketball-Pacers, Baseball-the '82 Brewers.

Really Dig: People who can have intelligent conversation but still have genuine fun. Non-judgemental people who don't romanticize the Hip Hop of their youth.

Future Plans: Finally finishing my bachelors and then moving on to opportunities in Chicago and NYC. Continuing to be active in social justice work and community organizing. Stepping up my DJ game and parlaying my promotions and event planning experience into other ventures, particularly radio and marketing.

I'm currently working on: Consulting projects with schools, youth centers, in addition to event planning and promotions.

Crew: Social Life Crew, Beatconnundrum, Hip Hop Generation.

Message David Muhammad and tell him what you think

Posted by Ray Tamarra at 11:16 AM | Comments (3)

May 18, 2004

Tech Sessions

Virtual Vs. Hardware
Anyone who has come into production within the past 10 years is familiar with this debate. It's become as played out as 'what came first the chicken or the egg?'

Virtual Vs. Hardware
Anyone who has come into production within the past 10 years is familiar with this debate. It's become as played out as 'what came first the chicken or the egg?'

Most of the younger cats love their plug-in virtual synths like Arturia's replication of the Yamaha CS-80 and stand alone programs like Reason. To them, it's what separates them from the older school that grew up physically sampling sounds off of vinyl or using the actual pieces that the virtual ones are modeled after.

So in today's urban climate, be it hip-hop, r&b, house, pop whatever, is virtual or hardware getting the job done? The answer simply is…both.

I got serious with gear in 1998 and found myself getting down with Propellerheads Software's first edition of their classic Rebirth drum machine/bass synth.

It was easy enough to manipulate/sequence and I could quickly press beats to CD. It was modeled after the old Roland machines so it sounded like I needed it to sound even if it was a bit to dance-oriented. I just found ways to flip it up to sound nice and grimy and I was good.

By 2000, Propellerheads changed the world and dropped their program Reason which to this day continues to improve with each pass. In one shell, there was a loop player, a drum machine, two samplers, two synths and over 500 MB worth of stock sounds.

"Rewired" to Cubase for mixing, effects and physical sequencing/recording that program was instantly dangerous and over time hundreds of other "virtual" instruments have come out that sound ridiculous.

And then… I got a MPC 2000. Long story on how it happened but, needless to say, I played with one during a session a couple of years ago and I was hooked.

I mean Pookie in New Jack City hooked. It wasn't just the feel of the pads or the ease of use because the MPC is a very in-depth piece. It was the way it colored the sound and added a certain quality to a beat that is hard to describe. It's the difference been hearing a beat and feeling one.

I've heard all of the arguments as to why you can make Reason, Battery or the LM-4 do the same thing as a physical drum machine/sampler. And there is some truth to that.

My only thing is why go through a pig's ass to get a ham sandwich? Neither the MPC 2000 or the MPC 2000XL is as expensive as it used to be; so why waste time that could be spent tricking out the creative side of your track?

If you only swear by the sounds your computer can bring you then you are limiting yourself to always trying to pull off the feel that a MPC or any other solid piece like the EMU SP-1200 can bring to the table.

And as most of us know the swing option in many of these virtual situations can be limited at best and the overall feel of the entire sequence can be light in the ass. Which is fine for techno or electronica but for hip-hop? Nah…that won't due.

But…

To flip the shoe on the other foot if you limit yourself to whatever patches you yank from your Korg Triton then you are missing on some amazing tools such as Steinberg's Hypersonic or X-Phrase units.

It's not as cut and dry as drums for hardware and virtual synths for everything else. Besides Reason, Sampletank is another catch-all scenario which when teamed with Pro Tools is simply ridiculous.

Then again, who I am I to say when I still use it all? My set-up starts with hard synths that I MIDI sequence using the MPC. After everything has been "dumped" into Pro Tools continues onto include many virtual synths, samplers and whatever else will make a noise that is relative to the key of the song.

And on occasion, I still find myself playing with compression and eq's to fatten up a beat that I made in Reason "just for the hell of it."

So all of this has been said to say this, if it makes a sound…use it. Just don't limit yourself. I expect to get some heat off this from both sides of the fence so get at me and let me know what you think.

Glover is one half of the Atlanta, GA based production squad The Audio Assassins which are founding members of The Elements. You can find them both at Audioassassins.com and theelementsinc.com

Message Glover with your virtual or hardware setup and the advantages you get from it

Posted by Glover at 12:12 PM | Comments (6)

May 17, 2004

Survey Says #6

Please complete this week's survey:

1. Dream job:
2. Most inspiring athelete:

Please complete this week's survey:

1. Dream job:
2. Most inspiring athelete:
3. Favorite radio personality:
4. Favorite DJs:
5. Political affiliation (Democrat/Republican/Third Party):

Column inspired by Lion-ess and yashaya. Thank you.

Send in your survey questions and photo and be a guest columnist for next week's edition.

Message The Crusade with your Survey Says responses

Posted by Ray Tamarra at 09:46 AM | Comments (21)

May 14, 2004

The Ru Report #134

Give My Regards…Home Bound
Tony Award winning diva Heather Headley is on edge.

The Trinidadian-born, Grammy Award nominated chanteuse is holed up in New York City's Solo City Studios contemplating her next big move. "I wasn't ready for all of this," she reveals to The Ru Report. "I'm scared to death now… I was like ‘Um, can we put it off for a year?' and they were like, ‘No, pull yourself together."

And what actually got the beautiful brown girl's nerves in a fray?

Her long awaited return to the Great White Way. That's what it is.

On May 24, the RCA Records recording artist and original "AIDA" star returns to the place where she started it all--three quarters of a decade ago--for a concert event entitled "Home." Disney's New Amsterdam Theater is where the big show is taking place and it's all in the name of charity--to benefit the Children & Family Initiative of Broadway Cares/ Equity Fights AIDS.

"I wish I would've figured that out like six months ago because I would've planned this a year down the road and I would've run out of town," the newlywed quipped. "It's really a big undertaking because I'm such a perfectionist and it's tough to do anything like this. And not only is it just the singing, it's going back to my stomping grounds so that's scary at well."

In the midst of planning for the one night only event--which has been described as an evening of songs from the worlds of pop, R&B, and Broadway--Ms. Headley is putting the finishing touches on her sophomore album, which is due out later this year.

"We're working on a bunch of stuff over the next few weeks," she explains. "We got to get it out. Mr. [Clive] Davis is in charge of it, along with my A&R guy Steve Ferrara. I want it to be more R&B/Pop but more popish to cross it over even more. And I'm just really still with songs that I like and songs I love to listen to. I hate to talk about this but it's the songs that showcase voice and stuff like that. If we just make sure we get all of those things together, it will be okay."

Next week, she's due to re-team with super-producers Jimmy Jam & Terry Lewis in Los Angeles, to collaborate on another hit record. The multi-award-winning dynamic duo--behind Janet Jackson--gave Ms. Headley the Top 20 ballad, "I Wish I Wasn't," from her gold-selling 2002 debut, This Is Who I Am.

"I'm excited about working with them again. They are just so sweet," she gushes. "I know they don't want to hear that, but it's true."

Their Midas touch helped her garner a Best New Artist Grammy nod, which she subsequently did not win. But there were no sour grapes. "Can I just tell you this? I was just so stupidly in like awe and so blessed and so humbled by getting nominated that that was just it," she confides. "After a while, I didn't care. Of course, it would've been nice but I told somebody that if I would've had won I would've been balling so hard, it would've been worst than the Tonys."

Speaking of the Tony Awards, her real return to a Broadway production is imminent.

This event will mark her third engagement at the New Amsterdam Theatre. She made her Broadway debut on the stage as Nala in "The Lion King." She returned to the New Amsterdam for the BC/EFA benefit concert "Your Song" where she and other Broadway stars performed the music of Elton John. Her last appearance on the Broadway stage was in the benefit concert of "Dreamgirls" in 2001.

She promises to give all she possibly can this new show. "Anybody who has ever listened to anything that I have done within my life is going to be happy," she states. "You won't hear everything from the album but everybody is going to get something. If the only reason you know me is because of the album, you'll hear something from the album. If the only reason you know me is because of Broadway, you'll hear something from Broadway. If the only reason you know me is because I sang in your bathroom as a kid and called you mummy, mummy will be happy because we'll sing one of her songs. I think it's going to be okay. But that's the toughest part of it, making sure that everyone is happy."

There will be what Ms. Headley describes as a "mini orchestra band" directed by her collaborative conductor Rob Mathis--making it even more of a big deal.

"It's so weird how these things happen because I got the call to do something for the charity saying, ‘It would be great if we did a little show, it will be a little show' and then six months later, it's at the New Amsterdam, it's in the New York Times. I was like ‘Whoa, whoa wait a minute! I'm not that well practiced. Now, hold on."

But she'll do anything for a good cause. It's called sweet, sweet charity.

Broadway Cares/Equity Fights AIDS (BC/EFA) is the nation's leading industry-based, nonprofit AIDS fund raising and grant making organization. "It's a charity event targeted for the women's health and the children's initiative, and those are two things that I'm really, really excited about," the self-proclaimed "Trinimerican" adds. Since it's founding in 1988, BC/EFA has distributed over $85 million for critically needed services for people with AIDS, HIV, or HIV-related illnesses.

"I was like, maybe Heather should've stopped somewhere before she came home because its just so funny how things [get stressful]. But it's going to be fun and I hope that God is going to get me through it. I know He will." Indeed.

Broadway Cares / Equity Fights AIDS: (212) 840-0770. BroadwayCares.org.

Showtime
What's in a name? Ask the producers of the deliciously wicked Broadway musical named "Wicked." Based on the novel by Gregory Maguire, the magical and mystical spectacle--currently playing at the Gershwin Theater--tells the story of the two witches of Oz, the green-skinned Elphaba (Idina Menzel) and golden-coifed Glenda (Kristin Chenoweth), way before and after Dorothy and Toto--and that raggedy house of theirs--descended onto the fantasy land with midgets, and flying monkeys, and ruby red shoes. Oh my! The show was a rave right of the box when it opened last Halloween. And for good reason too. It's a show worth seeing. Since its big opening, the Joe Mantello-directed tour-de-force has just received ten Tony Award nominations, including one for Best Musical, Best Score and Best Choreography. That's the most for any show this season. "Wicked" also earned the most nominations of the 2004 Drama Desk Awards with a total of eleven, including Outstanding Musical. Hosted by "Hairspray" star Harvey Fierstein, the Drama Desk Awards will be held on May 16 at the LaGuardia Concert Hall at Lincoln Center. According to a spokesperson, "Wicked" also had the highest gross sales of any show on Broadway the week of May 3. With music and lyrics by Stephen Schwartz and a book by Winnie Holzman, the show also stars Carole Shelley, Norbert Leo Butz and Joel Grey as the Wizard. The original cast recording of "Wicked" has been released by Decca Broadway and has sold well over 100,000 copies to date, making it one of the fastest selling Broadway recordings of recent years.

Stages
My good pal Billy Porter is all aglow about his recent string of performances at New York City's hot and hip downtown watering hole/performance venue Joe's Pub. His show, titled "Billy Porter: At The Corner of Broadway and Soul" is all the rage among his loyal legions of admirers and fans. I like to refer to them as Porter Daughters. He doesn't. The always quick-witted Mr. Porter, who was last seen on the New York stage in The Public Theater's production of the George C. Wolfe-directed "Radiant Baby," wouldn't want to do his show anywhere else beside the neighboring Joe's Pub. "It's a venue that is all encompassing, and I'm that kind of artist," he tells The Ru Report yesterday afternoon. "It's called "At The Corner Of Broadway & Soul" [because it's] a mixture of gospel, new American Broadway standards and neo-soulful originals of my own," he continues. "And it came together because I got off my ass and made some calls. I haven't the foggiest idea of what people will expect, and I no longer care. This project is about me! No more apologies." Alrightee then. The string of shows is being recorded for a live CD in the near future. When probed about the distribution of the forthcoming disc, Mr. Porter quipped, "with the Lord's help." He's happy his best friend Michael McElroy was nominated for a Tony Award nomination for his turn in "Big River" ("There is a God!"). He also says that his next Broadway gig has got to be right. He has appeared in award winning Great White Way productions of "Smokey Joe's Café," "Miss Saigon," "Grease" and was originally cast in the current production of "Little Shop of Horrors." "You will see me when it's time again. It's coming, but it's got to be right this time," he adds. All of this talk of a "Dreamgirls" revival has gotten him excited, however. "Now that would be right!" He played male lead character James Thunder Early in the 2001 star-studded benefit concert of the show, which was immortalized with a recording on Nonesuch Music. The next performance of "At the Corner of Broadway and Soul" is May 17. 212-539-8770.

It appears mainstream America can't get enough of Wayne Brady. The slick-haired, soon-to-be- former daytime talk show host has signed on to take on the role as publicity savvy legal eagle Billy Flynn in the hit Broadway production of "Chicago," currently selling out at New York's Ambassador Theater. Mr. Brady will join the company on September 7 and continue in the role through November 28. One of the most versatile men in show business, he has rewritten the television record books by being the first actor to win both primetime and daytime Emmy Awards in the same year (2003). He's no newcomer to the stage, either. The Orlando, Florida native has appeared in stage productions of "A Chorus Line", "Fences", "I'm Not Rappaport," "A Raisin in the Sun" and "Blade to the Heat" at the Mark Taper Forum. His star turn in the six-time Tony Award-winning musical will mark his Broadway debut.

Lynn Nottage's acclaimed Broadway play "Intimate Apparel" won the New York Drama Critics' Circle Award for best play of the 2003-2004 season, this week. The selection was made at the annual voting meeting of the organization earlier this week at the "Variety" offices in Manhattan. "Intimate Apparel" stars the phenomenal Viola Davis and the strapping Russell Hornsby. The play takes place at the dawn of the 20th century, when opportunities for Black women were scarce. Esther is a 35-year-old skilled seamstress with a gift for sewing exquisite lingerie. Risking her independence, she weds a Caribbean laborer whom she acquainted via love letters, which leads to much doubt. Directed by Daniel Sullivan, it is current running at the Roundabout Theatre Company's Laura Pels Theatre through June 6. Founded in 1935, the Drama Critics'Circle is comprised of twenty drama critics from daily newspapers, magazines, and wire services based in the New York metropolitan area. Ms. Nottage will receive $1,000 with her New York Drama Critics' Circle Award. The awards will be presented at a private cocktail reception at Sardi's on May 18.

Bronze beauty Sanaa Lathan embodies the spirit of Beneatha Younger in Kenny Leon's critically acclaimed revival of Lorraine Hansberry's classic "A Raisin In The Sun," playing sell-out audiences at Broadway's Royale Theater. For her remarkable Great White Way debut, The Yale Drama School trained star of flicks such as Love & Basketball and Brown Sugar has garnered a nomination for a Tony Award in the category of Best Supporting Actress in a Play. But she's already won an award--a Theater World Award for breakthrough role. The winners of the 60^th Annual Theater World Awards were also announced this week, with Euan Morton ( "Taboo") and Anika Noni Rose ("Caroline, Or Change") amongst its twelve winners. Actress, playwright and director Sarah Jones will receive a special honor for her much-heralded "bridge & tunnel" one-woman show. The Theatre World award winners have been chosen by the a committee, which is composed of eight theater critics from respectable outlets such as Playbill, Theatre World and Hollywood Reporter. The awards, which were first presented in 1945, is one of the oldest honors given to stage performers. Previous Theatre World Award winners LaChanze, Viola Davis and Lonny Price will be on hand as presenters during a special ceremony, which will take place at Studio 54 on May 24.

Just realize that your goal is greater than your struggle, hold on and be strong!

Next Week
The Ru Report continues our Give My Regards… month-long series celebrating the theatrical arts. Stay tuned.

Message Karu F Daniels or email him directly at therureport@aol.com

©2003 The Ru Report™. All Rights Reserved~~P.O. Box #25 Bushkill PA 18324

Posted by Karu F. Daniels at 11:50 AM | Comments (0)

May 13, 2004

ThaFormula.com's Spotlight

Adriana Evans: Tha Forgotten "Neo-Soul" Queen
It's been seven long years since Adriana Evans dropped her debut self-titled LP without as much as a single or guest appearance since then. In 1997, when her LP dropped on Loud Records alongside

Adriana Evans: Tha Forgotten "Neo-Soul" Queen
It's been seven long years since Adriana Evans dropped her debut self titled LP without as much as a single or guest appearance since then In 1997, when her LP dropped on Loud Records alongside Hip-Hop Luminaries Mobb Deep, Wu-Tang and Tha Alkaholiks and "Neo-Soul" was still a phrase brewing in some suits mind, little did they know it was staring them right in front of their face in Adriana's golden voice and live music. The year's 2004, and Adriana is back with an independent LP, an updated sound and is ready to show the majors what they missed out on!

It's great to finally talk to you. It's been seven years since your debut LP dropped, what have you been up to since then?

Thank you. I was in Brazil for a while, I loved that. Actually I didn't want to come back. I've kind of been traveling for the last few years. I was in Mexico for a while, and then I came back and went to San Francisco, just kind of trying to find my bearings after doing that record. It was kind of a whirlwind after that, kind of a difficult time. You know the politics of the business, it can just be crazy. You just want to make great music and make people feel good but you have to deal with so much politics. Major labels are just a nightmare. So after I asked to be released from my deal (I actually asked to be released) it was just a mess.

Yeah, because back in '97 when your LP dropped on Loud you were label mates with Wu-Tang, Mobb Deep and the Alkaholiks. I always wondered whether or not they knew how to market an artist like you or Davina who had a great album around the same time on Loud, neither one of you really got that push…

Actually you know, I kind of blame RCA for that too. Because when you have a deal like that when you're kind of a niche label through a big company you expect the big company to fill in the cracks for you. Because what do you need them for if they aren't gonna assist you with promotions you know. There was some things that RCA could have done that they did not do, so it's not really all on Loud. It's the politics of having a label through another label, through another label. After doing that album, I just didn't want anything to do with the business anymore. I love music and I just kind of did music just for me. Really and truly this record is a journey, it's a combination and a representation of the journey I have been on for the last few years. Every place that I've lived or traveled to, I just kind of picked up a couple of songs, whatever I was living. Whether it was Brazil, or San Francisco or Mexico, I just kind of collected songs from each place.

Yeah, you can definitely hear the different influences in the new record…

Yeah, this album for me is really just a labor of love. It is just completely devoid of the machine. It was made in a way that I was absolutely not thinking about an A&R person sitting over me saying "yeah we're gonna get the Neptunes to remix it," or thinking about the hooks like "oh that's not commercial enough," it really is kind of like a diary of sorts. We're doing this solely independently. I got my man Paul Stewart, it's myself, Paul and Dred (John) Scott my husband. It's kind of in the spirit of Damon Dash/Jay-Z back in the day type thing.

Now seems to be a good time for that. There are so many different avenues to help an independent artist now…

Absolutely. It's so liberating. It's such a great thing not to worry about like "are they gonna like this single," because you know the music industry is so single driven. It's not even album driven, it's not even music driven. I don't even know what it is. You know there's maybe one song you kind of like on an album, and thirteen other songs that are garbage. You can just tell that they threw it together so they can say "yeah, there's 14 songs on this record." (laughs)

So they don't have to sell it for the half the price as an EP (laughs)

(laughs) Exactly.

That's what I liked about your first album, nothing seemed out of place, everything just kind of went together…

Thank you. You know, I really don't like to think like that either. I just like to make music. It's not like I'm on some old trip like "yeah, I'm just making music with a rubber band and I'm on my own trip," I definitely think about what sounds good and will connect with people. The storied that are in my songs, I want people to be able to relate to them, that's what it's all about. So you can make someone fell just a little bit more a part of…like "I'm not so alone," you know because for me as a kid what I would do when I listened to music, I would hear these songs that made me feel like "wow, maybe I'm not alone, I feel like that too." That's what I aim to do with my music. Kind of reach a common core of just the human experience. It's not like I'm on this tip like "yeah, let me just do this song about intergalactical whatever" (laughs) and no one can relate, but they are very personal. They are about me and people that I know, and it just makes me feel good when people are like "wow, that song got me through something." It just makes me feel good and that's what it's all about. It's not about record sales and promotion and marketing and spins, it's about music.

I think that is what the people that heard you're album got from it too. Because at the time people like Mary, Faith, and Aaliyah and even Lauryn was coming out…they had their sound and were all classics to me but you're sound was just different and more natural and was kind of a shock when compared to them…

Yeah, I mean we really like to work with musicians. I'm from the whole Hip-Hop background, I was one of those kids with a backpack, I was a B-Girl and it was because of Hip-Hop that I got into rediscovering the way music sounds on records, like how the ambiance was, how the drums sounded and how the guitars were EQ'd and Hip-Hop actually made me rediscover that. Because we grew up on those records, and Hip-Hop did that, it made you remember what music was supposed to sound like. For us, we were just like "let's just strip it all down like they used to do it," and Hip-Hop taught us that lesson. It's just kind of sad to me where Hip-Hop has gone, it's like it's forgotten itself. A lot of people would say to me "what does you're record have to do with Hip-Hop?" My first record absolutely could not have been created without Hip-Hop. It was Hip-Hop that made me rediscover what music was supposed to sound like listening to those breaks. You listen to how those records were made. All Hip-Hop is is just old music you know, getting the break finding that place where the record was really hot and just looping it over and over again, and you know you don't really need very much to make good music. I just see all the bling and all that and am just like, "wow." I remember De La, Tribe and Blackmoon, and all that underground stuff that just sounded so beautiful.

We're right there with you on the same page…

Yeah, and there is underground stuff out there, but the labels aren't signing any of it. I mean, it's all independent.

It's getting to the point where you really have to search for it…

You really do, but it's worth it when you find it. For me, I just can't do the major thing. You just got to a point where it's like you're either about music or you're about nothing. Because for me to do music, and it not to be about the music…that's just insanity but maybe that's just me. But some people can do the same thing over and over again and what the majors want you to do is find that same note and just stay on it for years and you never divert from it. For me…that's just death. As human beings we are constantly evolving so why wouldn't our music evolve? The majors just want you to be who they want you to be and if you can't do that then they just get somebody else that will.

It's too bad you couldn't have dropped back like three or four years ago when the "Neo-Soul" thing started…

Yeah, you know what, I think the problem with my project was that we really did that record before anybody did that. My project came out right before Erykah's and our record came out the same time as D'Angelo's because "Reality" came out around the time that "Brown Sugar" came out. What happened with our record is that people didn't know what to call it.

Yeah, why do you have to call it anything, why can't you just like it?

Yes, if they can't explain you or fit you into one sound byte, then you can't exist in that matrix and that's what it is. That's just what the machine is. I spent years just beating my head against the wall like "why? why?" and I just got to a point where it's like "you know what, I'll just create my own door, I just don't want to do this anymore," and that is what Brazil was all about. Going down there was like "wow!" music was just everywhere.

How long were you there for?

Just shy of a year. The love of music is just everywhere there. People just enjoy music, they play it not to make money, you can walk into someone's house and they grab a guitar and it's like a jam session. I was soakin' that up, I really and truly did not want to come back. I think at some point I will probably end up there. I think it made you appreciate music in a way that is about the love of it, and that's pretty much what this record is, just about the love of music, like the music I listened to growing up without the labels. People are like "wow, you're doing like rock," and I'm like "I'm doing it all, it's all just music! It's all from the same source, get over it, forget what you're calling it." That's where I am now, and it just feels great to be independent and see that people are supporting that and understanding that we are literally pressing these things up in our living room (laughs) What we have now is the CD-R's but we have gotten some manufactured and they will be available shortly.

When you originally came out what led you to the whole vibe of using live instrumentation? Because not many were doing it, and Dred's album didn't sound anything like yours…

It just seemed right. What happened was really and truly we were into Hip-Hop. One day we were like "you know what, we could make a record that sounds like these records" and those records were made with real instruments.

It's like a light bulb came on over your head right?

Yeah! We really listened to a lot of different stuff too, like Roy Ayers, Rufus and Chaka Khan and Minnie Ripperton (who I just really adore) and we just went back and listened to a lot of old records and how they sounded. We talked to a lot of musicians and engineers and said "we want to make our music sound like this." So we went and found these studios that had these old boards, we went and found some of the cats that played on those old records and it was kind of like a learning process for them again because for the last 10 or 15 years that they had been working in the industry, everything had become really computery and digital. We had to get them to think like "do it like you did in 1974," and they were like wow. A lot of the musicians came up to us afterward and were like "you guys, I want to thank you because I had gotten so used to playing all this Babyface and stuff that had no feeling to it and I had forgot how to play almost and you guys reminded us what it was all about."

Wow.

It was like a family thing when we recorded that record. I remember the board was going out, it would get hot and we'd have stop and wait for the mixing board to get cool! We were in this little studio in Los Feliz (California) and it was 102 degrees in that studio. Just hittin' it and countin' it. Me signing live with the band, laying it down as they were playing it.

Wow, it just sounds far fetched by today's standards to do it that way…

Yeah, it is. It's sad.

I remember reading an interview where you had said you had like 9 albums tucked away…

Well, I have a lot of music. I don't know if it's 9 albums, but it's a lot of music. It's just a matter of sifting through it all and putting some things together. Some of it just doesn't end up anywhere, it just for you know, my own personal gratification you know.

How did the first album end up doing?

We might have ended up doing 138,000, which is by major standards, not very well.

Yeah, but I really don't think I saw one ad or poster for the album. I had to go out and find the 12"'s for the album because no one was carrying it. The label put out promos though, but it wasn't getting into the right hands because I was literally tripping over them in the used stores. Maybe the DJ's just weren't ready to play it and break something new, I don't get it…

A lot of it is timing too, but it was a combination of timing and record company that had no intention of pushing it. It was really funny to leave the country because when I left to Japan touring for that album it was a completely different response. People really knew over there. Even in like London and Holland it was a really big deal. I think that a lot of time outside of the states, people don't look for the machine to tell them what they like, and they'll go out of their way to find it. But if you don't have the promotion behind you people won't even know you're there and I was getting none of that. Over here (in the states) it was pretty much dead in the water. But once I left the states it was like "oh wow, this is the way it should be in the states! That would be nice."

Did you get to do any touring out here (in the states) in support of the album?

Well, I got to do a lot of shows over seas. I did some shows in the south east a lot like Atlanta (which was cool), D.C. (which was very cool too), New York was ok, although I got no radio there. I got pretty much no radio except for like in Atlanta, D.C., and the Carolina's. but outside of that, like in California, I got no radio love, none.

That must hurt, to put in all that work and see it go down like that…

It was pretty painful and it took a minute to get over that. Because you put you're heart and you're soul into it. It's not like you're detached from it, it's not like somebody came in and wrote the songs and then I just sang them…

Yeah, you co-produced that album alongside Dred right?

Yeah, and wrote all the lyrics with Dred. It was really like a labor of love and it was like someone not liking you're child or someone saying "yeah you're child's ok." (laughs) It was really just like a personal rejection. But then you have to look at it like this, it's not so much that you were rejected, but that you just weren't promoted. Again with the majors, they don't really do it like that, very rarely do they do that. For them to promote an artist like me, there's really nothing in it for them. Because the way that they do it is that they get songwriters that are down with their publishing wing so they are making all the money and that's how they do it. And these people sing the songs written by people who own their publishing and the artists has absolutely no voice, no control, nothing.

And no money, no royalties.

Right! I knew coming into this that you're money is in you're publishing. The record labels are like "why should I promote her, she's not using any of our writers," that's just not the way they do it. That's pretty much where it's at is in publishing, because they (the labels) don't know what they're doing, they are losing so much money. They're pretty much going out of business.

Yeah, and they aren't willing to take chances like in the early 90's, they are sticking by the stuff that's so generic…

And they have wasted so much money in the past and now they're broke. There is only about six artists out there that are getting any love, people that are actually selling records. People see the videos and the hype and those record companies are really just about smoke and mirrors. These people that you see in the videos, they aren't even selling records. It's just the hope of the record companies to shove them down you're throat to get you to go and buy records that aren't selling because now people are just downloading.

I don't even think the lost sales is what is scaring the industry, I think at this point they are starting to worry that this (Independent music) is opening people's eyes to something different.

Because they (the fans) that go with those artists, they'll get the truth, they're gonna get something that they know that the artists really believes in. It's an exciting time in the music scene in terms of the independent scene, that's exciting to me and I support people that I know that are putting it out themselves like "good for you!"

How did you and Dred meet and decide to collaborate with each other?

We met in the underground Hip-Hop scene kind of through other people, like the friend of a friend and we just clicked. We liked all the same music and I would go to a show like Das Efx or whatever and I'd be like "hey, there's that cat again," so we just started becoming friends and collaborating. He was working on a record and it just kind of happened.

His album Breakin' Combs was the first album you appeared on right?

Yeah.

I wanted to ask about some of the remixes and soundtracks you appeared on…there was a "Seeing Is Believing" that was remixed by the Roots, did you record that with them…

No, they got sent the vocals. I've never met them.

You had a song called "Lucky Dayz" on the Hoodlum Soundtrack that was kind of rooted in the period of the movie and it sounded like it was a fun song for you to record…

Yeah, it was really fun. It was a real opportunity for me to do a homage of sorts to the music that like my mom grew up listening to and really getting a chance to explore and show that side of myself. Growing up, I had sung a lot of standards because of my mom. I knew all the Billie Holiday songs and Duke Ellington classics, it was just cool to write something like that and explore that side that you don't get to in popular music. It was perfect. We got the musicians, I sang it in the room with them, it was just so cool.

You also did a track on the Ride soundtrack with Phife of A Tribe Called Quest, was that a label pairing or something you wanted to do?

Yeah, it was on Jive. I never met Phife but I worked with Ali who produced the song. We had to write it in like one day because I was going to Japan the next day. It was cool, I wish it had been mixed better (laughs) Because I'm very hands on and I like to be there when they're mixing it. Some of the background vocals weren't there. So I went to Japan and the next time I heard it was when it was pressed up.

There was another track that kind of came out of nowhere that you did with DJ Hasebe from Japan….

Oh yeah! I've only heard it once, I never heard the finished product of it. I think before I even went to Japan he had contacted my people and I flew to New York to record it because he was there. He was very cool, the Japanese really love and respect music.

Now, it's been like 7 years since the album came out, what clicked and made you say to yourself "It's time for me get back in the game and drop something new…"

It happened kind of organically. It's two reasons. I just got tired of meeting with record company executives and hearing them say "this is what we need to change about your music, this is what we need." It's like door three, when you keep going back to a door, and you know nothing's on the other side but you keep going there. For a moment I couldn't believe that I couldn't get a deal and do it the way I wanted to do it. But that's door three, that's just what they do.

Right, beside they can't make any money off of you…

Even if they could make money off of me, they don't want to see others go down that path of not being controlled. I just got to the point where I was like "what am I going to do?" I had these songs that I had done over the years and actually Paul Stewart had approached me and said "you know we need to do something, we need to do this independently." Dred and I had been talking about that but we didn't really get off our butts and do it until Paul confirmed what we had already known what we should do. So we put all three of our heads together and just kind of made it happen. Once you get past that point where you're like "oh I'm not gonna do that on a label or get a deal," you just can't look to them like they control you're destiny, because they just don't. The whole machine of the majors…they're evil (laughs) they're really like the devil, it's so funny! (laughs) I remember hearing Q-Tips line "…record company people are shady, you better watch you're back I think they smoke crack," and back then I wasn't a signed artist, I was just groovin' off of it, but after you get into it you really are like "they are evil, it's really like getting into business with the devil."

So you've been meeting with labels throughout you're break since the last album?

Oh yeah, it's just the same thing. It's like "oh yeah, this is cool but it's not really the sound we want," they just want to dismantle you. They pull apart everything that you do that makes you you, and they rebuild you to the point when people see you they don't even recognize you or your sound. The reason why people liked you in the first place, they completely destroy. For me, that's not something that I can entertain. I am at a place where I know what I know and I know who I am and I stand in that and I'm comfortable with that and I don't need anyone to tell me who I need to be, especially when I know they don't know who I am in the first place. The majors were definitely a big wakeup call for me, like "wow, they are not going to let me do what I do, they really don't want me to do what I do, they don't want me to have my own voice."

Tell me about the new album and did you work with Dred Scott again…

Yeah, we did it all together. I wouldn't say it's a concept record, well the concept is just music. It's about all types of music that I love woven together like a story. The Soul thing is definitely represented in songs like "I Hear Music," and "Remember Love," and "Cold as Ice."

Yeah, "Remember Love" sounds like something right off you're first album, it just has a lot of feeling in it…

Thank you, yeah that one had kind of like a Brazilian theme…

Yeah, the little breaks with the samba…

Yeah, I just incorporated a lot of the rock stuff I love growing up. Kind of like the Blue-Eyed Soul I loved growing up like Hall and Oates, and Carole King. That's definitely a part of my growing up coming from San Francisco and being raised in like the Haight-Ashbury. I was not really allowed to explore that on the first record. I love Minnie Ripperton and that was kind of a part of her thing with the Rotary Connection and a lot of those funky groups from the 70's like Rufus & Chaka Khan so it's kind of a blending. It's rock, but it's like Soul-Rock. That came from listening to a lot of break beat records. A lot of those break beat records are rock records but they are like funky-Rock. So we were like "we should explore some of that." So in songs like "What it Is" there's a lot of breaks and stuff in it, and even though we use live instruments it's kind of like breaks from Rock records.

Your mom (Jazz artist Mary Stallings) is recording a cover of you're single "Remember Love" right?

She's actually in New York recording it this weekend.

Have you been there for any of it, or is she kind of running with it and letting you see the finished product?

I actually sent her the chart for the song and a tape of me singing it in kind of a Jazz style and she gave it to someone else who is writing out the charts for it, so I am really excited to hear it.

Is this the first time you have collaborated on something?

Yeah, this is the first time I have ever written something for her.

How does that feel?

It feels great, it's awesome to be able to do that. She approached me on it, she always said to me "I want you to write something for me, I really do." This song ("Remember Love") we had done in a sort of Brazilian style and Dred and I were talking one day and we're like "this would sound great in Jazz," and he started playing it that way and I sang over it thought to myself "this would be cool for my mom," and she loved it.

We talked about touring earlier, now that you're independent, how big is touring going to play into the promotion of this album for you?

It's gonna be key, I'm gonna be touring a lot. I'm actually doing three dates on the Black Lily tour at the end of May in Philly, D.C. and New York. Hopefully I'll also get overseas again too, but touring will be key especially with something grassroots like this.

Message Adrina Evans and tell her what you think

For more info on to buy her album, visit adrianaevans.com

Also be sure to check out Thaformula.com for the hardest interviews on-line!

Posted by J totha I at 02:36 AM | Comments (7)

May 12, 2004

Can't Stop Won't Stop

Idol Midol, Or Esther Phillips' Revenge
Well clearly they want a Fantasia vs. Diana final, avoid all the messy race stuff which they'll be happy to sweep under the table. So Simon and Randy mowed down Jasmine, and raised the "personality" question again with LaToya.

In fairness, Jasmine looked great, looked great, but sang poorly. Her song choices--"Everlasting Love" and the Gay National Anthem, "It's Raining Men"--were meant to bring her out as a diva. But interpretation is always a tricky thing, and that's where she missed. You don't just burn the high notes to become Martha Wash, and she knows that.

If she's leaving, she seems to have reconciled with it before the world through her tears, that terrible feeling of hitting the wall when you're just 16. If she stays, and I'll be doing my part as a Local Boy with the redial button, maybe she'll sing more loose next week. Either way, I pray a lifetime of smaller stages doesn't defeat her. World, welcome to Asian American reality.

LaToya--no personality? Just cause she's cool-headed doesn't mean she's a mystery. She's not trying to put on some stereotypical edge. She's older and wiser than all the other folks here. She's not trying to get all twisted over some TV show. But apparently Simon and Randy have decided that they want her gone.

Diana did sing her heart out. Yes, she's grown up onstage. And no, for everyone still coming here for her ethnicity, she's not Asian either. I'm back to thinking she's corny as fuck. "No More Tears"--the parenthetical "Enough Is Enough" says it all--was easily the most pathetic song of 1979. Give me "At Home He's A Tourist" (down on the disco floor they make their profits) or, more to the point, "Death Disco".

And that's the thing. This week's repertoire was uniformly terrible. This wasn't disco as entertainment, much less disco as liberation, this was disco as desperation. Some old yikes-let-me-throw-on-my-Members-Only-jacket-and-overemote-cause-there's-only-three-more-shows-type-shit. Even Fantasia went bonkers with her Bonnie Tyler cover. VH1 Classic won't even touch that shit.

Upside is that her performance of "Knock On Wood"--while not that interesting--reminded me of who she reminds me of at her best: the late, great, beautiful, tragic Esther Phillips. Her voice can have a weary coronet tone, a whiskeyed hush that discloses to you that she's lived some life; it's the thing that George never tapped, that LaToya has moved beyond, and that Jennifer wore on her silver spacesuit.

There's where Simon and Randy come in--they don't want someone who will really sing the blues, or someone who won't give up the soul, or someone who has grown through it, they want just the hint of danger, the fist in the velvet glove. Pop. The balancing act, that tiptoeing on the end of the blade. That happens to be what makes Fantasia the real artist in the competition.

Maybe in one of these last few shows, Fantasia will get to cover Esther's best song ever, "When Love Comes To The Human Race" (cause they'd never let her touch Toussaint's "From A Whisper To A Scream" or Scott-Heron's "Home Is Where The Hatred Is"), and I'll be crying some tears myself. Aw hell, Clay Aiken's on next week.

Message Jeff Chang and tell him what you think or visit him at cantstopwontstop.blogspot.com

Posted by Jeff Chang at 11:21 PM | Comments (0)

The Herbert Holla

Herbert's Hot NYC Picks
wed(12): cielo - louie vega/kevin hedge - classics/house
wed(12): apt - rich medina/guest djs - soul/afrobeat/old school/funk/classics

Herbert's Hot NYC Picks
wed(12): cielo - louie vega/kevin hedge - classics/house
wed(12): apt - rich medina/guest djs - soul/afrobeat/old school/funk/classics
wed(12): belmont lounge - emskee - soul/old school/disco/classics/funk/80s
wed(12): volume/bk - joesli/matthias helibronn - "cosmic disco"
wed(12): afterwork/40/40 - rich/ko - hiphop/r&b/reggae
wed(12): afterwork/rumor - snatch 1/m.o.s./self/kaos - hiphop/r&b/reggae/classics
wed(12): afterwork/scratch - dj big ben - hiphop/r&b/reggae/80s/rock/classics
wed(12): angel bar - scratch famous/teflon - reggae
wed(12): marquee - stretch armstrong - rock/old school/hiphop
wed(12): lotus - cassidy/guests - hiphop/rock/80s/r&b/reggae
wed(12): show - dj reach - hiphop/r&b/reggae/rock
wed(12): bOb - rholi rho/5th platoon - hiphop/r&b/reggae/80s
wed(12): pangea - ody roc - hiphop/r&b/reggae/classics/rock
wed(12): canal room - frank delour - hiphop/r&b/reggae/classics/80s/house

thu(13): afterwork/tonic - dj herbert - hiphop/rock/soul/house/80s - 6PM to 12AM
thu(13): afterwork/south city grill/nj - dj marc smooth - soul/funk/rare groove
thu(13): afterwork/kanvas - dj sweets - hiphop/70s/80s - 6PM
thu(13): afterwork/flat - dj elle - hiphip/soul/reggae/old school/classics - 6PM
thu(13): afterwork/tangerine - do it - hiphop/reggae/classics - 6PM till 2AM
thu(13): afterwork/deep - lucho/guests/live performances - latin/reggae
thu(13): afterwork/la gazelle/time hotel - goldfinger/june - hiphop/r&b/soul
thu(13): afterwork/jade terrace/china club - guest djs - hiphop/r&b/reggae/latin
thu(13): guernica - blessed/selly/reborn/monica pineda - soul/funk/house/hiphop
thu(13): 6's & 8's (old 205 club) - greg poole/dj st. james - rock/electro/80s
thu(13): volume/bk - king britt/ron trent/benji b - house/world dance
thu(13): madame x - soul controllers - hiphop/soul/reggae/classics
thu(13): show - stretch armstrong - hiphop/rock/old school
thu(13): eugene's - camillo/big ben - hiphop/r&b/reggae/classics
thu(13): joe's pub - mary mack - hiphop/r&b/reggae/classics
thu(13): pm - crooked - hiphop/funk/soul/classics/80s/house
thu(13): marquee - reach - hiphop/r&b/reggae/80s
thu(13): discotheque - sublminal house djs - house music all night long
thu(13): spyder room/avalon - rolando/guests - hiphop/r&b/reggae/80s/rock/house
thu(13): diva lounge/nj - dj rara - salsa/merengue/reggaeton/bachata/hiphop/house
thu(13): sob's - ill bill/necro/nonphixion/e dot/q unique/guests - 212.243.4940
thu(13): sullivan room - frankie feliciano!/keith blackston - house
thu(13): lotus lounge - southpaw/rez/ron-dre show - funk/b-sides/hiphop/reggae

fri(14): starfoods - thank god it's freedom - the illest - see gigs below!
fri(14): frying pan - nickodemus/mariano/guests - house - turntables on da hudson!
fri(14): shelter - spinna/bobbito - all stevie wonder related tunes
fri(14): afterwork/sequoia's - willie rodriguez/john sciascia - latin/hiphop/r&b
fri(14): afterwork/vue - derrick spaulding/guests - hiphop/r&b/reggae/latin
fri(14): plaid - jcny/peter parker - hiphop/r&b/rock/80s/reggae/classics/house
fri(14): gstaad - jus ed - house - live percussion/live artists
fri(14): blvd - reach/guests - hiphop/r&b/reggae/house
fri(14): planet 28 - guest djs - 70s + 80s soul classics/deep, jazzy, gospel house
fri(14): the flat - scientific/cato - hiphop/r&b/reggae/classics/80s/afrobeat/soul
fri(14): 2i's - wimpy bee - hiphop/r&b/reggae/classics/80s/house
fri(14): lunchbox/west side hwy - omar - hiphop/r&b/reggae/classics/soul
fri(14): lot 61 - dj soul/stretch armstrong - hiphop/r&b/reggae/classics
fri(14): deep - goldfinger - hiphop/r&b/reggae/classics - hosted by lala (mtv)
fri(14): crobar - mike whitmore/dan barnes/todd mallis - house/hiphop
fri(14): black - enuff/precise/kazzanova/J-KWON LIVE - hiphop/r&b/reggae/latin
fri(14): rothko - flyer 6th anniversary party - guest djs - techno/rock
fri(14): quo - crooked - hiphop/r&b/reggae/80s/rock/old school
fri(14): bauhaus - dj m.o.s./peter paul - hiphop/r&b/reggae/80s/rock/house/soul
fri(14): nocturne - riz/sizzahands - hiphop/r&b/reggae/classics/house

sat(15): lot 61 - herbert - hiphop/80s/reggae/rock/house
sat(15): cafe deville - red rokk/thorough/cosi - hiphop/r&b/reggae/classics/house
sat(15): canal room - rocktacon - hiphop/r&b/80s/rock/house
sat(15): float - jozen/dangeruss/chris washington - hiphop/r&b/reggae/classics
sat(15): nv - ski hi/will/guests - hiphop/r&b/reggae/classics/soca/latin
sat(15): 40/40 - rahlo/k.o. - hiphop/r&b/reggae/classics/80s
sat(15): coral room - reach friedman - hiphop/r&b/80s/rock
sat(15): discotheque - hud - hiphop/r&b/reggae/classics
sat(15): shelter - timmy regisford - house!
sat(15): eugene - jcny - hiphop/r&b/reggae/house/80s
sat(15): pm - crooked - hiphop/funk/soul/classics/80s/house
sat(15): angel - clay nizzle - hiphop/r&b/old school/funk/soul/rock
sat(15): spirit - robbie rivera/willie morales/guests - house/hiphop
sat(15): red&black/bk - kesto/cosmo baker - rock/80s
sat(15): volume/bk - ed rush/optical/hive/moshi moshi/gonzo/guests - techno
sat(15): satalla - dj vartan/ugur - post turkish day party - turkish pop music
sat(15): tenement - selector 2wice from black star tuesdays - reggae/reggae/reggae
sat(15): mars 2112 - snatch one - hiphop/r&b/reggae/classics
sat(15): mission - stormin normin - hiphop/r&b/reggae/classics
sat(15): etoile - goldfinger/precise - hiphop/r&b/reggae/classics
sat(15): vue - roy/andre/spin-one - all things latin/80s/reggae/r&b
sat(15): plaid - stretch armstrong/riz - hiphop/r&b/reggae/classics/rock
sat(15): chetty red - van vader - hiphop/r&b/reggae/classics/old school/80s
sat(15): madame x - liftkid/keith blackstone/distinctive dub-blz - house/soul/funk
sat(15): puck building - toshi's prom - open bar all night - guest djs - electro
sat(15): sullivan room - david hollands/guests - techno/hard house/electro

sun(16): fez uptown - marc smooth/guests - rare groove/soul/hiphop/reggae/classics
sun(16): joe's pub - evil d/lord sear/butta l - classic hiphop/reggae/old school
sun(16): pravda - obah - soul/funk/old school/afrobeat
sun(16): lotus - stretch armstrong - hiphop/80s/r&b/rock/old school
sun(16): nocturne - showbiz - hiphop/r&b/classics/reggae
sun(16): madame x - liftkid - house/brazilian/afrobeat - drink specials - 9 to 2am
sun(16): flat - soulfinger sam/boodakhan - hiphop/r&b/reggae/classics
sun(16): blvd - camillo - hiphop/r&b/reggae/classics
sun(16): social club - dj will/dj self - hiphop/r&b/reggae/classics/soca
sun(16): noche - dj self - hiphop/reggae/r&b/classics

mon(17): apt - cucumber slice - soul/funk/rare grooves/latin/uprock/old school
mon(17): cielo - francois k - future dub/space vibes/abstract grooves (aka house)
mon(17): lot 61 - reach/ody roc - hiphop/reggae/rock/house/r&b
mon(17): sway - guests - rock/soul/reggae/old school/hiphop - skateboard dudes
mon(17): bungalow 8 - dj soul - hiphop/r&b/80s/classics/rock
mon(17): pangaea - suss.one - hiphoph/r&b/reggae/classics - new black diamonds jam
mon(17): bembe/bk - funmi vibes/ogugua/afrobeat
mon(17): sob's - jean grae/skillz/dj questlove - www.sobs.com

tue(18): joe's pub - guest djs/live performances - soul/funk/classics/hiphop
tue(18): belmont lounge - reborn - soul/funk/r&b/old school/house/afro/world
tue(18): afterwork/bar below/bk - ayana soyini - reggae - 7PM
tue(18): afterwork/aubette - snatch 1 - hiphop/r&b/reggae/soul/classics
tue(18): nocturne - reach/cassidy - hiphop/r&b/reggae/classics
tue(18): open air - jlayne/sureshot/jd - rare grooves/70s/80s/old school/house
tue(18): sapphire lounge - eman/lola - house/deep grooves
tue(18): lobby - da union reps/massive b - hiphop/r&b/reggae/classics - loonacy
tue(18): plaid - rell live/daddy dre - hiphop/r&b/reggae/classics - AIDS benefit
tue(18): the park - dj stu bronze - rock - free BBQ from 10 to 11:30
tue(18): bb king's - the world's biggest moogers - moogfest -

Herbert's Heard
"Sex Shooter" -- Apollonia
"Last Train to London" -- ELO
"Stiletto" -- Billy Joel
"Some Day" -- Ce Ce Rogers

Word As Bond
I have a confession to make, people. I broke my new plan to save money by not eating out. But it's not my fault. WaWa is nasty, yo. Really nasty! It's a fat-boy paradise. God-forbid you go in there with the munchies--we're talking about a real "appointment." Set time aside on your schedule. On my latest Jersey excursion, I drove a buddy of mine down to the local WaWa, and I swear dude was in there for at least 45 minutes, scratching his chin, a man deep in thought indeed, not sure whether he wanted the meatball shortie or the roast beef wrap, undecided between WaWa's banging Iced Tea or a good ol' Strawberry Quick, torn between Tostito's lime-tinged tortillas and Ritz's Baked crips. WaWa is always on some new ish, too, forever flipping the traditional junk-food joints to catch you off guard. I housed some salt-and-pepper potato chips, and the brand-new, cheddar-cheese filled soft pretzel.

And then I remembered I wasn't supposed to eat out anymore.

I have another confession to make. And this one is serious. The other day, I ...this is difficult ... (breathe) ... I ... I watched Oprah. (Sigh.) And ... well ... (just say it) ... I liked it. Alot. She had an interview with Luther Vandross, his first since he came out of a coma, and it almost brought me to tears. And then she had Simon from American Idol in a little bit with his mother, and it was kind of funny. And then, she had Hillary Rodham Clinton on with her mother for Mother's Day, and her mother looked to be in her 50s at the most, and she was like 70! It was crazy. And then she brought out Ruben Studdard to sing a song for Luther, and he was great!

I'm okay, y'all. I'm okay. All I need is a little "Real TV" and I'll be good.

Freedom Fridays are going strong. The dance floor has been packed for almost 3 months now, ever since we started, and it's amazing. We're bringing about 350 beautiful people week after week, and you can bet your bottom dollar it's loads of fun. Hit me now to RSVP for this week. And if for some reason you didn't catch the big birthday blast-off slated for Monday, May 24th, I'll tell you again. Monday, May 24th, we got a big Howie McDuffy party celebrating a bunch of birthdays. I'll be spinning alongside the likes of Green Lantern (Eminem's deejay), Hot 97's DJ Enuff, Mark Ronson, WBLS' DJ Self and some other suprise guests. You know how Howie do--it's going to be really crazy and really hot. Don't even bother coming down there unless you are dressed to impress and you got the sausage factor down to like ... zero. Feel me?

Big shout out to Howie McDuffy, Gram Oliver, Seth "Dog" Zaplan and Chad Hogan. Big shout out to i.emerge and the 5th Platoon for winning the NYC regional DMC battle. Mazel Tov, my bruthas! What up, Rholi! What up, Neil! Sup, Daddy Dizzle--good luck at the National DJ Search in Cali. Kick arse like we're at Krunktivities back in the day at Swim.

Now I gotta go and look for Asian Longhorn Beetles.

Peace, love, good health and spiritual excellence.

P.S. -- A moment of silence for John Whitehead, half of McFadden & Whitehead, the R&B legends who gave us "Ain't No Stoppin' Us Now" and wrote a number of R&B hits, including "Backstabbers" and "The More I Want." John was gunned down in Philly the other day and died shortly after in a local hospital.

Herbert's Gigs
fridays - freedom - starfoods (64 e. 1st b/w 1st + 2nd aves)
#1 illest underground friday night party in nyc, doooooods!
classic hiphop/soul/dancehall/80s/house/classic r&b/funk
no dress code - dancing - food till 2 - $6 peach/cran punch
$5 on my list ... rsvp djherbert@earthlink.net

monday - may 24 - sirius radio + draft records invite you to:
howie mcduffy's birthday blast-off at the gallery/gerswhin hotel
7 east 27th b/w 5th + madison - 10PM to 4AM - no cover at door
happy b-day: howie mcduffy/gram oliver/seth "dog" zaplan/chad hogan
music by: green lantern(eminem's dj)/mark ronson/enuff/self/HERBERT
COME CORRECT - STRICT DOOR POLICY!! - rsvp: djherbert@earthlink.net

saturdays - lot 61 - 21st st + west side hwy
hiphop/r&b/80s/rock/reggae/house
sexy + upscale + hot + dancing
$10 all night ... rsvp djherbert@earthlink.net

thursdays - club tonic (727 7th ave b/w 48th + 49th)
rock/hiphop/soul/funk/old school/house/80s
afterwork - 6PM to 12AM - good food - 15 televisions
a brand new sexy mega sports lounge in times square!

Message DJ Herbert and tell him what you think

Posted by DJ Herbert at 10:50 PM | Comments (1)

AAPRC Weekly: Ofield Dukes

Ofield Dukes
Ofield Dukes & Associates

"Someone once said: the two main products of Washington are politics and public relations," notes veteran PR strategist Ofield Dukes. "They're

Ofield Dukes
Founder & President
Ofield Dukes & Associates
Washington DC

"Someone once said: the two main products of Washington are politics and public relations," notes veteran PR strategist Ofield Dukes. "They're inseparable. Nothing happens in this city without the involvement of politics and PR."

Dukes' long and venerable career in the Capitol City is, no doubt, a living example of that maxim. From a Detroit newspaper reporter to a White House press agent to the head of his own firm, Ofield Dukes has successfully mixed politics and PR for more than three decades. Along the way he has mentored students and emerging professionals and garnered the communications industry's highest awards, including, in 2001, the Public Relations Society of America's Gold Anvil Award, that organization's loftiest individual honor. He was the first African-American Golden Anvil recipient in the fifty-plus-year history of the organization.

Dukes has made exemplary "firsts" a habit.

After earning a journalism degree from Wayne State University in Detroit in l958, Dukes went on to capture three National Newspaper Publishers Association awards for editorial, column and feature writing at the Michigan Chronicle. In 1964, he was offered a position as deputy director of information for the President’s Committee on Equal Employment Opportunity, and Dukes relocated to Washington to work with President Lyndon Johnson.

The next year, a columnist wrote that the two great white liberals in Washington at the time––Senator Robert Kennedy of New York and Vice President Hubert Humphrey––did not have any Negroes on their staff. "Senator Bob Kennedy went out the next week and hired Earl Graves to manage his Harlem staff," Dukes recalls. "And Hubert Humphrey, the Vice President, went on a nationwide search." Humphrey's search led him to a couple of White House insiders who hailed from Dukes' hometown, Detroit. Both gave Dukes a resounding recommendation and the next thing Dukes knew his former girlfriends were calling to find out why the FBI was around asking questions about him.

As Humphrey's associate press secretary, Dukes––one of the few African-Americans to hold such a position––spent three years dealing with the mainstream national and international media and travelling throughout the world with Humphrey––whom Dukes describes as "more humanitarian than politician." Dukes' experiences in the White House lit a fire under his commitment to a career in communications. "During that time I was exposed to one of America's greatest communicators as a President––Lyndon Baines Johnson," Dukes says. "It was a hip type of communications, a strategic thinking. It was political communication; it was how to relate to all kinds of people. He was a modern-day Dale Carnegie in terms of dealing with the psychology of people."

Dukes' ideas about the importance of effective communications are a guiding philosophy for what became his life's work. "Public relations is synonymous with human communication," says Dukes. "Even Jesus Christ was involved in communications. He had the disciples as advance persons and John the Baptist was sort of a PR agent…Any form of human communication involves the principles of public relations––how to relate to people based on their interests. Public relations is more than just promoting an event or just engaging in an outpouring of publicity."

In addition to his deeply held beliefs about the importance of communications, Dukes is, perhaps, a classic overachiever. "When I first entered the public relations business I got up every morning with an intense determination to be excellent," Dukes remembers. "It was very, very difficult because in 1969, when I entered the PR business, it was not necessarily a mainstream profession. Here in Washington, journalists were calling PR people hacks and flacks."

Despite the name-calling, post-White House, Dukes started Ofield Dukes & Associates with an office in the National Press Building. He was the only African-American operating a PR operation downtown. "I just had a part-time secretary and Motown was the first client," Dukes recounts. "We didn't have fax machines and email and sometimes checks came in late." There were times when Dukes didn't have 50 cents to catch the bus from Southwest Washington to the Press Building, so he walked. An earnest Dukes was confident in his ability to survive the limited funds and transient clients, though, and developed ideas early on about integrity. "I felt very strongly that you had to live on the basis of your reputation," he says.

One of the greatest tests of that tenet came in the early 1970s. On one of those days when he couldn't swing the 50 cents bus fare, he got a call from a government official in South Africa. "It was a very lucrative offer to try and spin South Africa, and spin its system of apartheid," Dukes recounts. "I was appalled and offended that the person even suggested it. My commitment in business was to never do anything to compromise my sense of integrity––not even for 30 pieces of silver."

Ofield Dukes & Associates survived the lean times, and in 1975 the Washington Post described Dukes as one of the top six persuaders in Washington. His skill and reputation brought him in contact with the era's history-makers. He was involved in helping organize the first Congressional Black Caucus dinner. He was an advisor to Dr. Leon Sullivan in his fight against apartheid in South Africa. He served on Coretta Scott King's board for 10 years––during the time that Henry Ford gave her $10 million to build a center. Stevie Wonder asked Dukes to coordinate the first march to make Dr. King's birthday a national holiday. In the 1970s, Dukes was one of only a handful of African American members of the National Association of Theatrical Managers and Press Agents, and promoted the Washington run of Broadway shows such as "Bubbling Brown Sugar," "Pearlie Victorious" and "For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf."

Today the Ofield Dukes & Associates' client list includes: the Pharmaceutical Research and Manufacturing Association, and the Congressional Black Caucus. Dukes is also working with the Treasury and Federal Reserve Board on a new $50 bill that will combat counterfeiting. He is a sought after political consultant, advising the likes of New York Congressman Charlie Rangel and other members of the Congressional Black Caucus. He has been a democratic communication consultant to every democratic Presidential campaign since 1972.

In 2004, Ofield Dukes & Associates is celebrating its 35th year, a milestone worthy of retrospection and, certainly, a well-earned pat on the back. But resting on laurels isn't Dukes' style. "I've been blessed that business has been good and I don't think my reputation has ever been tarnished," says Dukes. "[But] I still get up every morning with a strong passion to be excellent and not to live on the reputation of what I did yesterday or last year. I don't need to prove anything to anybody, but there's just a determination within to be the best I can be everyday."

In addition to building Ofield Dukes & Associates, Dukes has also been committed to educating and mentoring young people. In 1971, he began teaching at Howard University. "We've taught more African-American students and encouraged more to go into PR than anybody else in the country," Dukes says proudly.

After 14 years in the National Press Building with a full-time staff of 12, Dukes decided it was time to streamline. These days he runs a lean and efficient operation out of his townhouse in Southwest Washington. With a core staff of just three, he hires people throughout the country and throughout the world as he needs them. A strong believer in time management, Dukes' days are well-organized. He's at his desk for eight a.m. and wraps things up between five and six p.m., wasting no time in between. He places great stock in being well organized, and sees it as key to the success of Ofield Dukes & Associates. It is the one habit he staunchly recommends for PR professionals hoping to start their own firms. "The individual would have to be meticulously and methodically organized," says Dukes. "And the key is time management. Time is money. I've always believed in that."

Time management has also played an important role in helping Dukes maintain a healthy balance between his personal and professional lives. A divorced father, Duke raised his daughter, Roxi, full-time from her middle-school years onward. Today, he is proudly looking forward to her graduation from Howard University in May and says being a good parent always took the priority over business.

Dukes, who was born in Alabama and raised in Detroit, has three sisters and a slew of nieces and nephews. He's been an avid tennis player for the last 25 years and a devoted churchgoer, spending his Sundays at Washington's Metropolitan Baptist Church. "I feel that my religious faith in God is the underpinning of my life and my success," says Dukes. "I treat everybody as I would want to be treated; the Golden Rule is the philosophical centerpiece of my life."

Message Ofield Dukes and the AAPRC and tell them what you think

AAPRC's Mission
The African-American Public Relations Collective (AAPRC) is an assemblage of professionals who provide communication conduits among clients, journalists, media and our communities. We come together as a collective because we recognize the importance of building those same conduits amongst ourselves.

A great deal of what we do is professional development––updating our skills, keeping pace with technology, refining and streamlining processes, providing a forum to tackle the issues that impact our work environment––but we believe our professional lives benefit most from the forging of effective alliances. Connected to one another, we possess the power of a nationwide body of committed, knowledgeable practitioners with an eye on the future.

As we move into the 21st century at lightning speed, mass media and its potent messages occupy an ever-larger part of our daily lives and our collective psyche. The AAPRC is focused on helping our members gain a deeper understanding of media's force and supporting their growth as powerful participants in the global communications network.

AAPRC's Contact
GQ Media & Public Relations
1650 Broadway Suite 1011
New York NY 10019
1212 765 7910
1212 765 7905
aapublicistcoll@aol.com

Posted by Gwendolyn Quinn at 09:30 AM | Comments (0)

May 11, 2004

Survey Says #5

Please complete this week's survey:

1. Artists I'd sign to my record label:
2. Adjectives that best describe me:

Please complete this week's survey:

1. Artists I'd sign to my record label:
2. Adjectives that best describe me:
3. Favorite sneaker or shoe maker:
4. Favorite magazine:
5. If I was granted one wish, I'd:

Column inspired by Lion-ess and yashaya. Thank you.

Send in your survey questions and photo and be a guest columnist for next week's edition.

Message The Crusade with your Survey Says responses

Posted by Ray Tamarra at 10:08 AM | Comments (20)

May 10, 2004

In Rotation: Laura Giles

Laura Giles
MusicBusinessPolitics

Aspirations: To develop and manage innovative marketing and promotional programs that allow clients to capitalize upon the increasingly lucrative

Laura Giles
Partner
MusicBusinessPolitics
Atlanta GA

Aspirations: To develop and manage innovative marketing and promotional programs that allow clients to capitalize upon the increasingly lucrative relationship between “traditional” marketing methods and entertainment properties. The company’s current focus is on event and experiential marketing programs and, in the future, I hope to expand this to focus on more comprehensive branding initiatives.

History: I started as programming assistant for a hip-hop show at college station WRVU in Nashville TN; I helped manage marketing/A&R campaigns for Patchwerk Recordings (Ras Kass) and then worked at PatchWerk Recording Studio; I booked talent at The Solstice Group (SEG); I Worked as Executive Assistant to Usher Raymond; I helped manage the Coca-Cola account and other projects for Persaud Brothers; I launched MusicBusinessPolitics in 2002 with Hannah Kang.

Projects: We just did recent events for Usher, Enyce, The Jason Taylor Foundation, Arista Records, BMF Entertainment, Bow Wow, Beyoncé Knowles, General Motors, ASCAP.

Coming Soon: We’re working on an assortment of events and national programs and will launch the website in June.

Favorite Music: R. Kelly, UGK, Scarface, Biggie, Outkast, The Lox, Pac, Nas, Faith Evans, Donnell Jones, Eightball & MJG.

Favorite Movies: The Professional, A Bronx Tale, Ocean’s Eleven, Kill Bill (Vol. I & II), Meet Joe Black, any Stanley Kubrick film.

Favorite Magazines: Vanity Fair, New York Times Magazine, The Fader, Complex, Traveler.

Favorite Food: Thai, sushi, Italian.

Favorite Cocktails: Malibu & pineapple juice and Bellinis.

Adjectives: Analytical, dedicated, organized (type-A :).

Industry Cornerstones: Ali Muhammad, Danny Blaq, Hannah Kang, Kenny Burns, Power Grant, Ian Burke, Jeanie Weems, Patty Laurent, Nicci Gilbert, Supreme, Jonnetta Patton, Kierstan Tucker, Che Johnson, Phillana Williams, Keith Wooten, Blue Williams, Dennis Ashley, Robert Gibbs, Rich Murphy, Derrin Woodhouse, Frank Roper, DJ Mars (Superfriends), JoJo Brim, Gary Lewis, and Phil Robinson.

For more info, visit Musicbusinesspolitics.com (coming soon) or Glistencomm.com.

Message Laura Giles and tell her what you think

Posted by Ray Tamarra at 02:14 PM | Comments (11)

May 07, 2004

The Ru Report #133

Give My Regards…Making Impact
Black theater pioneer Woodie King, Jr. is a rebel rouser.

The award-winning founder and producing director of New York City's New Federal Theater has presented more than 175 productions within the venue's near 34-year history. From On Broadway to Off-Off-Off Broadway, Mr. King--with all of his vision and masterful artistry--has become a legend in his own right.

In addition to the New Federal Theater, the Baldwin Springs, Ala. native also founded the National Black Touring Circuit (NBTC) in 1976. The NBTC presents and tours to colleges, regional theatre and festivals in the United States and abroad. As a director, he has directed a number of regional theatres across the country including: Cross Roads Theatre, American Place Theatre, the Alliance Theatre, Cleveland Playhouse, Pittsburgh Public Theatre, Cincinnati Playhouse, Northlight Theatre, Indiana Repertory and the New York Shakespeare Theatre and Broadway Theatre Ensemble.

With an Honorary Doctorate in Humane Letters from Wayne State University and a Doctorate of Fine Arts from The College of Wooster, Mr. King is a name to be reckoned with in the theater arts community.

Ask the likes of Denzel Washington, August Wilson, Ruby Dee, Melvin Van Peebles, Jackee Harry, Amiri Baraka, Morgan Freeman and Ntozake Shange, who are just a hand-full of the bold-faced names who have had the privilege to work with him throughout his illustrious career.

Even the legendary Ossie Davis has sung his praises: "Woodie sees it all, knows it all, and loves it all--I doubt if anybody can explain what it is, and what it is not, better than he can."

Mr. King's latest book, The Impact Of Race: Theater and Culture, (Applause Theater & Cinema Books) is a thought-provoking and captivating look at the inner workings of The Great White Way and the theater world, at large. With a ferocious tenacity and a powerful, poignant and moving prose, he lays the law on the line, as it pertains to the struggles and accomplishments of modern-time Black Theater.

To kick off our month-long "Give My Regards…" theater arts series, The Ru Report decided to wax poetic with Mr. King about the explosive text-book tome and the topics he dares to tackle.

In the book, you wrote about how artists and performing artists are feared by Top 100 Black businesses. Please elaborate.

Artists are feared by Black businessmen because art is a mystery; most people fear the unknown. Artists are guilty of not letting the average person in on exactly how one creates one's arts. For example, actors study for years in scene study classes, movement classes, voice and diction classes to be able do what they do. However, at most performances we see only the results of all of that studying. Black businessmen should be let in on how one makes the journey to that performance.

Although it's suspected that the New York Times held much power in the theater world, we had no idea that it was so overt as it is in the book. It was eye opening.

The New York Times is all powerful unless one can afford a star of P. Diddy's caliber. If you pick up the Sunday New York Times and go to the Arts & Leisure section you will see who the paper really loves. One full page cost $78,000. The white critics usually really hate anything Black.

What made you tackle the topics of the impact of race with this book?

I tackled the impact of race because our theatre world reeks of racism, classicism, and sexism. The more I work in this business I also note how racism also impacts on the American Culture; that is why I talked about producing in Japan, Ghana, and Liberia.

This book is essential reading to all theater-goers, industry insiders and performers. Who is your desired reader?

My desired readers are Black Folk who go to any kind of cultural event, like theatre, dance, music, hip-hop, R&B concerts, etc. And, yes, industry insiders and theater goers as well as performers, too.

Can you share some of your fond memories of your early days?

In the early days artists were passionate about the art. We had a "ism" It might have been Nationalism; it might have been communism, it might have been something called "the African Continuum" or simply Black Power. I remember back in Detroit, David Rambeau and I rented an old bar and made it into a 75-seat theatre with an art gallery as the lobby. We got ten friends to put up $100 each. In New York when I started New Federal Theatre in some seasons we did as many as 8 productions per year. Brilliant artists like Shauneille Perry, Jackee Harry, Denzel Washington, Morgan Freeman, Samuel L. Jackson, Laurence Fishburne, Dick Anthony Williams, Lynn Whitfield, Ed Bullins, Ron Milner and Ben Caldwell were all a part of the magic we created.

What has changed the most about the theater world?

I think the theatre world changed as the new technology came into existence. The new technology focused primarily on gathering and distributing information. White media will not distribute information about Blacks unless it's negative information. Thank God for e-mail and dot.com and Brothers like you who somehow find new ways to get the "word" to the people.

And what has pretty much stayed the same?

It's very difficult to say what has remained the same. Yet, the impact of race seems much more obvious today than in the past.

What's your future goals for the New Federal Theater?

The future goals of the New Federal Theatre is really to keep on producing so that our Black artists can integrate into the mainstream of American theatre. I love introducing new artists.

You're considered an authority in the theater world. What do you make of these gospel musicals that travel from city to city, week by week?

The gospel musicals that travel from city to city let us know that there is an audience out there; that's the audience that has been ignored by mainstream theaters. These Black people are not really wanted in the white theaters--white theatre do not even try to get them to come into the space unless a white producer is producing a "Black play". But in most cases these show are actually produced by white producers also known as local promoters; you will never see their name anywhere. Usually, they are David Rubin, Nick La Trento, Jeff Sharp, Alan Lichtenstein, and the like. They will give the Black guy you think is producing a fee for his show, the local promoter keeps the lion's share [of the revenues]. Are these plays art? I don¹t think a lot of care goes into the creation of these shows but Black audiences love them. I don't think you will see revivals of these shows in your local Black theaters.

You stated that the New York Times was powerful in the livelihood of the theater world. What role does Black media play, if any?

If we had no Black media Black theatre would be in big trouble. Black media is Black theatre's only way to reach Black people.

Mr. King's latest work of art is a new realistic play titled "Waitin' 2 End Hell," by William Parker, about deteriorating Black middle class family relationships, opens off-Broadway at the 47th St. Playhouse on May 27 in New York City. (212) 394-1293.

Showtime
Much has been written about the eagerly anticipated return of the 1960 classic musical "Little Shop of Horrors," which is currently playing at the Virginia Theater on Broadway. Although much scuttlebutt ensued when abrupt all-star cast changes were made right before the show hit the Big Apple, nothing could stand in the way of the humorous, heart-touching story, the powerhouse vocal bravado and that monster of a plant. Starring Hunter Foster as Seymour, Kerry Butler as Audrey, Rob Bartlett as Mushnik and Douglas Sills as Orin Scrivello, "Little Shop Of Horrors" features book and lyrics by the late Howard Ashman and music by Alan Menken (The Little Mermaid, Beauty and the Beast, Aladdin) and includes such well-known musical numbers as "Somewhere That's Green," "Suddenly Seymour" and the title song. Michael-Leon Wooley as the Voice of Audrey II, Carla J. Hargrove as Ronnette, Trisha Jeffrey as Crystal and DeQuina Moore as Chiffon round out the casting and fills the bottom out with their soulful harmonizing. If you're a fan of the zany updated movie version like I am, you'll love this revival. And you will literally jump out of your seat at the site of the plant (designed by The Jim Henson Workshop and Martin P. Robinson) jumping out into the audience. Talk about crowd participation. It was s surprising highlight of the night. According to a spokesperson for the production, the show is slated for an open run. The Tony Awards will be announced early next week. We'll see how "Little Shop…" will fare.

Stages
At the fabulous and grand opening night for the hearty new Broadway musical, "Caroline, Or Change," this past Sunday, The Public Theater's soon to be former head honcho, George C. Wolfe, confirmed to me that he has been approached to direct an upcoming Broadway revival of "Dreamgirls." The nifty theatrical wizard wouldn't say if he would do it or not. Seemed excited though. Screamed something about a time for "change." Would be a shoe-in for a restaging of the legendary musical.

The Tony Award-winning Elton John/Tim Rice musical "AIDA" will shutter on September 5, after playing close to 2,000 performances…and going through about 2,000 Aidas. No. I'm just kidding. It's only been five! Drum-roll please: Heather Headley, Simone, Toni Braxton, Michelle Williams and Deborah Cox, who is currently playing the lead until, well September 5.

Seems as though "The Apprentice" stars Omarosa Manigault-Stallworth, Kwame Jackson and Bill Rancic aren't the only former contestants who have a "trump" card to play after the hit NBC reality show. "Wild Man" Sam Solovey has been tapped to play himself in the popular off-Broadway show "Tony n' Tina's Wedding" starting May 18 through May 22. And we all thought these people wanted to run Fortune 500 companies; not become media darlings and stage and screen celebrities. Guess they really are apprentices of the media-savvy tycoon also known as The Donald. Hmmm.

Honorable Mention
The Black Public Relations Society Of Greater New York will present "A Salute Honoring Pioneering Women In Theater" on May 17 at the Park Avenue South offices of public relations powerhouse Burson & Marsteller. The classy Donna Walker-Kuhne, President of Walker International Communications, and the statuesque and savvy Marcia Pendelton, Founder of Walk Tall Girl Productions, will be honored, amongst others. Collectively and individually, these two phenomenal women have made strides, carved niches and help contribute to the "Browning of Broadway" via effective audience development and theatrical marketing initiatives to bring people of color out to the Great White Way. Their diligent work with George C. Wolfe-produced and directed works speak for itself. My hat goes off to them. For more information, contact (516) 377 6146.

The devil tried to stop me. He tried to block me. But I got away. I got the key!

Next Week
The Ru Report continues our "Give My Regards…" month-long series celebrating the theatrical arts. Stay tuned.

Message Karu F Daniels or email him directly at therureport@aol.com

©2003 The Ru Report™. All Rights Reserved~~P.O. Box #25 Bushkill PA 18324

Posted by Karu F. Daniels at 01:23 PM | Comments (0)

May 06, 2004

What's In Your Deck? #4

Your Weekly Top 5 Radio Picks
This week I picked up a lot of new music, at least new to me, but I found myself tuning into the internet a lot and listening to mostly news and just tuning around while I worked. I do this a lot, here’s some of my favorites.

Do any of you listen to internet radio? Let us know below...

1. Air America, Airamericaradio.com
As most of you know, Air America is Al Franken’s new syndicated radio station that leans to the left in a minefield of right wing terror baiting. In an attempt to balance out our AM airwaves, Franken and co.--which includes Chuck D., Mark Riley, Davey D. and Janeane Garofalo--present a real alternative to the Rush Limbaughs of the world. It’s only on the air in a handful of markets, but that should change soon. Until then, give them a try on the internet or on Sirius satellite radio. Unfiltered with Daily Show co-creator Lizz Winstead, Public Enemy’s Chuck D and Rachel Maddow airs every morning from 9am-noon on the east coast and it’s generally a fun listen. Definitely one of the better shows. Saturday nights, Kyle Jason, Chuck D, Martha Diaz and Davey D host Bring the Noise from 10pm-midnight and they present a pretty much hip hop based, but wide array of new music. It’s interesting. I want to see where they take the whole thing. I need this in my car.

2. Hard Knock Radio, Kpfa.org, Hardknockradio.com
Now this is some after school radio. I’m serious dog, Hard Knock Radio has the formula down right. Designed to appeal to the hip hop generation, this insightful talk show airs on 94.1 FM KPFA in the Bay Area from 4-5pm Monday through Friday. That’s 7-8pm in New York and so on. Hosts Davey D., Weyland Southen, Anita Johnson and Tsadae Abeba Neway present political, social and community news and views to an audience that doesn’t normally get spoke to about such thangs. It’s intelligent and it speaks to the youth like no other show I have ever heard on the radio. Through interviews with politicians, hip hop activists, artists and community leaders, Hard Knock Radio gives the people what they want; Information, music and insights they surely won’t hear on typical urban radio.

3. BBC 1Xtra, Bbc.co.uk/1xtra
There’s so much going on musically in the world right now, and so few radio stations are trying to document it. 1Xtra is a lone pioneer in the game. Broadcasting from London via the BBC’s website to the entire world, 1Xtra presents the freshest hip hop from the US and Europe generally, cold ass R&B and garage shows and urban music from around the world. The shit goes 24 hours a day and you can almost always tune in and hear something you haven’t heard within ten minutes. This is radio. Maybe not flawless, but extremely progressive amidst the shit we have to listen to over here. I guess it is on Digital Radio in the UK, not the regular band yet. My favorites are Semtex for hip hop and the grimy new UK shit, Femme Fatale for the UK garage and the Panjabi Hit Squad just blows my mind. All shows are archived for a week and are available on demand for free.

4. Democracy Now, Democracynow.org
Democracy Now is better than Air America, if you really want to get radical and find out some good shit. Amy Goodman is intense, possibly the most radical voice on the radio. And Juan Gonzalez is a brilliant radio journalist. It’s broadcast on over 200 stations across the country and many cable access channels as well. Known as the War and Peace Report, Democracy Now presents the other side of the news, every day, just like Bill O’Reilly and all them fools on Fox. It wouldn’t hurt anybody to ingest a little of this on their way to work, before the endless barrage of bullshit attacks you.

5. World Radio Network, Wrn.org
I listen to this a lot on actual radio in Houston cuz Rice University’s station KTRU runs this whenever they don’t have a DJ on the air. Which is generally early in the morning during the week, perfect for me. They play English language news broadcasts from all over the world. Radio Netherlands, Radio Budapest, Radio Australia, CBC, Channel Africa and China Radio International are some of my favorites. Tune in live on the website anytime and see what you get.

So what radio shows are you tuning into?

You can also listen to what's in Matt Sonzala's deck by checking out Damage Control Radio every Wednesday nite/Thursday morning 12am-3am on 90.1 FM in Houston. Listen to the live stream at kpft.org or kpftx.org.

Message Matt Sonzala and tell him what's in your deck

Posted by at 08:09 AM | Comments (7)

The Herbert Holla

Herbert's Hot NYC Picks
thu(06): afterwork/tonic - dj herbert - hiphop/rock/soul/house/80s - 6PM to 12AM
thu(06): afterwork/south city grill/nj - dj marc smooth - soul/funk/rare

Herbert's Hot NYC Picks
wed(05): cielo - louie vega/kevin hedge - classics/house
wed(05): joe's pub - carol c/e-love - latin house/afrofusion/soul/live percussion
wed(05): irving plaza - angie stone - www.giantstep.net
wed(05): apt - rich medina/guest djs - soul/afrobeat/old school/funk/classics
wed(05): belmont lounge - emskee - soul/old school/disco/classics/funk/80s
wed(05): nuyorican poet's cafe - live poetry/open mic/jazz/art - ALL THAT!!!!
wed(05): 40/40 - crooked - hiphop/r&b/reggae
wed(05): angel bar - scratch famous/teflon - reggae
wed(05): marquee - stretch armstrong - rock/old school/hiphop
wed(05): lotus - cassidy/guests - hiphop/rock/80s/r&b/reggae
wed(05): afterwork/rumor - snatch 1/m.o.s./self/kaos - hiphop/r&b/reggae/classics
wed(05): afterwork/scratch - dj big ben - hiphop/r&b/reggae/80s/rock/classics
wed(05): show - dj reach - hiphop/r&b/reggae/rock
wed(05): sweet rhythm - brian lynch quartet - live jazz - 212.255.3626
wed(05): bOb - rholi rho - hiphop/r&b/reggae/80s

thu(06): afterwork/tonic - dj herbert - hiphop/rock/soul/house/80s - 6PM to 12AM
thu(06): afterwork/south city grill/nj - dj marc smooth - soul/funk/rare groove
thu(06): afterwork/jade terrace/china club - camillo - hiphop/reggae/r&b/classics
thu(06): afterwork/kanvas - dj sweets - hiphop/70s/80s - 6PM
thu(06): afterwork/flat - dj elle - hiphip/soul/reggae/old school/classics - 6PM
thu(06): afterwork/tangerine - do it - hiphop/reggae/classics - 6PM till 2AM
thu(06): afterwork/deep - lucho/guests/live performances - latin/reggae
thu(06): afterwork/la gazelle/time hotel - goldfinger/june - hiphop/r&b/soul
thu(06): sob's - dj rekha/phil money - basement bhangra - CHALLAH!!!!!!!
thu(06): 5 spot/bk - cash money/rich medina/botany 500 - rare groove/classics/funk
thu(06): guernica - blessed/selly/reborn/monica pineda - soul/funk/house/hiphop
thu(06): 6's & 8's (old 205 club) - greg poole/dj st. james - rock/electro/80s
thu(06): webster hall - kool dj red alert/live def jux show - hiphop/turntablism
thu(06): demerara's - camacho/tyron francis/doc - house classics/breaks/dancers
thu(06): blvd/crash mansion - live performances/stretch armstrong - open bar 8-9
thu(06): show - stretch armstrong - hiphop/rock/old school
thu(06): joe's pub - mary mack - hiphop/r&b/reggae/classics
thu(06): manhatta - max glazer/eddie stats - reggae/reggae/reggae/reggae/reggae
thu(06): pm - crooked - hiphop/funk/soul/classics/80s/house
thu(06): marquee - reach - hiphop/r&b/reggae/80s
thu(06): discotheque - sublminal house djs - house music all night long
thu(06): spyder room/avalon - rholi rho/rolando - hiphop/r&b/reggae/80s/rock/house

fri(07): starfoods - thank god it's freedom - the illest - see gigs below!
fri(07): frying pan - nickodemus/mariano/guests - house - turntables on da hudson!
fri(07): afterwork/sequoia's - willie rodriguez/john sciascia - latin/hiphop/r&b
fri(07): plaid - jcny/peter parker - hiphop/r&b/rock/80s/reggae/classics/house
fri(07): blvd - reach/guests - hiphop/r&b/reggae/house
fri(07): planet 28 - guest djs - 70s + 80s soul classics/deep, jazzy, gospel house
fri(07): the flat - scientific/cato - hiphop/r&b/reggae/classics/80s/afrobeat/soul
fri(07): 2i's - wimpy bee - hiphop/r&b/reggae/classics/80s/house
fri(07): lq - roy/andre/spin-one - latin pop/brazilian/salsa/merengue/reggae/80s
fri(07): lunchbox/west side hwy - omar - hiphop/r&b/reggae/classics/soul
fri(07): lot 61 - dj soul - hiphop/r&b/reggae/classics
fri(07): mission - ayro/titonton/sean b/guests - broken beat/future soul
fri(07): spirit - low end specialists/stretch armstrong - house/hiphop/rock/80s
fri(07): deep - kulcha - hiphop/r&b/reggae/classics
fri(07): noche - camillo - hiphop/r&b/reggae/classics
fri(07): play - van vader - hiphop/reggae/r&b/classics/80s/old school
fri(07): etoile - dj self - hiphop/r&b/reggae/classics
fri(07): nocturne - riz/sizzahands - hiphop/r&b/reggae/classics/house
fri(07): quo - crooked - hiphop/r&b/reggae/80s/rock/old school
fri(07): jade terrace/china club - joe 11 - hiphop/r&b/reggae/80s/old school/soul
fri(07): bauhaus - dj m.o.s./peter paul - hiphop/r&b/reggae/80s/rock/house/soul
fri(07): otto's shrunken head - dj lisssa/dj lydia/live bands - punk/new wave/rock

sat(08): lot 61 - herbert - hiphop/80s/reggae/rock/house - Happy B-Day, Mickey!
sat(08): nv - ski hi/will/guests - hiphop/r&b/reggae/classics/soca/latin
sat(08): tonic/downstairs - language/lindsey/duane - classics/80s/electrofunk
sat(08): 40/40 - rahlo/k.o. - hiphop/r&b/reggae/classics/80s
sat(08): coral room - reach friedman - hiphop/r&b/80s/rock
sat(08): discotheque - hud - hiphop/r&b/reggae/classics
sat(08): shelter - timmy regisford - house!
sat(08): eugene - jcny - hiphop/r&b/reggae/house/80s
sat(08): guernica - mano/ola - hiphop/r&b/reggae/80s/old school
sat(08): pm - crooked - hiphop/funk/soul/classics/80s/house
sat(08): filter 14 - john b - hiphop/r&b/reggae/80s
sat(08): ida mae - snatch wizzle/trauma - hiphop/r&b/reggae/classics
sat(08): strata/broadway + 21 - cassidy/ody roc/sky nellor - house/hiphop/rock
sat(08): spirit - david morales/big ben - trance/progressive house/hiphop/reggae
sat(08): chetty red - van vader - hiphop/r&b/reggae/classics/old school/80s
sat(08): plaid - stretch armstrong/riz - hiphop/r&b/reggae/classics/rock
sat(08): sullivan room - david hollands/guests - techno
sat(08): 5 spot/bk - djinji brown/eman - house/indie hiphop
sat(08): battery park - macy gray/black eyed peas/van morrison/more - live!!!!
sat(08): etoile - goldfinger/precise - hiphop/r&b/reggae/classics

sun(09): fez uptown - marc smooth/guests - rare groove/soul/hiphop/reggae/classics
sun(09): deep - danny krivit - house
sun(09): joe's pub - evil d/lord sear/butta l - classic hiphop/reggae/old school
sun(09): pravda - obah - soul/funk/old school/afrobeat
sun(09): lotus - stretch armstrong - hiphop/80s/r&b/rock/old school
sun(09): nocturne - showbiz - hiphop/r&b/classics/reggae
sun(09): madame x - liftkid - house/brazilian/afrobeat - drink specials - 9 to 2am
sun(09): noche - dj self - hiphop/reggae/r&b/classics
sun(09): social club - dj will/dj self - hiphop/r&b/reggae/classics/soca
sun(09): anju - x factah squad - hiphop/r&b/reggae/classics - host=joe buddens

mon(10): apt - cucumber slice - soul/funk/rare grooves/latin/uprock/old school
mon(10): cielo - francois k - future dub/space vibes/abstract grooves (aka house)
mon(10): lot 61 - reach/ody roc - hiphop/reggae/rock/house/r&b
mon(10): sway - guests - rock/soul/reggae/old school/hiphop - skateboard dudes
mon(10): bungalow 8 - dj soul - hiphop/r&b/80s/classics/rock

tue(11): union square lounge - kool dj red alert!!! - 70s + 80s classics
tue(11): joe's pub - guest djs/live performances - soul/funk/classics/hiphop
tue(11): belmont lounge - reborn - soul/funk/r&b/old school/house/afro/world
tue(11): afterwork/nicole's ny/old copa - dj benji b - giant step!!
tue(11): afterwork/bar below/bk - ayana soyini - reggae - 7PM
tue(11): afterwork/aubette - snatch 1 - hiphop/r&b/reggae/soul/classics
tue(11): nocturne - reach/cassidy - hiphop/r&b/reggae/classics
tue(11): open air - jlayne/elijah/jd - rare grooves/70s/80s/old school/house
tue(11): sapphire lounge - eman/lola - house/deep grooves
tue(11): mission - guest djs - hiphop/r&b/reggae/classics
tue(11): lobby - da union reps/massive b - hiphop/r&b/reggae/classics - loonacy
tue(11): plaid - goldfinger/cassidy/june - hiphop/r&b/reggae/classics/80s

Herbert's Heard
"Couldn't Hear Me over the Music" -- Eric Roberson (again and again)
"True" -- Spandeau Ballet
"Shadowboxin" -- GZA
"Gangsta Bi**h" -- Apache
"I Confess" -- Bahamadia

Word As Bond
I just made the illest fajitas. I chopped up 4 cloves of garlic, half an onion, 1 fresh red pepper and 2 handfulls of mushrooms. I melted a tablespoon of butter in a pan, threw in the onions first, then the peppers, then the garlic and then the mushrooms, sauted 'em up real nice, then I threw the chicken strips into another pan and cooked them joints up at the same time. That's right. Two burners at once. Stop sweating me. Then I took out the wrap ("Mission" wraps break too easily) and plopped it on a plate, shoveled the goods on top, finished it off with a heaping pile of freshly grated extra-sharp cheddar cheese and housed it. Man did I house it.

You in my gut now.

You see ... I figure it like this: If you're gonna eat out every day, that means you'll be spending at least $10 a day. At least. So after 30 days, that's $300, plus an extra $50 because the only thing you'll be able to afford on $10 a day is Spanish food, and you KNOW you'll wanna throw some steak and other specialty foods in there somewheres to give your stomach a break from all that beans and rice. So let's safely say around $350 a month. Now ... a $150 trip to Gristedes will fill the fridge and pantry up and will last you at least 2/3 of your month, so add to that another $100 (at the most), and we're talking $250, which calculates your monthly savings at $100. Since we all know $20 a day is what we spend when we eat a la someone else, now we're talking $350 a month in savings if you just go to the darn store and buy your own damn food.

See? Isn't the Herbert Holler great? Places for you to party and ways to save your money. I dare you to ask me to stop sending you emails. I dare you.

Now let me go. I gotta order me some Gobdol Bim Bim Bap.

Good health, peace, love and happiness for all.

Herbert's Gigs
fridays - freedom - starfoods (64 e. 1st b/w 1st + 2nd aves)
#1 illest underground friday night party in nyc, doooooods!
classic hiphop/soul/dancehall/80s/house/classic r&b/funk
no dress code - dancing - food till 2 - $6 peach/cran punch
$5 on my list...rsvp djherbert@earthlink.net

saturdays - lot 61 - 21st st + west side hwy

hiphop/r&b/80s/rock/reggae/house
sexy + upscale + hot + dancing
$10 all night …rsvp djherbert@earthlink.net

thursdays - club tonic (727 7th ave b/w 48th + 49th)
rock/hiphop/soul/funk/old school/house/80s
afterwork - 6PM to 12AM - good food - 15 televisions
a brand new sexy mega sports lounge in times square!

Message DJ Herbert and tell him what you think

Posted by DJ Herbert at 06:19 AM | Comments (1)

May 05, 2004

AAPRC Weekly: Carole Simpson

The Big 10
On October 19, 2003, when Carole Simpson stepped down as anchor of ABC News' "World News Tonight Sunday," it was the end of an era. For nearly two

The Big 10
On October 19, 2003, when Carole Simpson stepped down as anchor of ABC News' "World News Tonight Sunday," it was the end of an era. For nearly two decades, Simpson had led viewers through the news of the day with intelligence, eloquence and steadfast professionalism. The Emmy Award-winning journalist is still a senior correspondent for ABC News and reports on family and social issues for "World News Tonight With Peter Jennings."

In 1992, the second Presidential debate between Bill Clinton and George Bush, Sr. was held in Richmond, Virginia––the first in history to have a town hall meeting format--and Simpson was chosen as moderator––the first woman and first minority to moderate a presidential debate. Over the past thirty years, it seems Simpson has always been on hand when history was in the making. When there was breaking news about the first Persian Gulf War, the Tiananmen Square massacre, the Clarence Thomas-Anita Hill hearings and other major stories––Simpson was there. In 1990, she was a member of the "Nightline" team in South Africa, and helped anchor ABC's live coverage of Nelson Mandela's release from his 27-year imprisonment.

Simpson joined ABC News in 1982, coming from NBC News where she'd covered the U.S. Congress and hosted a women's public affairs program on Washington's NBC-owned station, WRC-TV. Her broadcasting career began in Chicago at WMAQ-TV, where she was a reporter and weekend anchor. Prior to joining NBC News in 1974, she worked in public television, radio, and worked as a journalism instructor at Northwestern University's Medill School and at Tuskegee Institute in Alabama. She was also director of the information bureau at Tuskegee. Simpson is a graduate of the University of Michigan and did graduate work at the University of Iowa.

In addition to three Emmys, Ms. Simpson is the recipient of countless awards for her work as a journalist and for her advocacy for women, children and education. She has established several college scholarships for women and minorities pursing careers in broadcast journalism: one at the University of Michigan and two for a male and female through the National Association of Black Journalists (NABJ). The Carole Simpson Scholarship is administered by the Radio-Television News Directors Association and Foundation.

What does a typical day look like for you now that you've left the anchor desk at "World News Sunday?"

I anchored the weekend news for ABC for 15 years, the last eight of them commuting to New York where they had moved the broadcast from Washington. Needless to say the weekly travel was becoming a little much. My orthopedic surgeon said that my whole body was off kilter, tilting to the right, from dragging my suitcase back and forth.

Last fall, I signed a new contract with ABC News, which still has me reporting for radio and TV, but most of my time is consumed with my new position as "News Ambassador to the Schools." ABC executives knew how much I enjoyed mentoring young people and how I have supported many students with my scholarships. They suggested I go into the nation’s public schools to find out why today’s celebrity-obsessed teenagers are not watching the news or reading newspapers. And then, to try and persuade them that they need to be informed of what’s going on in their communities, the nation, and the world. It’s a tough assignment.

In February, I launched the program at my old high school in Chicago. I call it "News: The Ultimate Reality Show." I have now traveled to a total of eleven cities, spent a full day talking to classes of students in 18 high schools. I estimate that about 1600 students have been exposed to the message. Maybe 10 percent of the kids "get it" and assure me they will do better. I think quite a few of the rest of them will at least think about it.

I took a long way around to get to your question, but my days during the academic year are spent setting up, traveling to, and speaking to high school students. It is some of the toughest work I’ve done.

In addition to building an extraordinary career in the upper echelons of journalism, you've also been committed to mentoring and to speaking out on important issues such as diversity and the societal factors that impact women and children. Is there any one thing that acts as a motivating force for you?

I have probably answered this in the first question, but I reach out to minority youngsters, because like me, many of them grew up not knowing anything about how the corporate world works. My mother didn’t go past the 9th grade and my father was a mailman. When I started as a journalist in 1965, I was the first and the only either female or minority everywhere I went. My abilities were always underestimated. No one told me how to navigate the troubled allwhite, all-male waters. I was resented and everything I learned I had to bang my head into a wall first. So when other women and minorities were hired at my workplaces, I would reach out to them and warn them of the pitfalls, the political situation in the office, and who were the "good guys" and most importantly, the "bad guys." So what motivates me: "Doing unto others as I would have them do unto me." There were no others to do unto me. So I have taken up that role.

I recently read a piece in which you talked about the difficulties of starting a career in journalism as an African-American and a woman in the early 70s. If you were giving a "state of the newsroom" address today, how would you assess the environment for African-Americans and women?

You ask me this at a very good time. I have been visiting newsrooms in the cities where I have been doing my schools project: Chicago, New York, Los Angeles, San Francisco, Oakland, Raleigh, Durham, Philadelphia, and Washington, DC.

I would say that for all the talk in the news business about "diversity," it is not the reality. I think women and African-Americans have been losing ground. There were higher numbers in 1990. There are more women behind the scenes as General Managers and News Directors, but the majority of new hires appear to be white males. In cities where African-Americans held "on-air" jobs, many are being replaced by Hispanics. The message that Hispanics are now the largest minority group in America, has not been lost on management. You would think they could hire more than one minority, but I’m sure they would argue that with declining revenues from a declining TV audience, there isn’t enough money.

What's your best advice for African-Americans building careers not just in journalism, but in any media field?

African-Americans still have to work twice as hard as everyone else and for only half the credit. I thought that would change over time, but it hasn’t. Our mistakes are always more glaring. I would also say we need to be excellent at what we do. Mediocre won’t cut it. And we have to work hard. People have often told me, "You are so lucky." I don’t think luck had anything to do with it. I worked my, (pardon the expression) butt off, and still do. When you can "build the better mousetrap," when you can attract the most viewers, or save the company money, it is much harder to slam doors in the face of Black employees.

Over the past several years, a number of high profile journalists have been caught in startling deceptions. Do you think these incidents are indicators of a larger problem in the industry?

I don’t know what is going on. I went to journalism school and learned the laws of the press, the obligation to be fair and accurate, to tell both sides, check all the facts. I can only suspect there are reporters today who never had to learn those basic principles. Maybe they were English majors and wrote well. It seems to be easier to plagiarize as a print reporter. In television, we have to have the pictures and the soundbites. It used to be virtually impossible to fake, but with the new computer graphics, who knows? And if I ever see Jayson Blair, who brought down Gerald Boyd at the New York Times, one of the greatest Black journalists I’ve ever known…well, let’s just say, I won’t be kind and it may get physical. It is becoming a major problem in the industry. We are all tarred with the same brush. The public thinks we’re not to be trusted anyhow. If news organizations don’t hire people with strong credentials, and oversee their work, it will further damage the media. When you can go on the Internet and pull up any story from any obscure little paper in the country, unqualified people may be tempted to "borrow" that. But it is abhorrent to me.

Do you think ratings pressures brought on by the rise of cable have had an adverse effect on the quality or integrity of broadcast news outlets?

The growth of cable certainly has had an adverse effect on the quality of our news. We first noticed it during the OJ Simpson trial. "ABC World News Tonight with Peter Jennings" had been number one for years, but we paid scant attention to OJ. It was a crime story. We would broadcast stories when there was news, but NBC began doing stories every night on OJ, because that’s what cable was doing and drawing high ratings. Well, we began a ratings decline and have for the last few years been in second place to "NBC Nightly News." A close second. We used to do news because professionals decided this is what the public needs to know today. But now everybody is giving the public what it wants, and tries to sneak in the substantive news. News, which, used to be a service owed to the public, has now become just another profit center. It’s often too much about ratings and money, and those of us from the "old school" of journalism are dismayed.

With the race for President and military action in Iraq and Afghanistan, obviously 2004 is no ordinary news cycle. If you were a network news director would you cover the big stories––particularly the race for President––any differently?

I try to tell the high school students that 2004 has been the scariest time I can remember in the country. Everybody hates us. Every day there is a new warning about a terrorist attack. We’re bogged down in Iraq, Osama is still on the loose, US troops are dying everyday, Americans are losing jobs from outsourcing, and an important Presidential election coming up. They need to pay attention. Everybody does. But I hear folks say they don’t want to hear about Iraq, it’s too depressing, and the rest of the news is boring. It’s the public. They want to be entertained all the time. I’d like to think I would cover the major stories, but with more context. One hundred soldiers killed in Iraq in one month is important to you because…We’ve got to make it more relevant to the viewer or they will tune out.

As a journalist you've traveled the world and covered some of our era's most significant stories. Is there any one story that stands out for you? Is there any work you're most proud of?

There have been many highlights in my career but two stand out. In 1992, I was the first woman and first minority to moderate a Presidential Debate, and it was the first town hall meeting format. Ninety minutes of live TV seen all over the world was a daunting but heady experience. Many women and minorities pointed out to their children that "there was a Black woman" handling Bush, Clinton and Perot. If that made me a role model, I am proud. The other most unforgettable story was being in South Africa, broadcasting live, the release of Nelson Mandela. It was the day after I had been beaten across the back by a white South African policeman while I was covering a demonstration outside Archbishop TuTu’s cathedral in downtown Johannesburg. The contrast of those two days left me going back and forth between crying and laughing, cursing and cheering. Quite the rollercoaster.

From the past year, is there a story you believed to be really important that didn't get enough coverage?

I don’t believe the media covered the many anti-war demonstrations that have been held around the country since the war began. There’s an unspoken fear of being branded unpatriotic by the Bush Administration. When I was in Oakland recently, there was a huge demonstration. I don’t even think the locals covered it.

Can you identify any one strategy that you believe has been key to your success?

One strategy…hmmm? Well I am grateful I had an intact family and that I had parents who had great expectations for me. My mother would not allow me to bring home a "C". Unacceptable. That made me work harder. The support of my parents, my husband and my two children, has kept me going through the years. Family give you balance in your life. It shows you that the petty problems that make you crazy at work are not that important when you have a parent dying of cancer, a husband getting recognition at work, or your kids turning into all you wanted them to be. I have love and a support system that no job could ever provide. I am blessed. I know it.

Message Carole Simpson and the AAPRC and tell them what you think

AAPRC's Mission
The African-American Public Relations Collective (AAPRC) is an assemblage of professionals who provide communication conduits among clients, journalists, media and our communities. We come together as a collective because we recognize the importance of building those same conduits amongst ourselves.

A great deal of what we do is professional development––updating our skills, keeping pace with technology, refining and streamlining processes, providing a forum to tackle the issues that impact our work environment––but we believe our professional lives benefit most from the forging of effective alliances. Connected to one another, we possess the power of a nationwide body of committed, knowledgeable practitioners with an eye on the future.

As we move into the 21st century at lightning speed, mass media and its potent messages occupy an ever-larger part of our daily lives and our collective psyche. The AAPRC is focused on helping our members gain a deeper understanding of media's force and supporting their growth as powerful participants in the global communications network.

AAPRC's Contact
GQ Media & Public Relations
1650 Broadway Suite 1011
New York NY 10019
1212 765 7910
1212 765 7905
aapublicistcoll@aol.com

Posted by Gwendolyn Quinn at 12:07 PM | Comments (2)

May 04, 2004

Perspective: Greg Graham

Greg Graham
Afreex

Job History
-Lemonade hustler

Greg Graham
Partner
Afreex
London UK

Job History
Detroit (Hometown No. 1)
-Lemonade hustler
-Grocery errand dude for neighborhood senior citizens on weekends
-Long hot a-- summers cutting the grass
-House party, neighborhood jam DJ
-Stockperson/Cashier and Pizza Flipper at Little Caesar's Pizza
-Youth Sports Coordinator, Ann Arbor Summer Youth Camp
-Food Runner, Mosher Jordan Food Services, Univ of Michigan
-Peer Counselor, University of Michigan's Career Planning & Placement Center
-Cashier/Burger Hustler at McDonalds
-On-air Mix show DJ/ Personality WCBN
-Cashier/Sales dude at the Gap
-Temp Admin Assistant at Michigan National Bank
-Cashier/Stockperson, Sav-On Drugs

Orlando (Hometown No. 2)
-Door Host, Mannequins Night Club, Pleasure Island, Disneyworld, Orlando
-Club DJ at various indoor and outdoor events, Orlando
-Coordinator, Greater Orlando Summer Youth Programs
-Judge for Hawaiian Tropic Miss Florida Beach Pageants
-Quarterfinals/Semi-Finals Judge for Ron Jon Summa Smash Pageant
-Traveling Sports Masseur
-Co-Director, Street Promotions Team Death Row Records/Interscope for Central Florida region
-Remixer, DEA Productions
-Monthly guest mix show DJ slot WJHM Orlando
-Office Assistant at Promo Only Orlando
-Customer Service Rep, Promo Only
-Sales Staffer, Promo Only
-Studio Assistant, Promo Only
-Urban Music Assistant Programmer, Promo Only
-Urban Music Programmer, Promo Only

New York (Hometown No. 3)
-National Radio Mix Show Promotions Director, Promo Only New York
-Music Producer/Remixer, U Be U Productions
-Club DJ part-time, special events
-Active involvement in Mentor/Mentee programs

London (Hometown No. 4)
-Urban Music Programmer, Promo Only London
-Media Relations Director, Promo Only
-Club DJ part time
-Creator/Host of Coppernob Network's "The Foundation" radio show
-Correspondent for Promo Only Magazine, SoulPurpose.com
-Food Critic/Author, soon-to-be-released guidebook on the greatest places to eat in London
-Participant/Presenter for London Arts Council Music Industry Info Seminars
-Producer/Remixer in Afreex music production team
-Partner/Director of Promotions in Chewatribe (pronounced Chay-wa-tribe) Productions

What are you currently working on?

As one half of the production duo Afreex, we write, produce and remix music for various major labels and independent clients. Out of the gate, we are working with rap phenoms MDK and the alluring Italiack (half Italian, half Black) chanteuse Couture exclusively, developing their albums and creating an initial buzz with the streets and the media here in the UK. Also look out for the skinny yet mad soulful dude, Boneyframe as well as the street/pop fusion of fiery singer Klio and the energetic vocals of Swedish delight, Lollo. More info and song clips can be found at Chewatribe.com

In addition to the music everyone knows that I am at one with food. After realizing that, Pete, Tim and Jim at Promo Only suggested that I should write down my favourite spots to eat. So far I have had 181 visitors since I moved to London in 2000. I've dined with vegans, vegetarians, carnivores and all preferences in between. At that point, the food critic in me was born. After attending over 400 restaurants and cafes in the Greater London area, I have written a book highlighting my favourites based on value for money, decor and most importantly, taste. Currently I am looking for the right book publisher, Stateside, who shares my vision for making this an international success.

Recently I have connected with South Carolina-raised, London-based director, James Lilliemore to co-create a TV comedy series. We have been working on ideas and scheduling to finish shooting the pilot episode for the unnamed show.

Your day-to-day responsibilities?

Being a partner in a company requires that I'm down to do what is necessary for the progress of the team. I've gotta be sharp with my Instant Messenger skills yet I'm also mean with a broom and dustrag. Developing and creating new music ideas alongside Kelv Avon (my Afreex production potna) for our remixes and original music is a major part of the day. In addition to making music for our artists we source other producers to work on their projects too so I'm on the phone or IMing people in Continental Europe, North America, Asia and South America on the daily. Going to see club and pirate radio DJs to hit them off with our latest work also comes up at least twice a week.

I also head our Promotions division of the company. That includes not only promoting the acts and artists whose songs we have remixed but also working with Fire Media's Akosua Annobil Dodoo on creating ways to heighten people's awareness of who we are and what we do. Between us both we maintain relationships with many radio, TV and Web people here in the UK as well as in other places around the planet.

What inspires/motivates you?

All of God's gifts, especially Great Music. Great People. Great Food.

How do you balance your personal and professional life?

I don't do a great job at it. In fact I'm terrible at it. I would really like to learn how to do that effectively. Many of my relationships have become "profersonal" yet I am very grateful for those people's presence in my life.

What career achievement are you most proud of?

There's no time like the present so I have to include today's work and everything associated with it even the routine and unglamorous. I've always wanted to make music and meet people so that's what's up now.

If I have to select an actual event or award it would be when I was National Mix Show Promotions Director at Promo Only. I was honored by the DJs across the country and voted as Favorite National Mix Show Promoter at the '99 Winter Music Conference in Miami. That was cool to know that all of the phone calls, emails, two-way blasts and requests for homemade macaroni & cheese were well-received by my DJ brethren. Another great byproduct of this experience was that it taught me how to work well within different time zones.

Guiding principles?

I try more and more each day to think in the present. Oftentimes because of my work I can be quite future-driven. Thinking in the present helps me to plot a course toward the future.

What's it like as an American living in the UK?

It's a trade off in many ways. In some instances it's very cool because I am learning something new about the culture here every day. There's mad slang, cultural icons and names of cities that we didn't learn about back in the US. London and New York are so similar that making the transition from NY to LO wasn't as crazy as it could have been if I came like straight from Orlando. Florida is cheap living compared to NY. NY is cheap compared to London. For real!

There's mad hilarity found in the customer (dis)service here and annoying a-- train delays too. One thing that surprised me though is that for years everyone would talk about how the food sucks over here. After living here for a minute now I discovered that the food does actually suck--in the tourist areas! It taught me that people just weren't hitting the right spots in the city. Nobody eats in Times Square do they? Well, OK maybe except for me because I do like my Dallas BBQ on 43rd and Broadway right by Virgil's. If you're at a loss for where to eat in London holla at me. We'll hit the spots where the British pound won't pound the dollar too hard.

Birthday? Where you grew up? Where you went to school?

Grew up in The D(Detroit), attended Hampton Elementary (now called something else), Gesu School, U of D High and then darted off to Ann Arbor to attend the University of Michigan where I earned a Bachelor's degree in History.

Message Greg Graham and tell him what you think

Posted by Ray Tamarra at 10:51 AM | Comments (31)

May 03, 2004

Survey Says #4

Please complete this week's survey:

1. Your hometown:
2. Your Alma Mater (elementary, high school, college, etc.):

Please complete this week's survey:

1. Your hometown:
2. Your Alma Mater (elementary, high school, college, etc.):
3. Your most prized possesion:
4. Your most humbling moment:
5. Your goals in life:

Column inspired by Lion-ess and yashaya. Thank you.

Send in your survey questions and photo and be a guest columnist for next week's edition.

Message The Crusade with your Survey Says responses

Posted by Ray Tamarra at 09:52 AM | Comments (14)