June 30, 2004
Tech Sessions #7
Banging Drums…
Real quick before I get too deep into this … a big up to everybody who has reached out and even said something as simple as hello. With that, let’s get back into the technical. This week… drums, drums
Banging Drums…
Real quick before I get too deep into this … a big up to everybody who has reached out and even said something as simple as hello. With that, let’s get back into the technical. This week… drums, drums and more drums.
Everybody has their little tricks when it comes to them and I for damn sure am not about to divulge ours but I can potentially nudge some of you who are still looking for an edge towards developing your own tricks.
In urban music and especially hip-hop, drums will make or break your track. If your drums aren’t banging, forget it, lights out, go get a job and get prepared to spend the rest of your life saying damn 'I could have been contender.’
So what do you need to do to elevate your drum sound from simply ‘eh’ to ‘damn!?’ For one thing, make sure the drums you are using are coming into your sequencer/drum machine “hot“ to begin with. It sounds really simple, but if your drums are lacking presence/power (i.e. are light in the ass), the issue could very well be they are getting off on the wrong foot.
If you are sampling or pulling from a sound module make sure your signal is as strong as you can get it with out clipping (you know going into the red zone). If you are considering buying a sound library that comes with pre-recorded sounds check them shits out first.
Most companies have an mp3 demo of some sort on their web-site and if that sounds good to you then check out what hip hop users have to say around the net. So many of these libraries are flat-out garbage when it comes to urban music so make sure you are paying for what you need and not for something that you’re going to fight with to make it sound “ right.” The bottom-line is that more than half of these companies make these situations for the different slants on dance/electronica; although that is getting better with time.
Personally, I try to avoid the commercial libraries unless I hear something really, really cool because we’re always on the hunt for what will make us sound more like us instead of every other situation out there. But that’s more of a taste opinion than one that’s going to help you get a fat drum sound so let’s keep it moving.
After loading up whatever sounds you have chosen to work with listen carefully to the pattern that you have created. A lot of joints use a few different kick sounds on the same track. Sit with those sounds and use your egqs to bring out the best features of each one. If one of them is punchy then eq it to bring out the “snap.” If you got a boomy 808 style kick or a sub then eq that to where its literally rolling on the floor of the track’s frequency range. You get the idea. Take the same philosophies and apply them to snares, claps, toms, rims, high hats and whatever else you’re using to keep the beat moving. Every sound you will use has it’s own timbre/characteristics, as much as possible, try to early mix towards those differences.
If you’ve gotten this far, you should already have a pretty heavy drum sound because it came in hot and each piece was roughly colored to make the best of itself. After this experiment with plug-ins, compression, doubling, panning and any other device or technique that you have access to, to make your drums represent the rest of your track in the best light possible. This week may be a bit vague but that really is to stress two major points: patience and experimentation.
Working in a project studio when you’re trying to get on can be a nightmare if you let it. Everybody wants their joints to bang like the next cat on the radio but get a bit frustrated because they don’t have that fat SSL console to work off of or an engineer in a million dollar room to tweak their shit.
So forget trying to make your shit sound like (insert baller producer’s name here). If you freak a nice foundation with both patience and experimentation then sooner than you think, people will be saying to you ‘yo the track is nice. How in the hell did you get those drums to sound like that?'
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 take on music theory and it's impact on your production!
June 29, 2004
Perspective: Vivian Scott Chew
TimeZone International
Job History
Membership Representative, ASCAP--I'm very
Founder/Principal
TimeZone International
Teaneck NJ
Job HistoryMembership Representative, ASCAP--I'm very proud to say that I was the first African-American woman to hold this positionDirector, A&R, Polygram RecordsDirector, A&R, Epic RecordsVice-President, A&R, Epic RecordsHead of Urban Music, 550 MusicVice-President, Black Music, Epic RecordsPrincipal, TimeZone International
What are you currently working on?
I'm really excited that TimeZone is working on a broad spectrum of projects. Our newest artist is JoJo, a 13-year old young lady from Boston. I've recently traveled with her throughout Europe while she was on the road with Usher. Initially, our involvement with her project was on an international level, however, we've been asked to consult on her domestic marketing as well. We're working select territories and overseeing street marketing and promotion for Jill Scott's new album, Beautifully Human--Words & Sounds Volume 2, which is set for release on August 31. Jill is planning to take a trip oversees for promotion, so we'll assist in organizing her visit.
We're promoting and marketing Van Hunt's project in the UK where we helped with some extra ammunition during his recent promo tour. His trip ended with 2 sold-out shows at The Jazz CafÈ, which was pretty amazing. We're working on an eclectic album project involving Bill Cosby and Quincy Jones who collaborated on "The Bill Cosby Show," which aired from 1969ñ1971. The 2-disc set consists of the show's original music with lots of outtakes-ñit's really clever. In addition, we're in negotiations with an international distributor for an urban clothing line.
I also assist my husband, Ray, on our joint venture, Chew Entertainment, which specializes in artist development, band support and event production.
What are your day-to-day responsibilities?
Many days, I'm sweating label heads to stress the importance of international marketing and how records sales outside of the States can positively affect their bottom lines. I'm also trying to convince people that France really is a country and not a city.
TimeZone creates marketing campaigns for each of our clients and oversees marketing reps and street teams in 19 international territories. For instance, we recently oversaw street teams in 8 territories for McDonald's "I'm Loving It Campaign," which marked the first time in their history that they chose to do a global campaign. We were brought on to manage the street teams and formulate customized marketing plans for Canada, Brazil, Germany, France, Spain, Japan, China and Australia.
Who/what inspires you?
Music is what inspires me especially when things start getting political or when I'm on the 17th hour of my 6th consecutive workday and even after 6 years of fighting to try to convince people that they can, indeed, have global success. It's at the end of those kinds of days that the love of the music makes me want to continue doing what I'm doing and be excited when I hear a new artist at Joe's Pub or S.O.B's or even on an internet radio station.
I'm also inspired by unsigned artists who are out there hustling simply because of their love of the music. I've had the opportunity to work with Ledisi, who is an independent artist with an amazing following. She, along with her musical collaborator, Sundra Manning, has sold over 10,000 records in Japan, on her own.
What kind of music moves you?
I love Michael Franti & Spearhead-ñtheir music makes me feel good and his lyrics make me think hard. Whenever I walk out of a George Clinton concert, I feel like I've been re-baptized
Which book(s) have motivated you?
I'm in the midst of reading The Purpose Driven Life by Rick Warren. The book is helping me to focus on knowing what I don't want to do.
How do you balance your personal & professional lives?
I don't! What helps is the fact that I get to see my husband during the course of the day as we share an office. Also, I really love my friends and wish I had more time to spend them, but I'm working on that.
Which career achievement are you most proud of?
I'm most proud of winning back-to-back Grammys with Shabba Ranks, who was the first dancehall artist to ever win the award in the show's history.
What was your biggest personal/career mistake and what did you learn from the experience?
Putting my job before my responsibilities as a mother has been my biggest mistake. I now look back and know that there are big blocks of my daughter's growth and development that I really don't remember because I was either running in & out or unpacking/re-packing a suitcase, all in the name of urban music. What I've learned is that every moment matters and that you can't get that time back.
What is your guiding principle?
No matter what the circumstances look like, God always has it under control.
When is your birthday? Where did you grow up? Where'd you go to school?
I was born on May 14 and raised in Far Rockaway. I attended Woodmere Academy and later, Georgetown University.
Message Vivian Scott Chew and tell her what you think
June 25, 2004
The Ru Report #138
There's one reason why I look forward to summer every year. Not because of the exposed flesh on the city streets and at the beach, either. It's because for one reason or another
There's one reason why I look forward to summer every year. Not because of the exposed flesh on the city streets and at the beach, either. It's because for one reason or another, there seems to be a deluge of literary offerings for the masses to consume.
Tressed Up
Veteran hair designer Diane Da Costa has finally gotten her just desserts.
The celebrated coiffeuse just released her fist book, titled Textured Tresses: The Ultimate Guide to Maintaining and Styling Natural Hair. The near-200 hundred page trade paperback has just hit the bookshelves, and is already all the rave.
In the Fireside Original, Miss Da Costa teams up with XXL magazine's lovely lifestyle editor Paula T. Renfroe to educate consumers and professionals with this informative styling guide. "I wanted everyone to understand that [people] of color are born with beautiful textured hair from straight to very tightly coiled hair," Miss Da Costa told The RU Report. "As long as [people] love their hair and appreciated its natural texture--then all possibilities could open up to them--in any direction they want to go."
In the book, which features a foreword by her pal and sometimes client Blair Underwood, readers can learn how to identify what their hair texture is, as well as how to obtain healthy hair through proper care, styling, and maintenance. Divided into two parts ("Prepping The Canvas" and "Achieve It"), the photo heavy book provides readers with information on using various hair products, tools, and techniques that work specifically well with textured hair as well.
"My specialty is coloring, precision cutting and I am known for my natural textured styles," Miss Da Costa attests. Featured in British Elle, Essence and The New York Times, the former hair editor of the now-defunct Honey magazine, currently runs the New York City-based DL.d Consultants for Image and Life. Just up until a few years ago, she operated one of the hippest and ultra-fab salons, Dyaspora Salon Spa, which was well known for its innovative natural textured hairstyles. A who's who of Black Entertainment has sat under her chair, including Lauryn Hill, Lenny Kravitz, Ed Gordon and Grammy Award winning jazz diva Dee Dee Bridgewater, who is prominently featured in the book.
"Dee Dee has been one of the most electric, spiritual, talented women I've ever had the honor or being around as well as to create hairstyles for," she shared. "Our sessions were always delightful, airy, peaceful especially when you see this woman speaking fluent French--She could very well be my spiritual Mother."
Pardon the pun, but don't get it twisted: Textured Tresses is unisex. The book adds clarity and instruction for both men and women to maintaining natural hair, and making sure your crown and glory always shines.
In addition to Mr. Kravitz (who is now 'relaxed down'), it has become commonplace for entertainers--notably the likes of Macy Gray, Jill Scott, Erykah Badu and Maxwell, among others--to adorn natural looks throughout the mainstream media. Even Detroit Pistons' Forward Center Ben Wallace wore a Buckwheat-like do that was emulated by his legions of rowdy fans--some even Caucasian. You can't get any more natural than that.
"The media has always reflected the most popular style that they see on Black men and women. Now is the time that they are showing all skin tones with all hair textures. Women with locks are in commercials and on soap operas, prime time. Men with curly full hair are in advertisements. It's all about trends and style to the media. Things are changing--we can make the difference, by wearing our hair in its natural textured state with style."
It's as though she's ushering a crusade.
But was this book a hard sell to the sometimes rigid publishing arena, which with the exception of a few Essence magazine-sanctioned titles, has virtually ignored Black beauty concepts and subject manner?
"Not at all," she stated matter-of-factly, and then quipped: "producing this baby was the harder aspect."
"The natural hair movement has been around since the 60's and strongly for at least as long as I've been in the business, growing trendier and stylish every day," she added, making mention of Madison Avenue advertising trends for print and electronic campaigns. "So I would say, we have truly arrived and we are not going anywhere. It has definitely been a blessed situation all the way around. Praise God."
Ms. Da Costa plans on opening a new salon this fall, after promoting--and celebrating--Textured Tresses.
Pages
Infinity Broadcasting and America Online is presenting "Bill Clinton Connects With America," a one-hour, live interactive town hall with the former President, tonight via their respective streaming outlets. In an interview following the publication of the much buzzed about, instant best-seller "My Life," Mr. Clinton will talk live about his experiences leading up to and during the White House years, as well as answer questions from Infinity listeners and AOL members across the country. CBS News' Harry Smith, co-anchor of "The Early Show," will serve as moderator of the event, which will be broadcast on select Infinity news and news-talk radio stations AOL will also make portions of this exclusive content available publicly on the Web at aol.com. Published by Alfred A. Knopf, My Life has been one of the most eagerly awaited books of recent time. With a first printing of 1.5 million copies, the 900-page tome went on sale June 22.
Boasting to be a novel of "epic proportions," Push, the first title crafted by Relentless Aaron has caused a buzz in the independent literary world. Fresh out of the penitentiary, Mr. Aaron (formerly known as Dewitt Gilmore) is the new Ghetto Griot on the block, following in the footsteps of popular paperback writers such as Donald Goines, Iceberg Slim and Claude Brown. The former Mr. Gilmore was one of the most formidable grassroots media titans of the early 1990's New York City scene. He hosted and produced the New York based "SuperStar USA" TV show, published The SuperStar Magazine, and managed an adult entertainment club. This was all before he faded into oblivion (according to sources, he did a six-year bid for white collar crimes--reportedly laundering millions of dollars). His Los Angeles-based publicist rants and raves about his literary debut, even going as far as to say that "he has an amazing brain." Okay! The entangling book centers on Reginald "Push" Jackson, a hit man who is the product of the streets and the penal system. His journey is one that weaves a web of intrigue involving a multitude of characters in the Harlem backdrop. "I used prison as time to not only reflect, but to create," revealed Relentless. "I took this opportunity to not only study characterization and personality types, but I paid close attention to the way people acted and why." While incarcerated, Mr. Aaron authored over 30 novels, including the just released titles The Last Kingpin and Platinum Dolls.
Reading For Points
A listing of titles by Black authors to check out this season…Black: A Celebration of Culture by Deborah Willis (Hylas Publishing, $35); Gorgeous coffee table fare for the whole family to enjoy. Great photos by the likes of Gordon Parks, Chester Higgins, Jr., Roland Freeman, Laylah Amatullah Barrayn, Russell Lee, Addison Scurlock and many others are included in this super-sized hard-cover that features a Foreword by actress Anna Maria Horsford.
Cosmopolitan Girls by Charlotte Burley and Lyah Beth LeFlore (Harlem Moon, $11.95); With this delightful beach read, entertainment execs-cum-authors take on Black Chick Lit with their semi-autobiographical style of storytelling. The story revolves around two New York transplants and the man trouble they encounter--and the pink cocktail that becomes a tool of comfort.
The Blackbird Papers by Ian Smith (Doubleday, $24.95); My favorite celebrity doctor embarks on a novel idea with a thrilling fiction debut centering on the murder of a prominent African American professor with Ivy league academia as its backdrop. The victim's resentful sleuth-of-a-sibling, a rebellious FBI agent, heads to the rural confines of suburbia to take matters into his own hand, uncovering deep, dark mystery.
Drive Me Crazy by Eric Jerome Dickey (Dutton, $23.95), The New York Times best-selling author delivers a gritty novel that exposes the ugliness behind Los Angeles' seedy underbelly in his tenth book.
Bling! by Erica Kennedy (Miramax, $24.95 ); Finally the mainstream publishing houses acquired a juicy Jackie Collins-like look at the hip hop industry. The freelance writer for outlets such as In Style and US Weekly delivers a much buzzed about debut.
Nina Simone: Break Down & Let It All Out by Sylvia Hampton with David Nathan (Sanctuary, $24.95); The former fans turned personal friends of the High Priestess of Soul pays homage.Truth Be Told by Victoria Christopher Murray (Touchtone, $14); Author of the national best-selling Temptation and Joy returns with one woman's personal and spiritual journey to overcome the consequences of her husband's dark secret. Christianity, politics and sibling rivalry is a recipe for disaster.Unbelievable by Cheo Hodari Coker (Three Rivers Press, $19.95); The Vibe magazine cover story scribe traces the dramatic, tension-filled world of Biggie, Tupac, Puff Daddy and the super-sized music mogul Suge Knight and their friendships and feuds from the beginning to the bitter end.
The Hunted by L.A. Banks (St. Martin's Press, $14.95); The Philadelphia native finally gets some shine with some major distribution of her latest book in her vampire huntress series. Now optioned as a motion picture, the hip hop styled tale of terror will whet the pallets of Anne Rice and Laurell K. Hamilton lovers, and new readers of the genre.
Asphalt by Carl Hancock Rux (Atria, $24); The neo-soul performing artist and Martell Cognac spokesperson presents what is described to be a "brilliant" debut novel about a group of eclectic Harlem hobos who share a deep sense of loss.Extra Wing It! Delectable Recipes for Everyone's Favorite Bar Snack by Christopher B. O'Hara (Clarkson Potter/Publishers, $16.95); The multimedia author of The Bloody Mary, The Ultimate Chili Book and Hot Toddies takes on poultry with a wide array of marinades and sauces to make chicken wings fly.
Music Notes
Retro-soul singer Ricky Fanté is set to make a cameo appearance as a 1920's nightclub singer in "Their Eyes Were Watching God," which is an adaptation of the literary classic by Harlem Renaissance author Zora Neale Hurston. The film, the latest project from Harpo Films' "Oprah Winfrey Presents" franchise, stars Academy Award-winning actress Halle Berry, and will air on the ABC during the 2004-2005 season. "It's an honor and an extraordinary opportunity for me to be part of this project," explains the Maryland native who does a cover of Al Green's "Simply Beautiful" in the movie. "This film brings together the work of a legendary author and, in Harpo Films, world-class producers." Mr. Fanté's much-delayed debut album Rewind is due out in July via Virgin Records. Managed by The Firm and booked by the William Morris Agency, he's on the rise. The former marine will perform on "Good Morning America" on July 14.
Stage and television veteran Roz Ryan is taking a bite out of the Big Apple with her much buzzed about new cabaret act, "All About the Music,"--with musical direction by Shelton Becton--playing at Danny's Skylight Room next on July 12 and again on July 19. The robust "Amen" actress just performed a show at New York's new Opia room in mid-town east and had the crowd at its feet. A definitive force to be reckoned with, Miss Ryan is currently starring as Matron Mama Morton in the smash Broadway hit "Chicago" at the Ambassador Theatre. No stranger to the Great White Way, the Detroit-native has also starred in "Dreamgirls," "One Mo' Time" and "Ain't Misbehavin." She has also toured the country in the national tour of the Windy City musical. On the tube, she's best remembered as Amelia Hetebrink on NBC's "Amen" and Ms. Dixon on UPN's short-lived "Good News." Last season, she co-starred on the WB series "All About the Andersons." Mama Be Working!
Rappers such as Common, Dead Prez, Doug E. Fresh, KRS-One, MC Lyte, Speech and Kanye West join the likes of Mike Epps, Kim Fields, Ani di Franco, Tracy Morgan, Floetry, Michael Eric Dyson and the legendary actress Ruby Dee in the line up for the fourth season of "Russell Simmons Presents Def Poetry," which returns to HBO for its with ten new half-hour editions, beginning July 18.
Sounding Board
There's a gang of new music brewing at retail outlets that's worthy of mentioning …and listening to. Truth Hurtz's sophomore set Ready Now (Pookie) is a little more laid back than her last much buzzed about effort. Executive Producer Raphael Saadiq's neo-soulful musical influence is felt, but she still has her groove--and ghetto girl swagger. Relationship highs and lows are explored throughout tracks such as "Knock, Knock," "Lifetime" and the seven-minute-plus "U."
The New School Black King of Rock & Soul Lenny Kravitz's christens us with his Baptism (Virgin), which is as versatile as his colorful fashion sensibilities. Jay-Z does Brooklyn proud on "Storm," while the rocker gets melancholy on "The Other Side," exposing that lower register with David Sanborn blowing up the sax. The press-and-curled musician gets groovy on "SistaMamaLover" and takes us to 'chuch' on the title track, with backing wails provided by in-demand session singer Tawatha Agee (who gave us the 1980's million-selling R&B hit "Juicy Fruit").
Gospel music jazz star Ben Tankard's Piano Prophet (Verity) is sheer enjoyment. Covers of Earth, Wind & Fire's "Head To The Sky" and McFadden & Whitehead's "Ain't No Stopping Us Now" helps the keyboardist live up to the title of the album. Appearances by Shirley Murdock and Fred Hammond are the icing on the cake.Self-described 'First Lady of Neo Soul' Angie Stone's third opus Stone Love is The Truth. A proven brand at radio and in clubs, the former Vertical Hold lead vocalists gives much gusto with the 12-track set, featuring collaborations with Snoop Dogg, Floetry, Anthony Hamilton, Betty Wright, Missy "Misdemeanor" Elliot and Jazzy Pha.
New York's native son Kered and his independently released 15-track debut album, All My Love (L'Dar) offers up spicy and sensual R&B with a vocal ability reminiscent of early 1990s new-jack swing crooners Johnny Kemp, Jeff Redd and duo EnTouch.
Musical maestro George Benson makes a long awaited return to the newly recorded music realm with the just-released Irreplaceable (GRP/Verve), which includes jazzed-up takes on Luther Vandross' "Take You Out," and Case's "Missing You" and contemporary tracks crafted by R&B crooner/songwriter and producer Joe. The multiple award winning, multi-versatile musician offers a new "G.B. vibe" utilizing current themes and vibrant sounds.
Film File
Acclaimed pop culture critic and esteemed author Nelson George's latest brainchild, Everyday People, described as an intimate ensemble drama, will debut on HBO this weekend. Featured at this year's "Sundance Film Festival," the 90-minute tele-film stars Stephen Axelrod, Bridget Barkan, Ron Butler, Reg E. Cathey, Jordan Gelber, Billöah Greene, Iris Little-Thomas, Stephen McKinley Henderson and Sydnee Stewart. Directed by Jim McKay (Our Song), Everyday People deals with contemporary race relations in America. Mr. George, who is the author of numerous books on Black American culture and a former consulting producer on "The Chris Rock Show," came up with the idea for the project five years ago. "A lot of the film deals with assumptions," notes Mr. George, who serves as the film's executive producer. "When you meet someone, whether you are aware of it or not, you judge them. They may look hip hop, they may look corporate, they may look bohemian. But you are not seeing the person, because these are all guises. And color is just one more level of the outfit. The film works from that philosophical point: that by seeing these people, and spending a day in their lives, we get to look at them in a way that you don't normally get in the news."
Everyday People debuts June 26 on HBO, with additional airdates: June 29, July 4, July 8 and July 12.
On July 17, Latina starlet Rosario Dawson will be honored with the Rising Star Award at the Film Life Movie Awards, during the American Black Film Festival (formerly The Acapulco Film Festival). A celebration of Black cinema, the annual gala fete was created to commemorate the achievements of people of color in Hollywood as well as to showcase the endeavors of the independent film community. Unique among awards shows, it is the culminating event of the film fest, which aims to bring together accomplished Hollywood icons and aspiring independent filmmakers and actors. The event will take place at in the Jackie Gleason Theater in the flossy South Beach section of Miami. Acclaimed director Spike Lee will receive the Innovator Award, presented by Time Warner, for his distinguished work and outstanding contributions to American cinema.
According to Los Angeles based film publicist Ava Duvernay, box-office superstar Tom Cruise is headed to Harlem. The highly-anticipated thriller Collateral starring the three-time Oscar nominee and Jamie Foxx, along with Jada Pinkett Smith and Mark Ruffalo has been selected as the opening night screening of The Eighth Annual Urbanworld Film Festival. Directed by three-time Academy Award nominee Michael Mann (Ali), the star-studded event is scheduled for August 4 at the Magic Johnson Theaters in Harlem USA. Released by Dreamworks Pictures, the movie will open nationwide on August 6.
There ain't nothing you can say. So don't come sing "Amazing Grace"
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
AAPRC Weekly: Jana Fleishman
Jana Fleishman
Island Def Jam Music Group
Jana Fleishman never dreamed of a career in the music industry, but now that she's arrived, she's glad she stayed. "Basically, my mother forced me to do
Jana Fleishman
Senior Director, Media & Artist Relations
Island Def Jam Music Group
NYC
Jana Fleishman never dreamed of a career in the music industry, but now that she's arrived, she's glad she stayed. "Basically, my mother forced me to do it," she says of her first position as an intern at Mercury Records in 1992. "I had no interest in it––I wanted to have my own fashion magazine or go into a modeling agency. My mom happened to know somebody and they thought it would just be a great idea that I be an intern."
Apparently, it was a great idea because Fleishman excelled. Over the past decade, the accidental publicist parlayed her mother's little push into a stellar career in the record industry, rising from intern to her current position as senior director of media and artist relations at Island Def Jam. "Time has gone by so fast, some days I wake up and I cannot believe I've been doing this for twelve years," says Fleishman. "But here at Def Jam, the thing is that it's constantly changing, and I'm in love with my artists. I'm in love with my department."
The Bronx native's emotional connection to her work is based in part on her admiration of what she says is the label's unique atmosphere. "It's so much more than a record company, and I was tired of working at a record company," says Fleishman of her switch to Def Jam. "I wanted to work someplace where you were completely invested in the artist, in a project, in the lifestyle."
The artists Fleishman works with include hip hop legend Jay-Z, Ludacris, Method Man, Red Man, Musiq and 112, most of whom have myriad outside projects. "Every single one of those people has a life outside of music––a huge life outside of music. It's not like they're trying to put out homemade candles," says Fleishman. "I learned a different way of pitching, something that was bigger than: okay, we have this review and we have this feature. It's a lifestyle and you represent everything."
While Fleishman enjoys the challenges at Def Jam, it's not always easy. "Jay-Z can keep one person busy every day. Just Jay-Z alone drives me cuckoo," she laughs. "He's one of those artists who has pushed me…I'm always thinking what can I do for him that he's going to look at me and say: 'you know, you went above and beyond on this one.' I just want the best for my artists."
And that commitment goes beyond media. Fleishman's department also handles the small details that keep Def Jam artists happy. "I have been known to travel far and wide to make sure that they have a certain brand of T-shirt or a certain type of turkey bacon," she says. "We basically go above and beyond."
The one thing she won't do for her artists, though, is be anything but straight. "I just try and be as honest as possible. I don't blow smoke up people's asses," says Fleishman matter-of-factly. "I do not pretend that every single thing I have is the best thing since sliced bread, because then people are never going to believe me."
Fleishman admits her honesty-first policy doesn't always sit well, but it did not halt an impressive career path. After two years as an intern at Mercury Records, the label hired Fleishman in 1994 as a manager in media and artist relations. There, she worked with top R&B acts such as Tony Toni Tone, Brian McKnight, Lionel Richie and Black Sheep. Because of a partnership between Mercury and Def Jam, Fleishman was introduced to some of the team at Def Jam who would inspire her to make the move to her current label in years to come. Before then, though, Virgin Records hired the young media specialist in 1997 as a director of media and artist relations. After a year at Virgin, Fleishman made the switch to Elektra Records, where she was senior director of media and artist relations, handling a stellar roster that included Gerald Levert and Yolanda Adams.
After more than a decade spent rising to the top of her field, Fleishman admits she's not sure what's next. "I don't know what my five year plan is anymore," she concedes. "When I first started I was like okay, I want to be a director of publicity. I want to run my own department. I want to work with this type of artist. I want to say I got this type of booking. Now I'm like…hmmmm."
While she may be unsure of what's next, Fleishman is sure of what's important. "After all of my artists come and go or I stop working with them, whether or not my job here comes and goes and I move on to something else––I can't lose focus of what I am," she insists. "I cannot allow any record company or an artist to dictate who I am as a person. If I need sleep I need sleep. If I need to see my family I need to see my family. Everyone can be easily replaced, no matter what, and that's the biggest challenge––remembering that, accepting that and being happy with that."
The Bronx-born Fleishman, who is single, has lived in Brooklyn for the past 10 years. In addition to spending time with her family, who still live in the New York area, Fleishman maintains a healthy balance between her work and personal lives by carefully guarding her down time.
First of all, she doesn't have a home phone. No home email. Just a cell phone. "When you start dialing nine on your home phone to dial out, or you start picking up your home phone saying 'Def Jam,' you know that's a problem. If people need to contact me, you know how to get me. If you don't, you know, sorry."
In addition to limiting off-hours communications, Fleishman also indulges in her favorite hobby: sleeping. "I love to sleep. I think it's the best thing that God ever gave us," Fleishman enthuses. "To me, a perfect day is just covering up on my couch with the remote control and waking up every three to four hours…watch TV for like 20 minutes and then pass back out. Just drifting the whole day."
Message Jana Fleishman 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
Echoing The Birds & The Bees
Places To Fly By - BET Awards Special
Sat (06/26): House of Blues - Pharcyde/Xecutioners
Sun (06/27): Level 3 - Morris Day Album Release
Mon (06/28): Private - ASCAP Awards
Mon (06/28): Playboy Mansion
Places To Fly By - BET Awards Special
Sat (06/26): House of Blues - Pharcyde/Xecutioners
Sun (06/27): Level 3 - Morris Day Album Release
Mon (06/28): Private - ASCAP Awards
Mon (06/28): Playboy Mansion
Mon (06/28): House of Blues - Chingy 3X's Platinum Party
Mon (06/28): Club Ivar - Smooth Magazine/Seagram's Party
Mon (06/28): Headquarters - RUN-DMC-JMJ Photo Exhibit
Tue (06/29): Kodak Theater - BET Awards
Tue (06/29): Highlands - BET Awards Celebrity Afterparty (Produced by The Birds & The Bee & Muzik City)
Tue (06/29): Henry Fonda Theatre- Tennis Shoe Pimpin'
Wed (06/30): Club Ivar - Twista's 2x's Platinum Party (Produced By Echoing Soundz, TrueStar, & Fireworks)
Left Over Honey! Recap
Snatch - Mondays @ Level 3
Whew! We had a blast. Free drinks, friends and a killer DJ Vice. Those factors make for a hot night out. If you've ever visited Snatch, you know the difficulty level for trying to get in. People stand outside for hours, hoping, praying and then sadly end up staring at the ropes and the door person all night long. You wanna see sad? Well, these are the saddest, most discouraged faces of Los Angeles. We entered with no problem, as we were there to celebrate Havoc's birthday, a well-known choreographer and dancer in the industry. He and his dancer friends eventually performed on stage - they killed it! Of course, TK (the head promoter) had dibs on the mic first. He shouted out Brandy and Quentin Richardson, who were goo-goo eyeing each other at a nearby table. Ray J and friends accompanied them. Bob Sagat and Tracy Morgan were also poppin' bottles. Yes. Bob Sagat. Lil' Jon and Jamie Foxx were spotted the prior week.
Ego - Thursdays @ Pearl
We threw a big surprise birthday party for Kel Mitchell's wife, so the night was extra special. You may remember Kel from Nickelodeon's "Keenan & Kel," so his celebrity friends and producers were all on hand. Meagan Good and her fab girl crew looked amazing, as always. Columbia's Wylde Bunch were accompanied by their A&R exec, KP Prather and Aftermath producer Focus. Kel's buddy & longtime friend Keenan hosted the wrap party for Fat Albert the movie at Level 3 that same night.
Stay tuned for more Los Angeles coverage on The Crusade.net in the next Echoing The Birds & The Bees!
Photos: The Birds & The Bees
Message Echoing Soundz and The Birds & The Bees and tell them what you think
June 24, 2004
AAPRC Weekly: Cathy Black
Cathy Black
CBS News' The Early Show/The Saturday Early Show
Cathy Black grew up in a house filled with music, her parents encouraging Black and her brother and sister
Cathy Black
Music Booker and Producer
CBS News' The Early Show and The Saturday Early Show
NYC
Cathy Black grew up in a house filled with music, her parents encouraging Black and her brother and sister to listen to a variety of genres. Black's days are still filled with music. As the music booker and entertainment producer for CBS News' The Early Show and The Saturday Early Show, Black books musical guests for the programs' outdoor concert series and produces music and entertainment features and hard news segments. She has worked with artists such as Prince, Luther Vandross, Stevie Wonder, Elton John, Whitney Houston, Janet Jackson, Celine Dion, Beyonce and many others.
"I keep track of all the artists who have new albums coming out and book the current pop stars––the top people in the industry," Black explains. "I also produce the segments that I book as well…develop the questions, the videotape, do the entire segment from start to finish. I also cover all of the musical awards shows––the Grammys, the Soul Train Awards, MTV Awards, VH-1."
Suffice it to say, Black spends a lot of time on the road. In addition to award show coverage, Black produces series and features. The Early Show series "Week of Wishes" often has Black travelling the country, making CBS viewers' wishes come true by hooking them up with their favorite celebrities. This spring she produced a Mother's Day series featuring the mothers of Beyonce Knowles, Ruben Studdard and Clay Aikens. "We showcased the women behind the scenes who are helping their children have these dynamic musical careers," says Black. "You never really hear about them but they're involved in their fan clubs, designing their clothes. We traveled across the country, went to their homes, spent some time with them."
Black, who has been with CBS for nearly 14 years, hails from Lexington, Kentucky, where her path to network news began. She began interning at local television stations in Lexington and Washington, DC while she worked on her degree in telecommunications at the University of Kentucky. "I realized during my internship that I really loved the job," Black recalled. "I moved to New York because of the CBS offer. I just kind of started at the bottom and worked my way up."
Black joined the venerable network's news operation in 1990 as a news clerk and later became the assistant to CBS This Morning anchor Harry Smith. She served in that position for six months before becoming an associate producer. Black realized, though, that she didn't want to work in hard news. "After covering so many air crashes and talking to grieving families, I realized that I really wanted to be on the entertainment side," Black recalls.
She was promoted to entertainment producer in 1997.
"The great part about this job is that it taught me to expand who I am," Black says. "I have to listen to country music and rap music and pop music and rock music--things I may have never picked up. I have to be aware of everything that's going on. I really enjoy it."
Black is close to her siblings––her sister is a Louisville, Kentucky-based attorney and her brother is an aspiring actor based in New York––and enjoys holiday gatherings family in Lexington. In her spare time she enjoys shopping, traveling and attending church services. She also tutors and mentors young people throughout New York City.
What does a typical day look like for you?
On days when I have a live concert or performance on The Early Show, I’m at our studio location (at 59th Street & Fifth Avenue) as early as 3:00 a.m. overseeing the technical setup of the band. The artist(s) performing LIVE on our broadcast generally arrive around 5:30 a.m. for a 6:00 a.m. rehearsal and they’re on the air live during our 8:00 a.m. hour. Between 7:00 – 8:00 a.m. I’m busy preparing the artist for the interview, preparing our anchor for the interview, and double checking fonts, graphics, intros, tape, etc. Concert days and live performance days can be quite hectic and long. Once the show is over, I head across town to my office (at 57th Street & 10th Avenue) for the remainder of the day. Once there, I continue to book musical guests, work on segments for the next day, and often edit down concert and performance segments for air later in the week. I also have meetings scheduled throughout the day with record companies, etc., and in the evenings I often attend record release parties, showcases, etc. A typical day for me ends around 11:00 p.m. each night.
You book some of the biggest names in music for “The Early Show’s” summer concert series. How do you decide which artists are right for the show?
For The Early Show, I concentrate on booking the hottest artists of the moment. They can be top artists in Pop, Rap, Rock, R&B, or Country genres. They must be signed to a record label and they generally have to have a Top 10 hit on the charts. Booking The Saturday Early Show offers me a little more flexibility. That show’s format is a little more relaxed, and gives me the opportunity to showcase the music of new artists. They may not be huge now, or have a top 10 hit now, but they’re on the road to a successful musical career.
Are there any projects in the works that you're particularly excited about?
I am particularly proud of our Summer Concert series. This is our fourth year, and they’ve been a huge success for us. We’ve really had some amazing artists performing outside on our plaza. I think our largest crowd topped 5,000 when Beyonce stopped by to perform…the size of that crowd actually stopped the flow of traffic on Fifth Avenue, but the fans had so much fun. I’m currently preparing for this year’s summer concerts, and I’m about to do a series of performances around the Tony Awards. I love Broadway so I’m really looking forward to that. I’m also excited about our CBS entertainment special with Madonna and I hope to do some fun things with Prince this year as well.
One imagines your position calls for a lot of interaction with publicists. For you, what are the elements of a successful encounter with publicity staffers? What are your pet peeves?
I’m finding while the entertainment industry is big, it’s still really very small in that I generally work with the same publicists on a daily basis. Because we’re in touch with each other on a daily basis, they generally know what I’m looking for and I generally know what projects they have coming up. For me, the most important thing is that a publicist be completely honest with me when it comes to booking a guest. Honor commitments you make with me…even if things change. Keep your word no matter what…even if it costs you in the end. As my mother says, “your word is your bond.” I live by that, and I hope publicists I deal with live by that too.
What's the most challenging aspect of the job?
Because I deal with musical superstars, they generally have a day or two filled with press…whether it’s television, radio, newspapers, magazines. As a producer, I find my biggest challenge is making my segment with the superstar different from all the other appearances they may be making. I never want to repeat what some other show is doing with an artist. I want to find that one special thing that will set my interview/performance apart from all the rest. As a booker, I constantly try to find that new artist that no one else has discovered. I also want to book the hottest act of the day or book that exclusive interview with the artist of the hour. I think that’s the biggest challenge for me and that’s what I enjoy most.
Is there a part of your daily routine that you see as critical to your success?
Knowing “everything” that’s going on in the music industry is the most critical part of this job. It’s not only about who has the hottest music, but it’s about who everyone’s talking about at the moment. There are so many singers in the news these days…not necessarily for their music, but because of things going on in their lives, i.e. Whitney Houston, Michael Jackson, etc. It’s important for me to secure a way for us to tell these “news” stories as well.
In terms of your career, what are you most proud of?
I’m probably most proud of the exclusive bookings we’ve enjoyed on the show. Most recently I’ve been working on the Michael Jackson case, and was able to secure several “Early Show Exclusive” interviews with Jermaine Jackson, Marlon Jackson, and Jackson family advisors. I’m also proud of exclusive interviews and performances I’ve done with Prince, Luther Vandross, Stevie Wonder, Elton John, Whitney Houston, Janet Jackson, Celine Dion and Beyonce, among others.
Your job is extremely demanding. What keeps you going?
I have a passion for what I do, so it really isn’t work, it’s fun.
What's your best advice for African-Americans building careers not just in journalism, but in any media field?
It’s a very competitive and time-consuming field. Be determined, and let nothing stand in your way. People will try to discourage you and tell you what you can’t do. Learn to turn negatives into positives…lemons into lemonade. And if you really want a job in the industry, believe in yourself and let no one steal your dreams.
Tell us one thing people might be surprised to know about you.
I am the daughter of a Baptist preacher. I grew up on a farm in Lexington, Kentucky and love to ride horses.
Message Cathy Black 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
The Herbert Holla
Herbert's Hot NYC Picks
thu(24): guernica - blessed/selly/reborn/monica pineda - soul/funk/house/hiphop
thu(24): table 50 - q tip on the set
Herbert's Hot NYC Picks
wed(23): cielo - louie vega/kevin hedge - soulful house
wed(23): crobar - grace jones!!!/timmy regisford/guests - house
wed(23): apt - rich medina/guest djs - soul/afrobeat/old school/funk/classics
wed(23): pm - crooked - hiphop/house/rock/80s
wed(23): joe's pub - lord finesse/easy mo bee!! - old school hiphop
wed(23): afterwork/rumor - snatch 1/m.o.s./self/kaos - hiphop/r&b/reggae/classics
wed(23): afterwork/mission - dj trauma - hiphop/r&b/reggae/classics - 6PM to 4AM
wed(23): angel bar - scratch famous/teflon - reggae
wed(23): marquee - stretch armstrong - rock/old school/hiphop
wed(23): bOb - rholi rho/5th platoon - hiphop/r&b/reggae/80s
wed(23): filter 14 - static crew - breakbeat/electro/freeskool/2 step
wed(23): aubette - qool marv - soul/funk/r&b/afrobeat/house/world - 8pm to 2am
wed(23): lotus - dj AM/ani quinn - hiphop/rock/80s/r&b/reggae - 1 yr anniversary!
wed(23): volume/bk - matty helibronn/joeski - cosmic disco - deep house/disco
thu(24): guernica - blessed/selly/reborn/monica pineda - soul/funk/house/hiphop
thu(24): table 50 - q tip on the set - hiphop/rock/soul/funk/classics
thu(24): quo - crooked - funky house/top 40 hiphop/80s/rock
thu(24): manhatta - benny ill/dinesh/whistler - dubstep/broken beats/house
thu(24): spyder room/avalon - rolando/rholi rho - hiphop/rock/80s/reggae/r&b
thu(24): social club - bobby konders/jabba - reggae/reggae/reggae
thu(24): apollo theater - angelique kidjo/femi kuti!!!!!! - www.apollotheater.com
thu(24): b3's - live brazilian organic dance by kim jade/elin - jam session
thu(24): show - ody rock - hiphop/rock/r&b/reggae/80s
thu(24): joe's pub - mary mack - hiphop/r&b/reggae/classics
thu(24): marquee - reach - hiphop/r&b/80s/rock
thu(24): apt - theo parrish - house/soul
thu(24): black betty/bk - emskee/monk-one - soul/funk/classics/hiphop/house/reggae
thu(24): diva lounge/nj - dj rara - salsa/merengue/reggaeton/bachata/hiphop/house
thu(24): afterwork/pier 63 - baby blue - house/hiphop/80s/classics/rock
thu(24): afterwork/kanvas - dj sweets - hiphop/70s/80s - 6PM
thu(24): afterwork/tangerine - do it - hiphop/reggae/classics - 6PM till 2AM
thu(24): afterwork/lansky lounge - goldfinger/june - hiphop/r&b/reggae/classics
thu(24): afterwork/club b52 - dj dallas green - hiphop/r&b/reggae/classics - 5:30
thu(24): afterwork/manhatta - dj eleven/mOma - soul/hiphop/classics
fri(25): starfoods - thank god it's freedom - the illest - see gigs below!
fri(25): frying pan - nickodemus/mariano/guests - house - turntables on da hudson!
fri(25): lot 61 - dj soul - hiphop/r&b/reggae/classics
fri(25): planet 28 - guest djs - 70s + 80s soul classics/deep, jazzy, gospel house
fri(25): plaid - jcny/nomad - hiphop/r&b/rock/80s/reggae/classics/house
fri(25): coral room - dj reach - hiphop/r&b/reggae/80s
fri(25): noca - flo fader - hiphop/soul/reggae
fri(25): 519 w. 36th st - haitian arts celebration - live art - jephte guilliame!!
fri(25): satalla - monty alexander - live jamaican jazz - www.satalla.com
fri(25): sob's - dub cub/eddie stats/rekha - bollywood disco, son!
fri(25): deep - camillo - hiphop/r&b/reggae/classics
fri(25): ruby lounge - ola - soul/funk/hiphop/r&b/reggae
fri(25): table 50 - qool marv - soul/funk/worldbeat/hiphop/house
fri(25): puck building - tease/funk this - house/hiphop/rock - swedish toshi party
fri(25): luahn - crooked - hiphop/r&b/reggae/classics/80s
fri(25): pangea - m.o.s./suss-one - hiphop/r&b/reggae/classics - black diamonds
fri(25): 9 1/2 - big ben/guests - hiphop/r&b/reggae/classics/house/latin
fri(25): afterwork/sequoia's - willie rodriguez/john sciascia - hiphop/r&b/latin
sat(26): mission - dj cosi/stormin normin - hiphop/r&b/reggae/classics
sat(26): ruby falls - eric lapeau - hiphop/rock/soul/reggae/80s
sat(26): 40/40 - rahlo/k.o. - hiphop/r&b/reggae/classics/80s
sat(26): coral room - sureshot - hiphop/r&b/80s/rock
sat(26): shelter - timmy regisford - house!
sat(26): chetty red - van vader - hiphop/r&b/reggae/classics/old school/80s
sat(26): sapphire lounge - jazzy nice - hiphop/soul/old school/funk/breaks/house
sat(26): eugene - jcny/guests - hiphop/r&b/reggae/house/80s
sat(26): ida mae - jozen - hiphop/r&b/reggae/classics/soul
sat(26): pm - crooked - hiphop/80s/rock/disco/house/reggae
sat(26): luahn - dj trauma - hiphop/r&b/reggae/classics
sat(26): supper club - camillo - hiphop/r&b/reggae/classics
sat(26): sullivan room - grant dell/francis harris/mike bryant - techno/house
sat(26): strata - big ben - hiphop/r&b/reggae/80/house
sat(26): nuyorican poets cafe - blessed productive - live poetry/art - soul/funk
sat(26): central park summerstage - patti labelle!!! - 1:30PM
sat(26): plaid - stretch armstrong/riz/big ben (rotating) - hiphop/r&b/reggae/80s
sun(27): fez uptown - marc smooth/guests - rare groove/soul/hiphop/reggae/classics
sun(27): table 50 - monk-1/emskee/kool dj red alert - soul/old school/funk/hiphop
sun(27): joe's pub - evil d/lord sear/butta l - classic hiphop/reggae/old school
sun(27): tavern on the green - june joseph - 8:30PM - 1AM - outdoors!
sun(27): lotus - stretch armstrong - hiphop/80s/r&b/rock/old school
sun(27): nocturne - showbiz - hiphop/r&b/classics/reggae
sun(27): deep - camillo - hiphop/r&b/reggae/classics/latin - don omar release bash
sun(27): slate - beverly bond - hiphop/soul/80s/house/old school/reggae
sun(27): circle line/pier 83 - danny krivit - house - the718sessions@aol.com
sun(27): tompkins square park - max glazer/eddie stats/dinesh/benny ill - 3PM
mon(28): apt - cucumber slice - soul/funk/rare grooves/latin/uprock/old school
mon(28): cielo - francois k - future dub/space vibes/abstract grooves (aka house)
mon(28): lot 61 - ody roc - hiphop/reggae/rock/house/r&b
mon(28): bungalow 8 - dj soul - hiphop/r&b/80s/classics/rock
mon(28): sway - rotating deejay - rock/soul/reggae
mon(28): crobar - mada+moody/finesse/big live rock bands - rock/hiphop/80s/olskool
tue(29): joe's pub - guest djs/live performances - soul/funk/classics/hiphop
tue(29): eugene's - m.o.s./suss-one - hiphop/r&b/reggae/classics
tue(29): belmont lounge - qool marv - soul/funk/r&b/old school/house/afro/world
tue(29): open air - jlayne/elijah/guests - rare grooves/70s/80s/old school/house
tue(29): sapphire lounge - eman/lola - house/deep grooves
tue(29): village underground - mark whitfield project - live jazz - 9:30 - free
tue(29): the park - dj stu bronze - rock - free BBQ from 10 to 11:30
tue(29): mission - dj armstead/mc frank jigga - hiphop/r&b/reggae/classics
tue(29): afterwork/aubette - snatch 1 - hiphop/r&b/reggae/soul/classics - 6:30PM
tue(29): afterwork/bar below/bk - ayana soyini - reggae - 7PM
Herbert's Heard
"certified gangstas" -- cam and them
new joint -- jadakiss ("games" rmx)
"caught up" -- usher
"wiggle it" -- 2 in a room
Word As Bond
Lot going on this week. It's my baby's birthday, so I'm gonna treat her like she wants to be treated. You know, roadway show, dinner at Asiate, stuff like that. Lord knows she needs a good foot rub, too. We've been looking for apartments to purchase all over town. Here's a little clue: If you don't have half-a-mill, don't expect much. For real. It was disheartening seeing what they "call" a 2 bedroom for under 300K. I did get to see Frankie and her beau Dave from this season of MTV's "Real World." That was interesting. You kind of feel like you know these people, after seeing all their b.s. and weaknesses for half-an-hour straight.
I finally also got to see "8 Mile." It was aiight. Big shout to Eugene from NYU. He did his thing, though I liked his character better in "Whiteboyz." Couldn't help but feel the little MC in me after the flick, you know? I think I could do it. I think I could rap.
"Uh. Yeah. Check it out ..."
"..."
"Yeah ... "
"..."
"OK."
"Yeah ... "
" ... "
" ... "
"My name's DJ Herbert ... "
" ... "
" ... "
" ... "
"BOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO!"
Peace, love, good health and flowers,
Herbert's Gigs
wednesday - pangea - the ritch bit%h party - 417 lafayette
nyc's hottest mid-week event at one of nyc's hottest club!!
hiphop/r&b/reggae/80s/old school/rock - i get on at 1AM!!!
$15 - look sharp (models, bottles, etc.) djherbert@earthlink.net
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
Message DJ Herbert and tell him what you think
June 23, 2004
Tech Sessions #6
Theoretically Speaking
Last week, I left a lil cliffhanger regarding music theory. The main thing that I'd like to discuss is why theory is important. (besides I don't have the kind of space needed to really get into the ins and outs of it)
Theoretically Speaking
Last week, I left a lil cliffhanger regarding music theory. The main thing that I'd like to discuss is why theory is important. (besides I don't have the kind of space needed to really get into the ins and outs of it).
Hip hop, more than any other form of music, treats music theory as some whack shit that takes away from the feeling and true soul of what makes the track move.
A lot of producers learn to play their keyboards by fumbling around with the keys until they come up with something dope. On top of that, hours have been spent pitching two different samples together trying to get them to sound "right."
I've been there because I used to feel the same way. Inside of me there was the little part that said 'Yo, all of that music appreciation shit right there is going to make you sterile. It's going to cut your balls off because you're going to start focusing on what's right and what's wrong instead of letting inspiration do its thing.'
I got real lucky back in 2000 when I was allowed to visit a session at a top-shelf studio in Miami. I forget the triple platinum artist who was in the room because I was more blown away by the studio engineer and how fast dude was working. He freaked eqs, compression, microphone placement, and more because he knew his shit.
I thought to myself 'if I really knew what was up when it came to theory, how much faster could I work?' That was followed up by 'if I work faster, then my inspiration has a better chance of making it to disc the way I want it too.' So I set about the business of learning my shit.
Now, there's a few things to think about if you know little to nothing about theory. The most important thing is that your ear is already better than you think it is because that has been your only guide up to now.
Next is that you probably already partially know a lot of chord progressions and scales because you've been emulating what you are inspired by.
Third is that getting into theory is just extending the reach of what you are already doing. And anybody who has ever been a fight with a tall lanky dude knows you can knock somebody out just by having reach on them.
It sounds corny man, but knowledge is power for real. These days, a brother is far from Mozart, but with my man in Audio Assassins, we're on a lifelong journey to make some hits and push ourselves and the music we love as far as it can go while holding onto that inspiration that makes a song a timeless, classic joint.
Yeah, you can get by without music theory but if you're naturally that talented, why would you want to keep doors closed to yourself? It really is the difference between hearing an old joint and thinking 'ooh I need to jack those strings, lemme find that record,' to 'ooh damn those strings are hot. That's gonna influence my next track.'
FYI…looknohands.com is a great place to start.
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 take on music theory and it's impact on your production!
June 22, 2004
Perspective: Anissa Williams
Anissa Williams
Casting Director
Job History
I had a paid internship at Long Beach Cable
Anissa Williams
Casting Director
Anissa Williams Casting
Los Angeles CA
Job History
I had a paid internship at Long Beach Cable producing an "Adopt A Pet" TV show.
After graduating from film school, I wasn't really sure what to do with my degree. I'm not an actor, but I went at an open call for "A Different World" to try to get a position or work with that show. I ran into a alumni and we happened to be the only two black women in my film department. She had graduated a year before I did and worked with Keenan Ivory Wayans on "In Living Color" as one of his personal assistant. Keenan needed a new one and she passed me the contact person. I called that afternoon, interviewed the next day and was hired on the spot. I became not only Keenan's assistant but helped the whole staff, writers, actors. Basically whoever needed me, I was there. That position acclimated me to Hollywood my first year out of college.
The following season, a position opened up in casting with Betsy Fels. Of course, I took it because I had a proficiency at memorizing actors names. So Casting was the perfect fit for me. Not only could I direct but I could also use my knowledge and familiarity with actors for other projects as well as my own.
I worked on "In Living Color" for four season until it got canceled. But during the hiatus, I'd cast the videos of the musical artists that appeared on the show. I worked on "America's Most Wanted" for Fox, just little stuff to build my resume.
That was the start and I've been casting for 11 years.
What are you currently working on? Your day-to-day responsibilities?
I'm casting for an Elizabeth Arden commercial for Britney Spears. She's coming out with a new fragrance line and I'm looking for a lead actor to play opposite her.
My day to day responsibilities are prepping a casting session, checking the availability of actors for the current projects I'm working on. I also do lists of actors for film projects. I meet with film executive producers and prepare actors lists along with photo references to explain why that particular person would be an interesting choice for that part.
Besides that, I also return phone calls and meet new poeple and discuss new projects.
What inspires/motivates you?
Film as an art inspires me. I want to inspire/empower young girls. I just read the "All Falls Down" article in Vibe about Karrine Steffans. She was someone that I hired plenty of times and the piece made me cry because I'm a part of that system that a lot of young girls aspire to.
So my goal now is to help the self-esteem of other young girls so even if they want to do music videos or want to be a part of what I do, I encourage them to be the best that they can be, and use this experience as a stepping stone, and I stress that they don't have to do anything that they don't want to do.
I'm proud of Karrine for being so open and honest because she speaks for many, many video girls out there.
Do you believe working on these videos damages these women's self-esteem?
It's got to. They definitely feel sexy and beautiful but they're so disposible. It's a shame. I do all this research and find fresh faces and pay them $500-$1000 a day. They do a few videos and then they're considered "washed up."
So I encourage them to move forward. If you really want to do this, then take acting classes, take care of your skin, take care of your body, strive for more than just being in the hottest rap videos.
And if you do want to rock your bikini, then rock it with pride and know that your doing this with a purpose and move forward. You don't have to sleep with the artist just to become famous. At the end of the day, these artist discard video girls.
Poeple think of me as Momma Anissa and I want to have a positive influence on them. These girls know I'm available for them. If they need a list of agents, acting coaches, voice coaches, I'm always there to help them move forward. Girls use this info or don't. Some girls get caught up. That's their decision and that's how they pay their bills. So be it.
How do you balance your personal and professional life because you seem to genuinely care for the actors and models that you hire?
It's tough. I have casting director friends who make it a policy to not hang out with talent. But I actually enjoy it. I think that it keeps me relevant. I like hanging out at the club with a couple of model girls because I genuinely respect and like them as human beings. That seperation doesn't exit for me. I never say "I can't hang out with these people" because that mentality would seperate me from them, who they are, and how they think.
I don't hang out with everybody though. I hang out when I see a fit, especially if there's a connection, then I'll hang out, party, or go to a premiere. I take this one girl, Tracy Higgins, that I'm developing to premiers and introduce her to directors and encourage her to study. She's somebody that I've given hands on training because I believe in her.
Does it get wearing being so available to people?
Sometimes when I get phone calls on Sunday and I'm with my family, and they're asking me if they can bring their head shot over, it's a little annoying. Some people are thinking about their agenda and their day that they can't shut it off. That's the tough part, dealing with people that don't take into consideration and respect my free time. People sometimes call at inappropriate times. I don't even know them or we may have just meet on the set somewhere and they feel like they can call me on Saturday afternoon because they think there's a connection. That's when I'm hesitant. Because they are not separating the two.
What career achievement are you most proud of?
It's certainly not one particular project. I can sit here and name drop projects that I've worked on but that's not it. I most proud of my reputation for being thorough and good at what I do. That's priceless. In Hollywood and this business, the only thing you have is your reputation.
There's people that are still in the casting game but their reputation is shit. People don't realize that this is not easy. Dealing with people not showing up at 6am and always trying to do the impossible is trying. So I'm very proud of being respected for what I do. That makes it all worthwhile. And the minute I'm not respected or that I'm unhappy, then I'll do something else.
What was your biggest personal/career mistake and what did you learn from the experience?
I wanted to book Allen Iverson on a video. I did a backdoor deal rather than going through the proper channels. It works most of the time because when you deal with personalities, actors, and their agents, it's very easy to get rejected.
But if you can speak to someone who knows him personally or can talk to him directly, you may find out that they're very interested in doing the project. Basically going to the source or as directly close to the source as possible.
For this project I tried to backdoor an Iverson appearance and the night before the shoot, I realized that the people had ben bullshitting me completely up to that moment and he was never even available to do the job.
From that situation, I learned that relying on backdoor channels can be a big mistake and it's better to go through the appropriate channels.
Guiding principles?
Hmmmm...Integrity, being humble, putting my friends and family first.
Birthday? Where you grew up? Where you went to school?
My birthday is July 18. I grew up in Stockton CA. It's 45 minutes south of Sacramento. I came from a small town mentality and I wouldn't change that for the world. I went to Tokay HS in Lodi CA. I then went to Cal State University Long Beach (CSULB) Film School. It was great. Robert Finney headed the program. We were the underdogs versus USC and UCLA's film programs because any grants, equipment, or internship opportunities usually went to those two prestigious schools before us. CSULB didn't have the same resources but the department was a lot smaller, so I got a lot more hands on experience. And Dr. Finney is someone that I'll never forget. He's one of my inspirations.
Message Anissa Williams and tell her what you think
June 21, 2004
Survey Says #9
Fill In The Blanks
1. What ________________ (producer) would you pick to resurrect ________________'s (artist's) career.
Fill In The Blanks
1. What ________________ (producer) would you pick to resurrect ________________'s (artist's) career.
2. What ________________ (song) repesents your life thus far?
3. Is it right that your deleted email and text messages are saved on a server?
4. What ________________ (music or fashion trend) would you start that poeple would most definitely follow?
5. Which ________________ (rapper/group) has stepped up their game since premiering on on the scene?
Message Terrill Joyner and The Crusade.net with your Survey Says responses
Terrill Joyner is a singer, song writer, and journalist living in Brooklyn NY.
June 20, 2004
The Ru Report #137
Sounds Of Summer
New albums and hot singles aren't the only thing to keep music lovers captivated with aural pleasure this season. Here's a listing of some musical happenings
Sounds Of Summer
New albums and hot singles aren't the only thing to keep music lovers captivated with aural pleasure this season. Here's a listing of some musical happenings in the Big Apple, and beyond:
Just when we thought the TV hoopla was over, the "American Idol" franchise is spinning off into a third North American touring jaunt. Titled "Pop Tarts Presents American Idols Live!" the 49-city trek will kick off in Salt Lake City on July 14 and play for a full two and a half months, culminating in Honolulu on September 30.
Headlining the massive concert outing will be this year's grand prize winner Fantasia Barrino, who will be supported by the highly rated show's other nine finalists: Diana DeGarmo, Jennifer Hudson, George Huff, John Peter Lewis, La Toya London, John Stevens, Jasmine Trias, Amy Adams and Camille Velasco.
The show promises to include individual as well as ensemble performances.
RCA Records recently released a 13-track compilation, "American Idol Season 3: Greatest Soul Classics," which didn't fare well with some mainstream critics, and is just shy of 200,000 copies in sales. Featuring all ten finalists, the Simon Fuller-helmed disc will chart at Number 98 on next week's Billboard 200 Albums chart, after slipping nearly forty spots.
The compilation album opens with Ms. Barrino's stirring rendition of Aretha Franklin's classic "Chain Of Fools." "My thing is, I always want people to--to get the message that I'm trying to send out," Ms. Barrino said in a recent interview.
"You know, I've been through some things, so when I get up there and sing my songs, I'm like, Hey, I've been through it, and I want to encourage somebody else that if you're going through it, you can come out."
Music mogul Clive Davis's J Records will release her eagerly anticipated maxi-single--containing the tracks "I Believe" and "Chain of Fools" along with her take on Gershwin's classic standard "Summertime"--on June 22. Insiders at the record label tell The Ru Report upwards to 500,000 copies have been shipped to retail outlets across the nation.
Last weekend, America Online hosted a first listen of "Summertime" with sixty percent of its listeners giving the track the thumbs up via its non-scientific poll.
While there is no official release date for her yet-to-be-titled debut album, which Grammy Award winning hip-hop superstar Missy "Misdemeanor" Elliott has expressed interests in working on, it is expected to bow this fall. Maybe even in December.
"I think my purpose was just to get out and sing," the High Point, North Carolina native commented. "I love to sing. I wasn't even in it for the--you know, the prize. I was, like, 'Hey, man, I'm going to sing. Forget that.'"
Having played to sold-out arenas following the first two seasons of the television program, 19 Entertainment and AEG will produce the concert tour this year. Tickets are available through Ticketmaster and the respective venue box offices. (idolonfox.com)
But before the American Idols hit the east coast playing spots such as East Rutherford's Continental Airlines Arena (August 29) and Long Island's Nassau Coliseum (August 31), there are lots of musical happenings in the city that never sleeps.
This week, "The 2004 JVC Jazz Festival--New York" kicked off boasting more than 300 artists in nearly sixty shows at seventeen venues within eleven days. It's a music marathon. Ornette Coleman, Abbey Lincoln, Jason Moran, Oscar D'Leon, k.d. lang, Lou Reed, Dianne Reeves, João Gilberto, Angelique Kidjo, George Clinton & Parliament/Funkadelic, Peter Cincotti, Herbie Hancock, Wayne Shorter, Dave Holland, Brian Blade, Poncho Sanchez and countless others are celebrating twenty years of jazz with JVC, this go round.
One of the highlights of this year's festivities is an evening celebrating the artistry of the late, great high priestess of soul Dr. Nina Simone, featuring two of her bands led by Al Schackman with special guests Tracy Chapman, Oscar Brown, Jr., Floetry, Lizz Wright, Toni Morrison and James "Blood" Ulmer with Vernon Reid. Her beautiful and talented daughter Simone Kelly--who can stand on the stage with the best of them--will also be featured on the bill titled "Sing the Truth … A Tribute to Nina Simone," taking place at Carnegie Hall on June 21.
Also on June 21, "Hairspray" star Chester Gregory brings the heat with an intimate showing at New York's hip hot-spot Joe's Pub. With his five-octave vocal range and comparisons to the likes of the great Donny Hathaway and Prince, Mr. Gregory will perform songs from his own projects, including the independent released CD Morning Star and a few cover tunes. He has cover tunes down to a science too. He garnered critical acclaim for his breakout role as the star of the traveling musical, "The Jackie Wilson Story." No novice to his craft, the Chicago native has also worked with a myriad of gospel choirs and R&B groups, writing, producing and arranging (under the name Ahdae), and opening for the likes of BeBe and CeCe Winans, Silk and TLC.
"The lure of Joe's Pub is the idiosyncratic programming that is reflective of the fabric of New York and the world," notes the out-going Tony Award winning producer of The Public Theater, George C. Wolfe. "In only five years, it has drawn a really smart, cutting-edge audience to The Public--one that thrives on blurring artistic boundaries."
With that said, Joe's Pub is also heading uptown. Well sort of.
For the very first time, The Public Theater will team up with MTV and VH1 to present the inaugural season of "Joe's Pub In The Park," a two-week series of paid and free concerts at the Delacorte Theater in Central Park. Kicking off with a performance by Bebel Gilberto on August 16 and continuing through August 27 — the series will feature additional performances by Jonatha Brooke, Mos Def, Gavin DeGraw, Joe Jackson, Ute Lemper, Meshell Ndegeocello, Todd Rundgren and Suzanne Vega, among others. (publictheater.org.)
There's also a lot of new hot spots cropping up in the city, presenting music series of all sorts.
The new landmark Time Warner Center overlooking New York's Central Park will present the "AOL Music Summer Concert Series," showcasing the hottest up and coming artists including Cherie (June 25), Ben Jelen (June 29), Julie Robert (July 13), Anthony Hamilton (July 21) and Christina Milan (July 26).
All concerts will be taped for the AOL Broadband Rocks original concert series, and will be broadcast at a later date, exclusively for AOL for Broadband members.
Each of the concerts are free and open to the public and will take place on the second floor of The Shops at Columbus Circle located within the new 2.8 million square foot Time Warner Center complex at Columbus Circle in New York City.
"While we continue to introduce our vast online audience to new music, our partnership with Time Warner will bring our programming to life in New York City," said Evan Harrison, vice president and general manager of AOL Music, in a statement. "Our summer concert series will showcase AOL Breaker artists from Time Warner Center, with the beautiful Central Park serving as the backdrop."
"The AOL Music Summer Concert Series" from Time Warner Center builds upon AOL Music's commitment to help music fans discover the best new artists through the AOL Breakers program. After just two years, AOL Music's Breakers program has established itself as a reliable searchlight for hot new music talent. Past artists include Avril Lavigne, Michelle Branch, Josh Groban, 50 Cent, Fefe Dobson and Jet.
Also brewing: Dionne Farris, the long lost former lead vocalist of Arrested Development who scored pop success with her own solo effort (I Know) nearly ten years ago, is scheduled to play a show at B.B. King Blues Club & Grill in New York's Times Square on June 28. Neo-soul heartthrob Eric Roberson is also slated to perform on the bill also.
Hip-hop's Queen Bitch, herself, Lil' Kim makes a rare performance at the venue on July 2--to set some sizzle to the Fourth of July weekend.
The easily accessible underground performance venue also boasts a diverse line-up of performances including Queen of Soul Aretha Franklin (June 25), former New Kids On The Block member Jordan Knight (July 1), Godmother of 80's Rock Pat Benatar (July 6), R&B chanteuse Vesta (July 12), teen rap star Bow Wow Wow (July 16), veteran funksters The Brothers Johnson (July 20), reggae crooner Maxi Priest (August 4), soul legends The Delfonics (August 7), Rock and Roll Hall of Famer Little Richard (August 18) and rap pioneers Brand Nubian (August 19).
And in the Caribbean--the heart and soul of reggae music--an explosive line-up of reggae stars will appear at the Catherine Hall Entertainment Complex in Montego Bay from July 18 to 24 for "The 12th annual Red Stripe Reggae Sumfest Festival."
Beenie Man, Beres Hammond, Bounty Killer, Sizzla, Elephant Man, Wayne Marshall, Vybz Cartel and Tanto Metro & Devonte are confirmed to headline the weeklong festival, which is a major occasion on Jamaica's calendar of annual music events, and always a spectacular presentation of the indigenous Jamaican music form immortalized by the late Bob Marley.
First staged in August 1993, Reggae Sumfest was an immediate hit and continues to be a tourist attraction. Affordable, value-added air-inclusive packages are offered by several companies such as Air Jamaica Vacations (800-LOVEBIRD /airjamaica.com Alken Tours (800-221-6686 /alkentours.com) and Jamaica Reservation Service (800-JAMAICA / 1-800-jamaica.com).And I would be remiss if I didn't include news of the Blue Note Jazz Club paying homage to the life and music of a jazz legend with a "Tribute to Elvin Jones" (June 24 through June 27) featuring the Elvin Jones Jazz Machine and special guests including Bill Cosby, Max Roach, Chip Jackson, Jeff "Tain" Watts, Duane Eubanks and Rick Germanson, among others.
Throughout the month of July, the world's famous jazz club will also host shows by tribute singer Carlton J. Smith (July 16), Broadway darling Lillias White (July 20-21), and the incomparable entertainment legend Eartha Kitt (July 22). (bluenotejazz.com)
Like Sly & The Family Stone sang in 1969, it's Hot Fun In The Summertime!
Good Works
Syndicated columnist and bona fide media specialist Gil Robertson's roots really run deep. The jet-set journalist is setting his sights on the southern city of Atlanta in his mission to empower the minds of aspiring African American media professionals. Throughout the month of June, Mr. Robertson and his Atlanta-based associates are presenting a series of workshops at the Auburn Avenue Research Library on African American Culture and History. The four week series, titled "Writing As A Tool Of Empowerment"--named after his best-selling books, kicked off on June 1 and continues every Tuesday and Thursday evening throughout the month.
With a principal goal to introduce aspiring communicators to skill sets that will enable them to empowerment themselves through their use of the written word, Mr. Robertson developed "Writing As A Tool of Empowerment" with the late UCLA professor Dr. Beverly Robinson and New York City School principal La Vonia Sherman.
"The programs that I'm putting forth responds to a need present in the community," Mr. Robertson told The Ru Report in a phone interview yesterday. "People really want to express themselves but don't know how to take the first steps. Through programs like the one that I am presenting at Auburn, my goal is to take participants through the initial steps in reaching outside of themselves and having their voices heard."
According to recent Newsroom Employment Surveys, African Americans comprise only 5.6% of all newsroom employees with figures being less for television, online media and periodicals. The workshops are designed to expose participants to the importance of effective communication and the fundamentals of how to build, manage and grow careers in the media marketplace.
"I'm always thinking of new ways to deliver new and exciting programs to our message to the public." Mr. Robertson continued. "Next year, we will be taking the program on the road with dates in New York, Detroit, Chicago, Miami and Los Angeles."
Francine Henderson, Administrator for Auburn Avenue Research Library, said that they considered the program a very worthwhile endeavor. "We are pleased about the partnership with The Robertson Treatment," said Ms. Henderson. "Writing literacy is certainly a precursor to bringing about change and improvements in society. Auburn is no stranger to community outreach. For years we have developed and fostered programs to help create a better Atlanta. We are committed to a mandate of interacting with Atlanta citizen with offerings that will lead to improvements in every area of life."
Tube TalkA special Collector's Edition 2-Disc DVD of the seven-time Oscar nominated epic film, Cold Mountain, will hit the shelves on June 29. The sweeping drama of love and war, boasts an all-star cast including Jude Law, Nicole Kidman and Renee Zellweger--who snagged her first Oscar for her supporting actress role in the film, directed by Anthony Minghella. Bonus materials in the package include never-before-seen deleted scenes, the Climbing Cold Mountain documentary, a live show from UCLA's Royce Hall with musical performances from Allison Krauss, Sting and Jack White called "Words & Music of Cold Mountain" and a storyboard-to-film comparison feature.
She may be down, but she's not out! Martha Stewart lives on. At least on television. Yesterday, the Style Network announced a multi-year licensing agreement to air "Martha Stewart Living," the Emmy-award winning television program hosted by the Diva of Domesticity, in primetime. Hour-long episodes from the existing library of "Martha Stewart Living" will air nationally on The Style Network weekday evenings beginning this month. The Style Network will be the exclusive cable home of the original one-hour show, which I have learned a lot from. Currently available in 36 million households and attracting a core audience of young, affluent adults between the ages of 18 and 49, programming on The Style Network will consist of episodes of the show, as well as newly repackaged "best of" specials, including repackaged wedding specials.
Kwame Jackson has a new gig. He and his questionable antics with beauty pageant contestants may have gotten him ousted from his recent judging duties of this year's "Miss Universe" program, but he's still a hot commodity in the public speaking arena. "The Apprentice" runner-up has been selected as the keynote speaker for the National INROADS Alumni Association (NIAA) presentation of their First Annual Northeast Regional Networking Event. Scheduled for June 26 at New York City's W Hotel. The Harvard MBA graduate and former Goldman Sachs investment manager is prominent alum of INROADS, whose staff provides ongoing academic support and career training and guidance to more than 5,500 Interns sponsored by over 700 companies.
Got to get that dirt off your shoulder!
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
June 17, 2004
AAPRC Weekly: Wendy Washington
Wendy Washington
Universal/Motown Records Group
Wendy Washington was a paralegal on her way to law school when she took a detour that changed her life.
Wendy Washington
Senior Vice President, Media Relations
Universal/Motown Records Group
NYC
Wendy Washington was a paralegal on her way to law school when she took a detour that changed her life. Washington, who had been a history major at elite Vassar College, was doing a bit of writing in her free time. A good friend, the noted writer and activist Kevin Powell, read her work and encouraged her to continue.
Washington, who was passionate about music and pop culture, began working as a freelance writer and exploring her interests in the role of women in hip hop. Her work was published in Vibe, Tower Pulse (now defunct), Shade (now defunct) and Interview magazines. Law school became a thing of the past.
In 1994, Washington went from freelancer to publicist, taking a position at Arista as manager of publicity, and working with artists such as Notorious B.I.G. and OutKast. From Arista she moved to Jive Records, where, as national director of publicity, she coordinated campaigns for artists such as R. Kelly, KRS-One and A Tribe Called Quest.
Today, Washington's love for music gets channeled into her position as senior vice president of media relations at Universal/Motown Records Group.
"I entered this business very idealistically and very passionate about the culture and what the artists were saying," says Washington. "I feel a tremendous blessing to be a part of music, because music is a big part of black culture and has been historically…I also appreciate the range of artists and artistry that I'm able to work with, from Erykah Badu to Nelly... I take it very seriously. I think publicists are advocates."
Because she oversees publicity for Universal's family of labels––including Universal Records (Nelly), Motown Records (Stevie Wonder, Brian McKnight, Erykah Badu), Bad Boy Records (Carl Thomas, Mario Winans), Cash Money Records (Juvenile, Lil' Wayne, Mannie Fresh), Casablanca Records, Blackground Records, SRC and T.U.G.––Washington's commitment to advocacy gets tested regularly.
"I think its becoming more of a celebrity driven culture which is good in some ways if you're in media relations. Kind of challenging in other ways because there are more vehicles for rumors," says Washington. "The most disturbing is when you have to call and say 'what so and so is saying is not true.' There seem to be more and more vehicles for any kind of opinion or any kind of rumor to be validated...There's a lot of tabloid journalism."
Then, this spring, there was the Nelly controversy at Atlanta's Spelman College. Students at the historically black women's college protested the rapper's appearance at a bone marrow drive sponsored by his foundation because of controversial images in the music video to his song "Tip-Drill."
Nelly's appearance and the drive were cancelled. "I think every person has the right to express him or herself and we have to encourage that and I'm glad to work with people who encourage dialogue," says Washington of the incident. "I think that there are broader questions to be posed though, and sometimes people take the easy way out by calling for a boycott rather than calling for the real dialogue that needs to take place."
For Washington, in the age of national outrage over provocative images in media, taking a stand for freedom of expression isn't always easy. "There have been a few instances where I've had a real objection and refused to work on a project," she admits. "But, unequivocally, I support every artist's right to express him or herself."
In spite of the challenges, after eight years at Universal/Motown, Washington still retains the youthful passion that drew her into music––partly because she is youthful. In her 30s, she is the youngest publicity head in the music industry. "I was there for the launching of Bad Boy Records at Arista," she recalls. "It's good to see the music being embraced and taken seriously by a lot of the mainstream vehicles––TV and print––and to be able to get those bookings that used to not be available to hip hop artists. Rolling Stone has had four artists of color on their cover in the past six months. That's an incredible feat."
Another incredible feat is Washington's workload. At any given time, she and her staff are overseeing 24 active projects––artist projects that are in set up, currently promoting or in the middle of launching. "I think I decide everyday that I'm not going to catch up so I get comfortable just with a certain pace because otherwise it's overwhelming," says Washington of her strategies for coping with the workload. "I just try to focus on what the initial priorities are. The key is to keep the focus. I know at all times where every project is. Though we have a small publicity staff at Universal Records, we are very thorough and
aggressive and work really well as a team."
Outside of the office, the Colorado-born Washington says she's getting better at balancing her work and personal lives. "I enjoy shopping, going to church, hanging out with
friends, knitting when I can, yoga occasionally, and I've tried to pick up fencing," she says. "I love to travel––any place in Italy. I'm chaperoning my 16-year-old niece and some of her classmates through Europe next month, so I'm looking forward to that."
Message Wendy Washington 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
The Herbert Holla
Herbert's Hot NYC Picks
thu(17): apt - roy davis jr!!!/language/lindsey/duane - classics/electro80s/house
thu(17): guernica - blessed/selly/reborn/monica pineda
Herbert's Hot NYC Picks
wed(16): cielo - louie vega/kevin hedge/blaze performance live - soulful house
wed(16): apt - rich medina/guest djs - soul/afrobeat/old school/funk/classics
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wed(16): afterwork/mission - dj trauma - hiphop/r&b/reggae/classics - 6PM to 4AM
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wed(16): marquee - stretch armstrong - rock/old school/hiphop
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wed(16): lotus - rotating djs - hiphop/rock/80s/r&b/reggae
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thu(17): apt - roy davis jr!!!/language/lindsey/duane - classics/electro80s/house
thu(17): guernica - blessed/selly/reborn/monica pineda - soul/funk/house/hiphop
thu(17): sob's - rekha/eddie stats - bhangra/bhangra/axe somebody!
thu(17): gallery - sureshot/naomi - hiphop/r&b/reggae/soul/rock - NEW JAWN!!!!
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thu(17): diva lounge/nj - dj rara - salsa/merengue/reggaeton/bachata/hiphop/house
thu(17): afterwork/kanvas - dj sweets - hiphop/70s/80s - 6PM
thu(17): afterwork/tangerine - do it - hiphop/reggae/classics - 6PM till 2AM
thu(17): afterwork/lansky lounge - goldfinger/june - hiphop/r&b/reggae/classics
thu(17): afterwork/club b52 - dj dallas green - hiphop/r&b/reggae/classics - 5:30
fri(18): starfoods - thank god it's freedom - the illest - see gigs below!
fri(18): frying pan - nickodemus/mariano/guests - house - turntables on da hudson!
fri(18): bryant park - dido live - 7 in the am!!!!
fri(18): coral room - rich medina - afrobeat/afrobeat/afrobeat - JUMP N FUNK
fri(18): gstaad - jus ed - house/classics/soul
fri(18): lot 61 - dj soul - hiphop/r&b/reggae/classics
fri(18): planet 28 - guest djs - 70s + 80s soul classics/deep, jazzy, gospel house
fri(18): plaid - jcny/nomad - hiphop/r&b/rock/80s/reggae/classics/house
fri(18): lq - roy/andre/spin-one - all things latin/80s/reggae/r&b
fri(18): supper club - kulcha/fame fortune - hiphop/r&b/reggae/classics
fri(18): copacabana penthouse - self - hiphop/r&b/reggae/classics
fri(18): luahn - crooked - hiphop/r&b/reggae/classics/80s
fri(18): spirit - eddie baez/guests - jessica simpson afterparty - house/hiphop
fri(18): negril village/downstairs - obah - soul/funk/hiphop/afrobeat
fri(18): pangea - m.o.s./suss-one - hiphop/r&b/reggae/classics - black diamonds
fri(18): 9 1/2 - big ben/guests - hiphop/r&b/reggae/classics/house/latin
fri(18): afterwork/vue - big ben/paul jinx - hiphop/r&b/reggae/latin/house
fri(18): afterwork/sequoia's - willie rodriguez/john sciascia - hiphop/r&b/latin
fri(18): blvd - reach/guests - hiphop/r&b/reggae/house
fri(18): strata - guest djs - hiphop/house/r&b/reggae/80s
sat(19): lot 61 - herbert - hiphop/80s/reggae/rock/house
sat(19): cutting room - anthony mills live - dub/experimental/great vocals - 11PM
sat(19): summerstage - rich medina/amp fiddler/floetry - soul/house - 1:30PM
sat(19): prospect park bandshell/bk - ladysmith black mambazo - 7:30PM
sat(19): pacific st b/w 5th + 6th/bk - eman/scribe/dhundee/gamal/more - rally! - 2
sat(19): 40/40 - rahlo/k.o. - hiphop/r&b/reggae/classics/80s
sat(19): coral room - sureshot - hiphop/r&b/80s/rock
sat(19): shelter - timmy regisford - house!
sat(19): angel - clay nizzle - hiphop/r&b/old school/funk/soul/rock
sat(19): mission - stormin normin - hiphop/r&b/reggae/classics
sat(19): chetty red - van vader - hiphop/r&b/reggae/classics/old school/80s
sat(19): sapphire lounge - jazzy nice - hiphop/soul/old school/funk/breaks/house
sat(19): eugene - jcny/guests - hiphop/r&b/reggae/house/80s
sat(19): vue - roy/andre/spin-one - all things latin/80s/reggae/r&b
sat(19): ida mae - jozen - hiphop/r&b/reggae/classics/soul
sat(19): cocktail room - do it - soul/funk/reggae/hiphop/afrobeat - 7PM till ...
sat(19): red & black/bk - cosmo baker/kesto - hiphop/r&b/soul/funk/classics/reggae
sat(19): pm - crooked - hiphop/80s/rock/disco/house/top 40
sat(19): mumbai - camillo - hiphop/r&b/reggae/classics
sat(19): flat - obah - soul/funk/old school/afrobeat/hiphop
sat(19): etoile - goldfinger/precise - hiphop/r&b/reggae/classics
sat(19): plaid - riz/big ben (rotating) - hiphop/r&b/reggae/80s
sun(20): fez uptown - marc smooth/guests - rare groove/soul/hiphop/reggae/classics
sun(20): joe's pub - evil d/lord sear/butta l - classic hiphop/reggae/old school
sun(20): noche - snatch 1/superstar jay - hiphop/r&b/reggae/classics - BIG hosts!
sun(20): lotus - stretch armstrong - hiphop/80s/r&b/rock/old school
sun(20): nocturne - showbiz - hiphop/r&b/classics/reggae
sun(20): madame x - liftkid - house/brazilian/afrobeat - drink specials - 9 to 2am
sun(20): deep - camillo - hiphop/r&b/reggae/classics/latin - remy ma' b-day!!!
sun(20): flat - soulfinger sam/boodhakan/guests - soul/funk/hiphop/reggae/house
sun(20): social club - dj will/dj self - hiphop/r&b/reggae/classics/soca
mon(21): apt - cucumber slice - soul/funk/rare grooves/latin/uprock/old school
mon(21): cielo - francois k - future dub/space vibes/abstract grooves (aka house)
mon(21): lot 61 - ody roc - hiphop/reggae/rock/house/r&b
mon(21): bungalow 8 - dj soul - hiphop/r&b/80s/classics/rock
mon(21): sway - rotating deejsy - rock/soul/reggae
mon(21): crobar - mada+moody/finesse/big live rock bands - rock/hiphop/80s/olskool
tue(22): joe's pub - guest djs/live performances - soul/funk/classics/hiphop
tue(22): hiro - guest djs - hiphop/r&b/reggae/rock/soul
tue(22): belmont lounge - qool marv - soul/funk/r&b/old school/house/afro/world
tue(22): marquee - reach - hiphop/r&b/rock/80s
tue(22): open air - jlayne/elijah/guests - rare grooves/70s/80s/old school/house
tue(22): sapphire lounge - eman/lola - house/deep grooves
tue(22): village underground - mark whitfield project - live jazz - 9:30 - free
tue(22): the park - dj stu bronze - rock - free BBQ from 10 to 11:30
tue(22): mission - dj armstead/mc frank jigga - hiphop/r&b/reggae/classics
tue(22): afterwork/aubette - snatch 1 - hiphop/r&b/reggae/soul/classics - 6:30PM
tue(22): afterwork/bar below/bk - ayana soyini - reggae - 7PM
Herbert's Heard
"Skyy--Can You Feel Me?" -- Raphael Saadiq
"Caught Up" -- Usher
"Dude" -- Beenie Man ("Hotel" Blend)
"Goodies" -- Ciara
Word As Bond
I think I dun pushed my body to the limit. I don't get no sleep, I run on the darn the goddamn treadmill until I get nauseous and intestinal cramps, then I work till 5 in the morning, only to get up the next day at 11 to do something or other. Not sure what it is, but it is. Maybe it's my body trying to inadvertantly keep me out of any possible draft that I hear some in Congress are pushing for?? A draft? Me? I mean ... yeah. I'll fight for my country. I ain't afraid of dying. But I have asthma. And an intestinal bowel disorder. And ... I'm color blind, not-to-mention myopic, flat-footed, fair-skinned and subject to occasional bouts of serious anxiety. So maybe I'm not the best man for the job? No? Ahh ... too bad. I really wanted to kill. Darn.
Freedom was dope on Friday. It's dope every week. Soon we'll need a bigger space, but until then, try and get there as early as possible so you don't get caught waiting for the maximum occupancy limit to go down. Big shout out to Main Source for dropping thru last week. We've already seen Lords of the Underground, the UMCs and Grand Puba. Now all I need is Poor Righteous Teachers and I'm straight!
Big shout out to Damon and the Saturday night crew at Eugene's for a great party. First I had to rock the main floor, and 7 records deep Herbert had the crowd singing the words. And this was at 10:30PM!!!! Then they moved me over to the newly renovated VIP room, and everyone lined up to get in there. I tore the mothersucking roof down in that place. Unfortunately, there was a stupid "almost-fight" afterwards outside. You know how they go: Lots of barking and threats, big dudes running around all over the place, looking like f-ing children at a video arcade. If only they know how retarded they looked. I swear to you, I heard one of 'em say these exact words: "My dad's the biggest mob boss in town!!"
Oh word?
Here are some funny links for you to check out:
http://vidman.ca/funstuff/games/smacktheraver.shtml
http://www.homestarrunner.com/sbemail58.html
And I saw the following bumper sticker and fell in love: "Think: It's Patriotic."
Good health, lots of love and peace,
PS--A moment of silence please for Ray Charles and Ronald Reagen.
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
Message DJ Herbert and tell him what you think
June 16, 2004
Tech Sessions #5
The Sound
One of the biggest things that we producers struggle with is the definition of our "sound." It's a curse and a blessing. On one hand having a "sound" can set you up for a nice string of hits when opportunity comes
The Sound
One of the biggest things that we producers struggle with is the definition of our "sound." It's a curse and a blessing. On one hand having a "sound" can set you up for a nice string of hits when opportunity comes calling.
On the other hand, once your "sound" gets old, you're instantly considered played out and either have to reinvent yourself or pray you Ok'd the right financial moves during your run at the top.
Now what I am about to say is subjective. So take it for what its worth but as producers we don't really try to have a "sound." In our minds it goes against the very reason why we got into this to begin with.
If we wanted to live by rules we would have gotten real jobs as they say so why should we sit down in front of our gear and be like 'yo pull up the club banger patches?'
Instead, we each decorate our tracks with our little preferences that we are into. I'm not going to start giving away trade secrets or anything but the fact is there are certain pieces of sound that we like that don't really show up anywhere else and that is as deep as we get into having a " sound."
Coming into this thing, most of you are in a really good position because people are hungry right now. Hungry for new and fresh sonics and ideas. Use your creativity to let each track stand on its own as its own thing.
So, the question could become 'how do you break out of the habits that make your tracks sound the same?' That's really up for you to decide and its not as simple as swapping out a patch or using a different kick drum here and there.
The biggest thing (at least for me) has always been to constantly shuffle how I get tracks started. On some days, I'll do the beat first and then build from that foundation.
On other days I'll get a synth line going and do it like that. Sometimes I'll get some guitar or piano chords together and work everything around that. You get the idea.
Coming into a song from different angles allows you not only to keep things fresh but it gives you the true perspective on the role of each instrument.
Next week, I'll get into just how important music theory is so you'll see where this is going but for now, know that if you're just coming up, you have no rules. You don't answer to anyone. Use that freedom to build your own thing to keep our music as vital and progressive as it's been since day one.
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 and differentiate the sounds of your favorite producers
AAPRC Weekly: Nekesa Moody
Nekesa Mumbi Moody
Associated Press
Whether it's an exposé on Britney Spears' latest antics, an interview with Prince, or a feature on trends in rap
Nekesa Mumbi Moody
Music Writer
Associated Press
NYC
Whether it's an exposé on Britney Spears' latest antics, an interview with Prince, or a feature on trends in rap music, if it's about music and if you read it from The Associated Press wire service, Nekesa has probably had a hand in it. In her position on the AP's national desk, Moody directs music coverage and writes everything from major features to reviews to breaking news to industry trend stories. Her days usually include conversations with the biggest names in music––among them Sean "P. Diddy" Combs, 50 Cent, Norah Jones, D'Angelo, Willie Nelson, Barbra Streisand and Linkin Park.
"I love music. It's a lot of fun, and it's always different," says Moody.
A New York native and a graduate of Barnard College, Moody started as an intern at the AP's Albany bureau in 1992. She was hired as a permanent staffer later that year. During her six years at the state capitol, Moody covered the legislature and sports; she served as night broadcast editor, day supervisor and general reporter. She also started contributing
features and CD reviews to the AP's entertainment report––an interview with Brandy was her first major story.
In 1998 she was promoted to the national desk in New York City where, as an editor, she shaped stories from around the country for the national wire. She continued writing for the entertainment report, adding movie reviews to her repertoire, and carefully negotiated the AP's competitive landscape.
"There was a lot waiting for the right opportunity, the right moment," says Moody. "People who are in these positions are in them for a long time. The person before me had this job for 40 years. It was hard for me to break in and a lot of times I was wondering well, is this going to happen?"
In 2000, after a lot of patience, Moody was named music writer.
"I think every year I'm in the business more and more people know me, there's more people I can reach out to," says Moody. "I want to delve more into the business side and show how something affects our lives."
Moody's work has earned her recognition from all corners. In 2003, she won a USC Annenberg/Getty Arts Journalism Fellowship, which gave a select group of arts journalists across the country a chance to explore the arts culture of Los Angeles. She's was also recognized that same year by the New York Association of Black Journalists for her article "Big Pimpin'," about the allure of pimps in rap culture.
As an entertainment writer Moody, of course, sees her share of A-list parties, but the these days, that thrill is gone. The Brooklynite spends her off-hours at home with her boyfriend and two dogs or visiting her family who lives in Albany. "I think when I first got this job I would go to a lot of parties, a lot of premieres," Moody recalls. "But now, it's like, you see the same people. It's work now. You get tired."
What does a typical day look like for you?
I have no typical day! Every day is pretty different. For example, on Mondays, part of my responsibilities includes editing our music review column, which feature the week's key albums. Or I may be writing a feature. Today, I was finishing up two features: Avril Lavigne and Ludacris. Last week, I interviewed Avril Lavigne and Lenny Kravitz on the same day. Some days I'm doing phoners. It all depends. It makes it interesting.
One would assume that as a music writer you're also a music lover. Who are your musical heroes?
I am a music lover. I don't have any heroes, but I definitely have people whose music I love. I am a complete Jacksonphile, I love Prince's music, I think R. Kelly--musically speaking--is an amazing artist. Being a music writer, I get exposed to a lot of different music as well. I love Fela, enjoy Aimee Mann, Dolly Parton--anyone who's truly great. Right now I'm listening to a Roy Ayers CD, Hil. St. Soul, and Usher's latest.
Are there any artists you haven't had the chance to interview who are on your "must do" list?
Of course there are icons--Michael Jackson and Madonna--who I'd love to talk to. R. Kelly would be a great "get" now. I just interviewed Prince--it was a great interview, and he was very warm and insightful. But I've talked to so many people that there's very few that I haven't talked to.
Are there any artists or trends in music that you feel deserve more attention?
I really think more articles need to focus on the effect music is having on our youth. I think there is a direct correlation between the way we treat each other and the images coming out of our speakers into our homes. I like to listen to freaky-deaky songs as much as anyone--but I don't have any kids who would be repeating those lyrics. As far as artists, I think Dead Prez deserves more attention, along with the Roots, and a lot of African stars and reggae artists.
The demand for celebrity news is increasing exponentially, and with the rise of the Internet and cable there is always room for more content. As a journalist who writes about the entertainment industry, how does this trend impact you?
Being that I write for AP, my stories go not only to thousands of newspapers, but are on the Internet almost instantly. Members are demanding even more music copy, and being the only official music writer (though I do get help from other AP writers and occasionally freelancers), I feel as if I'm doing even more.
One imagines your position calls for a lot of interaction with publicists. For ou, what are the elements of a successful encounter with publicity staffers? What are your pet peeves?
I'm pretty friendly with publicists (and count two as very dear friends)! I try and be as honest and cordial as possible, and treat them all with respect--after all, the artist who may be nothing today might be Beyonce tomorrow, or you might need to go to them for a trend story. And why be rude anyway? I get a lot of phone calls, and I prefer people to email me the key details--what they're looking for, and I'm pretty honest about whether I can meet their requests. My pet peeves are publicists who are not honest with you about what they can deliver, but I find most are pretty fair. My worst peeve is when people leave me long pitches via voicemail, and, obviously, when they out and out lie. I also prefer to do interviews with a subject alone.
Before becoming a music writer, you covered sports and politics for AP, what motivated you to make the transition?
I've always loved music--I was reading Billboard when I was a kid and following other forms of entertainment as well. I got into music at the AP because I felt urban music was really taking over at the time and we rarely covered these artists--I felt I was filling a void. And I enjoy it tremendously. But if I didn't follow that path, it might have been sports. I can't play whatsoever, but follow just about every sport--except NASCAR and golf!
Do you have a journalistic idol? Is there anyone after whom you model yourself?
I don't have a journalistic idol, but I certainly admire a lot of my peers.
In terms of your career, what are you most proud of?
I'm proud that I've been able to shine a light on a lot of diverse artists that might not have gotten attention otherwise, and I'm proud that as a young black woman, I have a big role in music media and I'm not relegated to doing the "black story"--people call me whether it's Eric Clapton or Prince or Beyonce or even Dolly Parton. I love that variety and I feel privileged to have that opportunity.
Tell us one thing people might be surprised to know about you.
I love Barry Manilow and Air Supply––have I lost all credibility now???
Message Nekesa Mumbi Moody 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
June 15, 2004
In Rotation: Lekule
Lekule
Emerging Artist
What keeps me sane: In 1986, I wrote, "The only thing that keeps me from self-termination is the great possibility of reaching my destination." Those
Lekule
Emerging Artist
Brooklyn NY
What keeps me sane: In 1986, I wrote, "The only thing that keeps me from self-termination is the great possibility of reaching my destination." Those words still hold true.
Most humbling moment: When I had to go temp for the company I'd left 1 1/2 years prior to pursue an independent styling career. The entire department wound up standing in front of my cubicle as they entered a meeting. I was so embarrassed my glasses steamed up.
Things I obsess about: How to better manage my day, thus manage my life.
Guilty pleasures: Why would I feel guilty about my pleasures?
My kind of folk: Those who believe in themselves and aren't afraid to be about their purpose.
Wackest shit out there: Loud music with nothing to sing about.
Scariest moment: On November 2, 2002, a voice spoke loudly in my spirit and said, "Your life will not be in vain." Right then, I knew that my dreams were God’s plan and that all of the visions and ideas I had for myself (some of which came to me at a very young age) were not a figment of my imagination--they were a reflection of my destiny. Life, as I had once knew it, would no longer be the same. Although I embraced and celebrated this awakening with every fiber of my being, seeing my truth was like seeing my death…they’re both inevitable. I picked up a guitar in January 2003 and I haven’t looked back.
Books that changed my life: The Autobiography of Malcolm X, anything James Baldwin ever wrote, Siddhartha, and Awakening the Giant Within.
Musicians who move me: I gotta walk backwards on this one. Right now, I’m sweating Franz Ferdinand & Incubus. Before them were Jet, Mondo Diao, Kings of Leon and the post-modern rockers, and The White Stripes.
I listened to Nirvana for the first time about 18 months ago and I must say, Kurt Cobain gave me my life back. Where the fuck was I when they were on the scene??? Months prior to that, I let Jimi Hendrix and Jim Morrison get my soul right--beyond their music, it was just them that moved me. When Erykah came in '98, I swear I thought I was going to lose it. She was on a whole ’nother page and I so needed to be there. Lauryn Hill’s MTV Music Awards performance circa '98 got me caught up. I lie to you not when I say that I rewound those few minutes of her set rolling out onto the stage from the time it aired, until 3-something in morning. Each time felt like the first.
Those initial artists who ignited a fire: James Brown, Rufus featuring Chaka Khan, Prince (I saw his "Controversy" tour and didn’t sleep for 2 days), Sade, Michael Jackson because he owned the stage during his time. Madonna made me want to be me.
I heard Kanye’s "Jesus Walks" for the first time about a month ago while in Miami and had an outer body experience. He played his big joker on that one… Now that's the type of mind I'm talking about.
Plans for the future: "To turn the world right side out"…check Slippery When Wet for details. But most immediately, I’ll be singing about the Sexy Bitch who forgot that we were born Free which always gives me the Lekule Blues at CBGB’s Gallery, 8:30pm, June 28, 2004.
"Son of Mary" coming to a stage near you on September 11, 2004.
Message Lekule and tell him what you think
June 11, 2004
AAPRC Weekly: Yvette Noel-Schure
Yvette Noel-Schure
Columbia Records
There is one very important thing to remember when you're dealing with Yvette Noel-Schure. No, it's not that she's the senior vice president for
Yvette Noel-Schure
Senior Vice President, Media/Urban Publicity
Columbia Records
NYC
There is one very important thing to remember when you're dealing with Yvette Noel-Schure. No, it's not that she's the senior vice president for media and urban publicity at Columbia Records. It's not that she has shaped the media image of some of the hottest names in contemporary music. What you need to know is that for Yvette Noel-Schure, nothing takes precedence over her family. Her bosses at Columbia know it because she told them so the first time they brought her in for an interview. The artists she shepherds through the media jungle know it too. "I'll stop anything I'm doing to take my daughters' phone calls," says Noel-Schure of her youngest children Micah, 11, and Milan, 8.
"Beyonce will be sitting here in my office and I will stop to talk to them. My family means everything to me. I believe that if my life at home is the way I want it to be then I will be the best worker you're ever going to have. I'm going to put in the hours. I'm going to work really, really hard because I'm going home to something really, really special."
And Noel-Schure does indeed put in the hours. She is, she says, the type of person who gets up at four A.M. to answer emails and send emails to her staff about the day ahead. At the office, she and her staff of five-–two publicists, an assistant and two interns––tackle one of the biggest rosters in music. In addition to Destiny's Child and the three members' solo acts, Noel-Schure is handling Prince, Jessica Simpson, Bow Wow, Solange Knowles and a slew of new projects. "We have probably the biggest roster of new releases this year. It's mind boggling," says Noel-Schure. "We have everybody from Lauryn Hill to Maxwell to Nas putting out new albums.
Then we have new signings. We have this guy named Lyfe who's just incredible, and this new guy that I'm crazy over––like as crazy over him now as I was eight years ago when I met Destiny's Child. He just makes my heart like––whoa. His name's John Legend."
Altogether, there are some 30 artists under Noel-Schure's purview. What the newcomers will soon learn is that she takes her responsibilities very seriously and that she's more than just their PR person. "I feel I'm a teacher, and I approach this job from a teacher's sensibility," she says. "Just because you are beautiful and you wrote a great song and you've got this excellent marketing plan doesn't mean that you're media savvy. I believe in artist development. It's not in my title but I took it. I say to the young artists: this is what I'm going to do. I'm going to train you to be an artist––or at least a successful person––for life."
That approach extends to Noel-Schure's staff as well. "I don't believe my assistant or my intern needs to be here just to fetch my coffee," she insists. "I think they need to come in and learn and see what I do. They need to learn how to set up a media day. They need to know the difference between the New York Post and the New York Times…They need to know why I'm saying 'no' to the cover of Smooth for Beyonce."
As a young girl growing up on the Caribbean island of Grenada, this life is not what she imagined for herself. A young Noel-Schure wanted to be a journalist. "I was going to burst into ABC and I was going to knock Barbara Walters over and take her job," she laughs. "In the Caribbean, the choices for women's jobs are teaching or nursing...Almost every woman in my family was either a teacher or a nurse. I told my grandmother I wanted to be a journalist and after she asked 'what's that?' she said 'well, does that mean you have to read a lot? Good. Read a lot.' So I started reading in the church, and just reading and collecting everything I saw."
The reading paid off. After finishing New York's City College with a degree in journalism, Noel-Schure joined Gannett Westchester Newspapers in White Plains, New York as a reporter. In 1985 she became editor of Black Beat magazine.
At Black Beat, she met the hottest music stars of the day––New Edition, Bobby Brown, Boyz II Men, Jazzy Jeff and The Fresh Prince, Johnny Gill, Tevin Campbell, Public Enemy, Mary J. Blige, TLC, Seal, Terence Trent D'Arby, LL Cool J, Queen Latifah and Janet Jackson. Because the budget and the staff were minimal, Noel-Schure did everything at Black Beat––from interviewing and caption writing to choosing photos. The young Grenadian was in complete control.
Things were markedly different when she joined Columbia in the fall of 1993 as director of media for the label's jazz and R&B roster, which included Nancy Wilson, Peabo Bryson, the late Grover Washington, Jr., Wynton Marsalis, Branford Marsalis, and Da Brat. "It was just a whole differen ballgame. I was not in control. I had people telling me what to do," Noel-Schure remembers. "Here, it was a series of meetings. I had never gone to an official meeting at Black Beat other than going into the art director's office and saying that I want this photo a little larger or going into my boss' office and saying, 'yeah, there's a reason why I should put Bobby Brown on every cover.'"
On Noel-Schure's very first day at Columbia she was given the label's biggest act at the time––Mariah Carey. "My relationship with Larry Jenkins who ran the Columbia media department was such that he really trusted me," says Noel-Schure. "He trusted my passion and my dedication more than he knew I had any experience. In fact he knew I didn't have any experience. But he knew I was very much a talker and that I was very passionate and that I could convince the press, particularly the urban press at the time." Noel-Schure's job was to ensure that Mariah Carey had very visible urban press campaign––Which, obviously, she did. "They threw me in the pool and never bothered to ask me if I knew how to swim," she laughs. "I swam like a fish."
She went on to introduce the world to one of the most popular girl groups in music today––Destiny's Child––and created campaigns for Will Smith, Kenny Lattimore, Jagged Edge and Michael Bolton. In 2001, Noel-Schure was named vice president of media and was promoted to her current position in 2003.
The secret to her success? "Honesty. I'm an open book. I tell the truth no matter what," Noel-Schure explains. "I'm very up front with people, which is not really cool at meetings sometimes. If they ask my opinion I'm going to say well, the press is not digging this right now. We have to do something different. If I send out to 20 people and 18 are not interested, we got an issue. Let's just deal with it. I just believe that that's the way to be."
Her off-hours are all about family, and Noel-Schure tries to spend as much time as possible at her Western New Jersey home with her husband, daughters and 20-year-old son. She has a large immediate family, and is one of nine girls and two boys (two brothers died in car accidents).
She visits family in Grenada whenever possible and looks forward to her sister's wedding next year. "All 200 of us are going home for my sister's wedding!"
Message Yvette Noel-Schure 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.
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GQ Media & Public Relations
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June 10, 2004
Tech Sessions #4
Rick Rock
This week I sit down for a one-on-one convo with the A-list producer Rick Rock who has laced joints for the likes of Tupac, Busta Rhymes, the Jigga man and a truckload of the game’s finest
Rick Rock
This week I sit down for a one-on-one convo with the A-list producer Rick Rock who has laced joints for the likes of Tupac, Busta Rhymes, the Jigga man and a truckload of the game’s finest.
In between working on his own stable of new artists like The Federation, Kinsmoke and Eldorado Red for his Virgin imprint Montbello and killing new joints for Xzibit among others, Rock takes a minute to get at Tech Sessions on what he would do if he was still back in Alabama trying to elevate his game.
Go ahead and get a pen and pad… we’ll be here when you get back.
So dude tell me what you think is the one thing that you hear coming out of home studios that could be better?
I think a lot of that is quality man. Straight quality. Basically, I have a home studio and everything comes out of the house; well yeah pretty much everything. You know like everything you do has to be of that quality to where it is equal to what is on the radio.
That could be like the chords you are using and especially your equipment. You need to take the steps you need to take in your sound to get that quality. You can’t let anything get in the way of that quality.
You can get some nice little pieces to like Digidesign’s) Digio 001. I think that’s down to like $600 so you can do Pro Tools you know to get those nice quality recordings. Focus on your quality.
Do you see drums being a major issue now-a-days as well. A lot of stuff that I hear coming out of project studios sounds like dudes just are not spending enough time getting their drum sounds just right.
Yeah! You know I am hearing that. Drums are the foundation man. Whenever you decide to make a professional sounding recording you have to make sure those drums are sounding just right. Don’t bullshit on that.
Let me say something on this too. You know that same old clap and snare sample that everybody is using that came from Tone and Poke (Trackmasters) leave that shit alone. They did that. Let that be theirs. Let them use that.
I am from the old school though you know where you place emphasis on the snare. (You know) incorporating live instruments with nice drums and getting that nice backbeat. That’s the key right there. I do a lot (of my records using) real instruments.
How do you feel about software programs which basically allow you to loop up pre-existing betas or create your own?
Yeah, it’s real easy to download a program and then just have a whole beat. That’s too weird for me and and its too easy. It’s not the art of the shit. You know half the fun when you are getting sounds is finding them. Shit, I used to be Grand Exalted and me… man we had some good times just looking for snares on records and all that.
It was the art of it. That’s what’s missing right now. Nobody is really doing that shit anymore. The whole art of it is missing for real.
Last week, I did a column that was all about how you know when a track is done. When do you know that its just right and not to bare or too busy?
You just feel it. It was funny, I just heard DJ Premier talking about this and it was like that. You just know. You know how you like to get down at home and you do what you do when you are in the spot and then maybe you can get the artist to fill it in so you can occupy the right spaces. You can’t clutter it up so they can’t paint on it you know. Then you come back to it and you add a little salt to it so it tastes just perfect.
And you just have to leave it there. Some records as you grow you look back on them and you go ‘I would have put something else on that.’ But you know that is now. You have grown. The shit sounded perfect at the time so you just keep growing.
That’s the key to being a good producer is having that ear for what sounds good for you now (as) you grow. If you don’t grow then you get old or whatever. A&R’s are supposed to have those ears but as a producer if you are going to be a great one you have to know when you have done a record that is a real record. A real producer knows a hit record from record that is just going to be a local hit.
So what have you got coming up? I know you got some stuff to plug.
I got The Federation coming in September. We real heated on that. That’s the big focus right there. Don’t any one song on that sound the same on it from front to back. I’m real proud of that. I can’t wait for the world to hear it.
Check out Rick Rock and The Federation at thefederation.net and listen to the new banger “Hyphy” featuring E-40.
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 Rick Rock and Glover and tell them what you think
The Herbert Holla
Herbert's NYC Hot Picks
thu(10): afterwork/tonic - dj herbert - hiphop/r&b/house/reggae - sports bar
thu(10): afterwork/pier 63 - baby blu - house/hiphop/80s/classics/rock
Herbert's NYC Hot Picks
wed(09): cielo - louie vega/choice - classics/house
wed(09): apt - rich medina/guest djs - soul/afrobeat/old school/funk/classics
wed(09): afterwork/rumor - snatch 1/m.o.s./self/kaos - hiphop/r&b/reggae/classics
wed(09): angel bar - scratch famous/teflon - reggae
wed(09): marquee - stretch armstrong - rock/old school/hiphop
wed(09): bOb - rholi rho/5th platoon - hiphop/r&b/reggae/80s - GO FATFINGAZ!
wed(09): filter 14 - static crew - breakbeat/electro/freeskool/2 step
wed(09): aubette - qool marv - soul/funk/r&b/afrobeat/house/world - 8pm to 2am
wed(09): lotus - dj quinn (dee light) - hiphop/rock/80s/r&b/reggae
wed(09): frying pan - m.o.s./suss-one - hiphop/r&b/reggae/classics
thu(10): afterwork/tonic - dj herbert - hiphop/r&b/house/reggae - sports bar
thu(10): afterwork/pier 63 - baby blu - house/hiphop/80s/classics/rock - 5:30 to 1
thu(10): afterwork/kanvas - dj sweets - hiphop/70s/80s - 6PM
thu(10): afterwork/flat - dj elle - hiphip/soul/reggae/old school/classics - 6PM
thu(10): afterwork/tangerine - do it - hiphop/reggae/classics - 6PM till 2AM
thu(10): afterwork/la gazelle/time hotel - goldfinger/june - hiphop/r&b/soul
thu(10): afterwork/chetty red - jozen - soul/afro/reggae/classics - 7pm till
thu(10): afterwork/club b52 - dj dallas green - hiphop/r&b/reggae/classics - 5:30
thu(10): guernica - blessed/selly/reborn/monica pineda - soul/funk/house/hiphop
thu(10): gallery - sureshot - hiphop/r&b/reggae/soul/rock - NEW JAWN!!!!
thu(10): luahn's - beverly bond/roc-a-fella artists - hiphop/r&b/reggae/classics
thu(10): joe's pub - mary mack - hiphop/r&b/reggae/classics
thu(10): diva lounge/nj - dj rara - salsa/merengue/reggaeton/bachata/hiphop/house
thu(10): quo - crooked/guests - hiphop/r&b/rock/80s/house
fri(11): starfoods - thank god it's freedom - the illest - see gigs below!
fri(11): bryant park - stevie wonder live!!! - 7 in the AM!!!!!!!!!!
fri(11): frying pan - nickodemus/mariano/guests - house - turntables on da hudson!
fri(11): table 50 - qool marv - soul/classic hiphop/breaks/funk/house
fri(11): 2i's - wimpy bee - hiphop/r&b/reggae/classics/80s/house
fri(11): lot 61 - dj soul - hiphop/r&b/reggae/classics
fri(11): pressure - goldfinger/hud - hiphop/r&b/reggae/classics
fri(11): strata - crooked/dj disciple - hiphop/house/r&b/reggae/80s
fri(11): joe's pub - snatch-1/jozen - hiphop/r&b/reggae/classics
fri(11): blvd - reach/guests - hiphop/r&b/reggae/house
fri(11): planet 28 - guest djs - 70s + 80s soul classics/deep, jazzy, gospel house
fri(11): spirit - spinbad/roger sanchez - hiphop/r&b/reggae/80s/house
fri(11): luke + leroy - neil armstrong/empanadamn - hiphop/old school/80s/soul
fri(11): tubby hook cafe - big ben - 80s/old school/hiphop/r&b/reggae/rock
fri(11): china club - nina sky live/giselle/djs - hiphop/r&b/reggae/house/latin
fri(11): satalla - big african dance party/mc ehadji ndao - www.satalla.com
fri(11): noche - camillo - hiphop/r&b/reggae/classics
fri(11): afterwork/pier 63 - dj deepa/dj camacho - house - 5PM to 11PM
fri(11): afterwork/sequoia's - willie rodriguez/john sciascia - latin/hiphop/r&b
fri(11): plaid - jcny/nomad - hiphop/r&b/rock/80s/reggae/classics/house
fri(11): lq - roy/andre/spin-one - all things latin/80s/reggae/r&b
fri(11): 9 1/2 - big ben/guests - hiphop/r&b/reggae/classics/house/latin
sat(12): lot 61 - herbert - hiphop/80s/reggae/rock/house
sat(12): 40/40 - rahlo/k.o. - hiphop/r&b/reggae/classics/80s
sat(12): coral room - sureshot/dj reach - hiphop/r&b/80s/rock
sat(12): shelter - timmy regisford - house!
sat(12): angel - clay nizzle - hiphop/r&b/old school/funk/soul/rock
sat(12): mission - stormin normin - hiphop/r&b/reggae/classics
sat(12): chetty red - van vader - hiphop/r&b/reggae/classics/old school/80s
sat(12): lea - dj mano - 80s/classics/funk/rock/soul/hiphop
sat(12): mumbai - crooked - hiphop/rock/house/80s/r&b/reggae
sat(12): ida mae - jozen - hiphop/r&b/reggae/classics/soul
sat(12): sapphire lounge - jazzy nice - hiphop/soul/old school/funk/breaks/house
sat(12): eugene - jcny/guests - hiphop/r&b/reggae/house/80s
sat(12): plaid - stretch armstrong/riz/big ben (rotating) - hiphop/r&b/reggae/80s
sat(12): central park/great hill/west 106th street - picnic/live music/art - noon
sat(12): harriet's/bk - spinna/ron paizley/do it/lumumba/more - 12 to 8pm - soul
sat(12): vue - roy/andre/spin-one - all things latin/80s/reggae/r&b
sat(12): filter 14 - john b - hiphop/r&b/reggae/80s/old school/soul
sat(12): sullivan room - matter/form - techno/hard house
sun(13): fez uptown - marc smooth/guests - rare groove/soul/hiphop/reggae/classics
sun(13): copacabana - enuff/camillo/precise/big hiphop shows live - puerto rico!!
sun(13): joe's pub - evil d/lord sear/butta l - classic hiphop/reggae/old school
sun(13): pravda - obah - soul/funk/old school/afrobeat
sun(13): lotus - stretch armstrong/dj soul - hiphop/80s/r&b/rock/old school
sun(13): nocturne - showbiz - hiphop/r&b/classics/reggae
sun(13): madame x - liftkid - house/brazilian/afrobeat - drink specials - 9 to 2am
sun(13): social club - dj will/dj self - hiphop/r&b/reggae/classics/soca
mon(14): apt - cucumber slice - soul/funk/rare grooves/latin/uprock/old school
mon(14): cielo - francois k - future dub/space vibes/abstract grooves (aka house)
mon(14): lot 61 - ody roc - hiphop/reggae/rock/house/r&b
mon(14): bungalow 8 - dj soul - hiphop/r&b/80s/classics/rock
mon(14): sway - dj elle/tahlaia/oxy cottontail/others - hiphop/r&b/reggae/rock
mon(14): china club - big ben/jason ojeda - hiphop/r&b/reggae/rock/house
tue(15): joe's pub - guest djs/live performances - soul/funk/classics/hiphop
tue(15): belmont lounge - qool marv - soul/funk/r&b/old school/house/afro/world
tue(15): afterwork/bar below/bk - ayana soyini - reggae - 7PM
tue(15): afterwork/aubette - snatch 1 - hiphop/r&b/reggae/soul/classics - 6:30PM
tue(15): open air - jlayne/elijah/guests - rare grooves/70s/80s/old school/house
tue(15): sapphire lounge - eman/lola - house/deep grooves
tue(15): suite 16 - stretch armstrong/aphrodita - hiphop/rock/80s/old school
tue(15): village underground - mark whitfield project - live jazz - 9:30 - free
tue(15): the park - dj stu bronze - rock - free BBQ from 10 to 11:30
tue(15): irdium jazz club - statesmen of jazz - www.iridumjazzclub.com
Herbert's Heard
"Ribbon in the Sky" -- Stevie Wonder (Thanks, Anthony!!!!)
"Dirty Cash" -- Stevie V.
"Caught Up" -- Usher
"I'll House You" -- Jungle Bros. (Coolie Skank Remix)
"I Get the Job Done" -- Big Daddy Kane
"Lean Back" -- Terror Squad
"Feels So Good" -- Razah
"Oh My God" -- Tony Sunshine
"Goodies" -- Ciara
Word As Bond
"Money talks! Money talks! Dirty cash I want you dirty cash I need you whoa-oh!" That's my ish right now, for real. Yeah I got the record, but there's a much more important, underlying theme in hook of this song. A symbolic, profound, completely relevant yet understated aesthetic that I am adopting right now: money. Yeah. Real f-in deep. Herbert breaks it down. I need the green stuff, I'm on my grind, so holler now for any bookings. I'm available Sunday, Monday, Tuesday, Wednesday, and every day if you want a deejay to play while you cook your eggs before work. I'm also available for birthdays, Bar Mitzvahs, weddings, going-away parties, baby showers, bridal showers, confirmations, Sweet 16s, uh ... brisses, uh ... funerals whatever. Just holler at a Herbert.
I wanna be rich like Donald Trump. He's pretty rich, right? I was in Chicago this Sunday and dude straigt bought the Chicago Sun Times building and already sold $500 million in residential units. So I guess he's pretty rich. I wanna be rich like Oprah Winfrey. Oprah has the ILLEST talk show on television. She had Luther Vandross' first interview after his coma, Hillary Rodham Clinton and her mother on Mother's Day, Stevie Freaking Wonder and his daughter doing a duet off his latest album, and she's gonna have an in-depth interview with Supreme Player # 1, Bill Clinton. She's rich, too. If Donald Trump married Oprah Winfrey, the world would not be safe. They would take over and enslave this planet under a dictatorship unlike the world has ever seen. Hitler? Pansy. Napoleon? Bumbahclot. If Hitler was gay and married Napoleon (who then would also have to be gay, unless Hitler's family arranged the marriage unbeknownst to Napoleon), they would have nothing on Mr. and Mrs. Donald Winfrey (that's right--you know Oprah wouldn't have it any other way).
I just wanna say, for the record, that Anthony Mills is my favorite. He has the most beautiful voice in the world, he has loads of talent and love to spread all over the globe, and he will straight-up make you cry. If you wanna get in touch with him to check him out, hit me with an email and I'll send over the digits.
Big shout out to Rholi Rho and the 5th Platoon, who are really taking it to the streets all over the globe--good luck, I.Emerge! Check out Rholi and his goonsquad at bOb bar every Wednesday on Eldridge b/w Houston and Stanton on the L.E.S. Big shout out to Crooked, Scribe, Soulfinger Sam, M.O.S., and anyone else I forgot. Oh yeah: Big up to Marc Smooth. Good seeing you the other night, homie. Please come by and check out MY party at Starfoods, okay? (hahahahahahahah.) And a big, big special shout out to all my Puerto Ricans in the tri-state area. Have fun this Sunday!
One last thing: If you get a phone call from a supposed AT&T employee, telling you to push #90 for some reason or another, don't do it. Somehow, the lying thief on the other end gets your phone line account and charges all his calls to it. Tell him to kiss your ... tell him to f ... tell him to call Herbert up. Then I'll tell him to ... tell him to ... I'll figure it out. I'll come up with something very creative. Also, if you receive an email about this Friday's big terror alert, you prolly shouldn't get too hyper about it. I called the number I found on the email and they're saying to just "delete" it.
Peace, love, good health and dirty cash,
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
June 09, 2004
In Rotation: Susan Harris
Susan Harris
Mahogany Magazine
My background: After a four year stint in Uncle Sam’s Air Force, I bounced between MD, DC and NYC before settling in NY in ’96. I Worked as an EA
Susan Harris
Editor-In-Chief/Publisher
Mahogany Magazine
NYC
My background: After a four year stint in Uncle Sam’s Air Force, I bounced between MD, DC and NYC before settling in NY in ’96. I Worked as an EA to Publishers and Associate Publishers at Marie Claire, Harper’s Bazaar, Mode Magazine, Beauty Fashion. I started Mahogany Magazine while holding down my current day job as Associate Publisher of City Limits Magazine.
Musicians that move me: Depends on my mood-Sade (always), Nelly Furtado, Linkin Park, Aerosmith, Guns N’ Roses (Appetite for Destruction), Floetry (I am still rocking Floetic), Kanye West, Outkast, Eric Clapton (the Unplugged Live album), Whitney Houston (the Preacher’s Wife soundtrack-no matter her issues, Whitney’s voice is a miracle), any Motown oldie. I am starting to get a lot of indie music from labels so I am constantly listening to new stuff.
Magazines I dig: All of them-as a publisher, I appreciate the romance of the printed word from indies, mainstream, men’s, women’s, whatever: BUST, Fierce Magazine, Altar Magazine, Utne Reader, One World, Lucky Magazine, Vogue (it’s my shameful secret pleasure), King, XXL, “O” magazine-just to name a few. On any given day you can find me cruising the newsstands.
Most humbling moments: Giving birth to my son. Corny, yes, but unbelievably true. I still can’t believe it's sixteen and half years later.
Scariest moments: Walking in to work one morning and getting fired over some perceived bullsh*t. The manager had a smirk on her face the whole time. I really thought I was going to flip out, lose it and possibly end up in jail.
Happiest moment: I can’t think of any one happy moment-there are a collection of moments that fit the bill: sharing laughter with friends I haven’t seen in a long time; throwing down in the kitchen for a familygathering; baking bread for the first time and the smell of activated yeast invoking powerful memories of my grandmother; dancing with wild abandon at some club to the thumping bass of house music surrounded by beautiful gay men with no shirts on (and being sober enough to remember); seeing my son at his film screening, posed and confident, being interviewed by a BBC and ABC reporter and holding it down.
Books that have changed me: Anything by Maya Angelou, starting off with I Know Why the Caged Bird Sings, Colin Channer's Waiting in Vain, James Redfield's The Celestine Prophecy, Pearl Cledge's Mad at Miles, and Clarissa Pinkola's Women Who Run with the Wolves.
Must-see TV: "The Sopranos," "Trading Spaces”, any news program, and anime cartoons like “Cowboy Be-Bop.”
My kind of folk: People who know that you get only one chance at living your life and they live it fully with good humor and a sense of daring without lapsing into vulgarity. People with what older folks call “good sense”.
I'm a sucker for: Brothers-good or bad-I adore them all
Guilty pleasures: Every Sunday morning around 9am, I go to the local bodega and get bacon and egg on a roll, the Daily News, the Post and the Times. By the time I get back home, my pot of coffee is done-I then bring it all into my bedroom and stay there-all day (well at least until 4 or 5pm)-between reading, eating, watching cable, I take naps. I love Sundays!
Movies I'll never get tired of: The Godfather I, II and III - I have lost count how many times I’ve seen them all!
Websites of choice: TheCrusade.net (of course), Mediabistro.com, CNN.com, google.com.
Food I can't live without: Coffee, coffee and more coffee. Did I mention Coffee?
Stress Free Spots: My bedroom. Super soft sheets and lots of pillows. Everything within arm’s reach: The remote, books, magazines and what ever I can’t reach, I yell for the boy to come and do my evil bidding.
What keeps me sane: The realization that whatever I may be going through there’s probably someone out there who is twice as screwed as I am. It really stops you from having tunnel vision.
The wackest sh*t out there: The missing weapons of mass destruction. This reminds me of the story of the “Emperor’s New Clothes” - who will be the childlike voice in the crowd and state the obvious?
Things I obsess about: Motherhood - as a parent I constantly question: am I doing the right thing?
Future Plans: Man, there’s so many but over the next two to three years I hope to continue with Mahogany magazine-bringing the best stories to woman of color; make sure my son graduates and gets the hell outta my house (LOL!!); finish writing the science fiction novel currently languishing on my computer within some sort of time frame instead of “someday” and my continued boycott of the “Bitter Black Woman Club”-look, I am not going to join-stop asking (LOL!)
For more info, visit Mahogany Magazine
Message Susan Harris and tell her what you think
June 08, 2004
AAPRC Weekly: Johnnie Roberts
Johnnie Roberts
Newsweek magazine
In 1980, when Ronald Reagan defeated Jimmy Carter in the race for President, interest rates were sky high and the U.S. was in fairly lousy
Johnnie Roberts
Senior Writer
Newsweek magazine
NYC
In 1980, when Ronald Reagan defeated Jimmy Carter in the race for President, interest rates were sky high and the U.S. was in fairly lousy economic shape––a fact that played no small part in Reagan's victory. The new President gave a lot of speeches about small business development and the economy. Johnnie Roberts, then a young reporter at the St. Petersburg Times (St. Petersburg, Florida) guessed––and rightly so––that the business beat would probably yield a lot of big stories in the years to come. He applied for a job with the Wall Street Journal and was assigned to the publication's Boston bureau. In 1994 he joined Newsweek magazine as a senior writer in the business section, covering the media and entertainment industries.
Roberts spent 13 years at the Journal––first in Boston and then in New York––writing about the biggest business stories of the time. "Back in those days a lot of newspapers didn't have a separate business section," says Roberts. "Papers all across the country started launching [business] sections and there was a lot of attention and interest on Wall Street because of the bull market; and then you had all those Wall Street scandals. You had the takeovers. You had corporate raiders. Business just became a huge, huge story."
And Roberts wrote some of the most important stories of the era, winning awards for breaking the Dun & Bradstreet credit-rating scandal and for his stories on the abuses of power by the cable company TCI. He covered the advertising industry, emerging electronic information services, newspapers and telecommunications. He also started writing about big media deals. "These media companies were just taking over one another and getting bigger and bigger, so that they owned everything under one roof," Roberts recalls. "That was a big story for a long while and to some extent it's still going on today. One of the stories I covered this year was the now-aborted takeover attempt by Comcast of Disney."
The media and entertainment industry captured Roberts' attention and he began writing about it exclusively when he moved to Newsweek. "Everyone has a television in their homes, everyone has cable in their homes. They're familiar with the services that I'm writing about, so I think there's a potential natural interest," says Roberts. "Television, the movies, music––good and bad––it is there. We're inundated with media."
Roberts has done profiles of Sean "P. Diddy" Combs, Russell Simmons, Brian Roberts and Richard Parsons; a cross section of moguls, including media barons Rupert Murdoch, Michael Eisner, Barry Diller and Sumner Redstone, and countless studio, network and music company executives. He's written about hip hop's financial impact on luxury brand, and his profile, "The New Black Power," chronicling the rise of Richard Parsons, Ken Chenault and Stanley O'Neal to the pinnacle of Corporate America, was a Newsweek cover story.
Roberts, who hails from Ft. Meyers, Florida, could look back over his more than two decades in journalism with justifiable amazement, mostly because he ended up in the field by happy accident. As a student at a small college in his home state, he took a part-time job at the St. Petersburg Times for pocket money. "Out of the blue one day an editor walked over to me and said they had an opening in the editorial department for a researcher," Roberts recalls. "It wasn't even a full-time job, but I so enjoyed it I thought I'd do it for a couple of years and then go on to law school."
But after college the paper hired Roberts as a general assignment reporter. Writing had been a favorite hobby since childhood, so he was thrilled to find himself suddenly making a living at it. Law school was immediately forgotten.
In the years to come Roberts looks forward to having the time to write a series of non-fiction books about media and entertainment––broader, richer examinations of the industries he covers. Meanwhile, he spends his downtime with his wife and three-yearold daughter, Lily, in their South Orange, New Jersey home. "I spent a good chunk of my professional life doing the job," says Roberts. "Taking time out for kids––I didn't have time for that. But now I have a three-year-old and I'm just in to that. I spend huge amounts of time with my kid."
As a business reporter, you've covered the entertainment beat for nearly 15 years. What major changes or trends have you observed in the industry?
Consolidation is by far the biggest change or trend in the media and entertainment businesses over the period. All of the major networks--NBC, ABC and CBS--were independent business until the mid-1980s (Fox was launched late in the decade). Since then, they have been swallowed by giant media and entertainment companies--Disney owns ABC; GE owns NBC and Viacom owns CBS. The same is true in the music business.
In your opinion do you think the current economic downturn in the music industry is simply a reflection of the state of the overall economy or is the industry being completely transformed by developments in technology (e.g., downloading, file sharing, etc.)?
The economy and technology are just two of the powerful forces behind the downturn in the music business. Music companies became bloated, wasteful and probably too big for their own good. As part of massive public companies, they were forced to focus on quarterly earnings to the detriment of artist development. One artist sounded no different than the next. The price of CDs should have been reduced. In other words, mismanagement also is a big part of the problem.
Do you think the propensity toward mergers and consolidation will continue in the entertainment industry? Is there a saturation point?
One certainly would hope that consolidation will run its course. But bluntly, no. Earlier this year, Comcast, the number one cable operator, sought to buy Walt Disney Company. Even now, a number of the cable giants, including Comcast and Time Warner, are weighing the possibility to buy Adelphia, another major cable company. MGM Studio may be purchased by Time Warner, which already own Warner Brothers studio, or Sony, which owns Columbia and TriStar studios, or GE, which owns Universal Studios. So there's no evidence yet that merger mania has run out of gas.
The growth of Internet and cable and the public appetite for celebrity news seems to have created a tremendous demand for content. As a journalist who writes about the business end of the entertainment industry, do you believe the market can sustain this trend?
I believe there will continue to be an insatiable appetite for celebrity news. But the huge numbers of magazines, cable networks and shows devoted to the subject won't all survive. There's just so much advertising revenues to divvy up among all of them.
As a journalist what attracted you to the media and entertainment industries?
It's the intersection of a vast audience that consume media, the big money the industry attracts from advertisers and consumers, and the colorful people in media--from the moguls in the business suites, men like Rupert Murdoch and Ted Turner and Steve Jobs. They are the most interesting people in business. Many started from scratch. They are very colorful characters. Then, finally, it's all about the fun.
What's the most challenging aspect of your job?
Juggling it all. All of these businesses––music, television, movies, the Internet, publishing––are 24/7. They are all dynamic and fast changing.
Do you have a journalistic idol? Is there anyone after whom you model yourself?
No. But that's because I fell into journalism. I didn't study it. I grew up reading newspapers and magazines, but not with a professional eye. Any piece of work by any journalists that reflects hard work gets my nod.
In terms of your career, what are you most proud of?
Stories that make a difference. That means articles that other major media follow, or that generate a big response from readers or prompt changes.
What does a typical day look like for you?
I don't know that I have typical days. It depends on whether I'm actively working on a story or hunting for a story. The most typical part of every day, however, is staying in touch with the world beyond the phone. I'm always out or on the phone trying to learn what's going on.
Tell us one thing people might be surprised to know about you.
I want to be an R&B star.
Message Johnnie Roberts 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
June 07, 2004
Survey Says #8
Please complete this week's survey:
1. The location where I'd start my own busines:
2. The stellar services that I'd provide:
Please complete this week's survey:
1. The location where I'd start my own busines:
2. The stellar services that I'd provide:
3. What differentiates me from everyone else:
4. The NBA roster that I'd put together because of the success of my businesses:
5. The lead actors that I'd cast for the first movie I executive produce:
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
June 04, 2004
The Herbert Holla
Herbert's NYC Hot Picks
fri(04): starfoods - thank god it's freedom - the illest - see gigs below!
fri(04): frying pan - nickodemus/mariano/guests - house - turntables on da hudson!
Herbert's NYC Hot Picks
wed(02): cielo - louie vega/choice - classics/house
wed(02): apt - rich medina/guest djs - soul/afrobeat/old school/funk/classics
wed(02): belmont lounge - emskee - soul/old school/disco/classics/funk/80s
wed(02): afterwork/rumor - snatch 1/m.o.s./self/kaos - hiphop/r&b/reggae/classics
wed(02): afterwork/scratch - dj big ben - hiphop/r&b/reggae/80s/rock/classics
wed(02): angel bar - scratch famous/teflon - reggae
wed(02): marquee - stretch armstrong - rock/old school/hiphop
wed(02): lotus - cassidy/guests - hiphop/rock/80s/r&b/reggae
wed(02): show - dj reach - hiphop/r&b/reggae/rock
wed(02): bOb - rholi rho/5th platoon - hiphop/r&b/reggae/80s
wed(02): aubette - qool marv - soul/funk/r&b/afrobeat/house/world - 8pm to 2am
wed(02): pangea - ody rock - hiphop/r&b/reggae/rock/80s
wed(02): filter 14 - static crew - breakbeat/electro/freeskool/2 step
thu(03): afterwork/tonic - dj herbert - hiphop/r&b/house/reggae - sports bar
thu(03): afterwork/kanvas - dj sweets - hiphop/70s/80s - 6PM
thu(03): afterwork/flat - dj elle - hiphip/soul/reggae/old school/classics - 6PM
thu(03): afterwork/tangerine - do it - hiphop/reggae/classics - 6PM till 2AM
thu(03): afterwork/la gazelle/time hotel - goldfinger/june - hiphop/r&b/soul
thu(03): afterwork/chetty red - jozen - soul/afro/reggae/classics - 7pm till
thu(03): afterwork/club b52 - dj dallas green - hiphop/r&b/reggae/classics - 5:30
thu(03): afterwork/manhatta - dj eleven - soul/funk/old school/reggae/classics
thu(03): guernica - blessed/selly/reborn/monica pineda - soul/funk/house/hiphop
thu(03): gallery - jahi sundance - hiphop/r&b/reggae/soul/rock - NEW JAWN!!!!
thu(03): happy ending - language/jun - slow jams all night long
thu(03): bowery ballroom - antibalas/rich medina - big release party - afrobeat!!
thu(03): sob's - rekha/phil money - banghra music all night long say what???
thu(03): luahn's - beverly bond/roc-a-fella artists - hiphop/r&b/reggae/classics
thu(03): show - stretch armstrong/guests - hiphop/rock/old school
thu(03): joe's pub - mary mack - hiphop/r&b/reggae/classics
thu(03): marquee - reach - hiphop/r&b/reggae/80s
thu(03): diva lounge/nj - dj rara - salsa/merengue/reggaeton/bachata/hiphop/house
thu(03): 6's & 8's - greg poole/dj st. james - rock/electro/80s - BYE GREG!!!!
thu(03): tribeca grand - overdose/novamen - booty bass/techno/detroit electro
thu(03): quo - crooked/guests - hiphop/r&b/rock/80s/house
thu(03): eugene's - big ben/camillo/guests - hiphop/r&b/reggae/classics
thu(03): sapphire lounge - fatfingaz/smoke - hiphop/r&b/reggae/old school
fri(04): starfoods - thank god it's freedom - the illest - see gigs below!
fri(04): frying pan - nickodemus/mariano/guests - house - turntables on da hudson!
fri(04): table 50 - language/qool marv - soul/classic hiphop/breaks/funk/house
fri(04): apt - spinna - soul/funk/r&b/old school hiphop/classics/house
fri(04): afterwork/sequoia's - willie rodriguez/john sciascia - latin/hiphop/r&b
fri(04): plaid - jcny/nomad - hiphop/r&b/rock/80s/reggae/classics/house
fri(04): blvd - reach/guests - hiphop/r&b/reggae/house
fri(04): planet 28 - guest djs - 70s + 80s soul classics/deep, jazzy, gospel house
fri(04): the flat - scientific/cato - hiphop/r&b/reggae/classics/80s/afrobeat/soul
fri(04): 2i's - wimpy bee - hiphop/r&b/reggae/classics/80s/house
fri(04): lunchbox/west side hwy - omar - hiphop/r&b/reggae/classics/soul
fri(04): lot 61 - dj soul/ski-hi - hiphop/r&b/reggae/classics
fri(04): lq - roy/andre/spin-one - all things latin/80s/reggae/r&b
fri(04): vue - derrick spaulding/jinx paul - hiphop/r&b/reggae/classics/latin
fri(04): supper club - kulcha/trauma (HAPPY B-DAY) - hiphop/r&b/reggae/classics
fri(04): quo - crooked/dj disciple - hiphop/house/r&b/reggae/80s
fri(04): crobar - astro&glyde/alain vinet - house
fri(04): joe's pub - snatch-1 - hiphop/r&b/reggae/classics
fri(04): 9 1/2 - big ben/anthony mundy - hiphop/r&b/reggae/classics/house/latin
fri(04): taj - jazzy nice - hiphop/soul/house/classics/old school
fri(04): tribeca grand - mateo/matos/kenny summit - house/house/house/house
fri(04): mission - dj self - hiphop/r&b/reggae/classics
fri(04): lot 61 - soul/stretch armstrong - hiphop/r&b/reggae/classics
fri(04): blue note - meshell ndegeocello on bass/dj jahi sundance/live musicians
sat(05): lot 61 - herbert - hiphop/80s/reggae/rock/house
sat(05): social club - cosi/jozen (ILL DEEJAYS!!!) - hiphop/r&b/reggae/soul/funk
sat(05): peggy o'neils/coney island - LOTS OF TECHNO DJs + REGGAE DJS + DANCERS
sat(05): 40/40 - rahlo/k.o. - hiphop/r&b/reggae/classics/80s
sat(05): coral room - reach friedman - hiphop/r&b/80s/rock
sat(05): shelter - timmy regisford - house!
sat(05): ruby falls - eric lapeau - hiphop/rock/r&b/old school/80s
sat(05): eugene - jcny/guests - hiphop/r&b/reggae/house/80s
sat(05): canal room - rocktacon - hiphop/r&b/80s/rock/house
sat(05): angel - clay nizzle - hiphop/r&b/old school/funk/soul/rock
sat(05): mission - stormin normin - hiphop/r&b/reggae/classics
sat(05): vue - roy/andre/spin-one - all things latin/80s/reggae/r&b
sat(05): chetty red - van vader - hiphop/r&b/reggae/classics/old school/80s
sat(05): filter 14 - john b - hiphop/r&b/reggae/80s/old school/soul
sat(05): lea - dj mano - 80s/classics/funk/rock/soul/hiphop
sat(05): table 50 - tim love lee/touch it players - house/disco/electro/rock
sat(05): southpaw/bk - sake/nick catchdubs/dj eleven/dj ayres - soul/classics/rap
sat(05): pm - crooked - hiphop/rock/house/80s/r&b/reggae
sat(05): ida mae - rob flow - hiphop/r&b/reggae/classics/soul
sat(05): sullivan room - mr.c/peter anthony/rich woods - techno/hard house
sat(05): strata - ody roc - hiphop/r&b/reggae/rock/80s/classics/house
sat(05): etoile - goldfinger/precise - hiphop/r&b/reggae/classics
sat(05): hammerstein - self/da rippa/legend sound - hiphop/r&b/reggae/classics
sat(05): sapphire lounge - jazzy nice - hiphop/soul/old school/funk/breaks/house
sun(06): fez uptown - marc smooth/guests - rare groove/soul/hiphop/reggae/classics
sun(06): table 50 - rich medina/cucumber slice - afrobeat/soul/rare groove
sun(06): west 72nd street central park - roller skate jam - dj alchemy - 2 to 6pm!
sun(06): crash mansion/blvd - dj rodney/live reggae music - reggae/reggae/reggae
sun(06): joe's pub - evil d/lord sear/butta l - classic hiphop/reggae/old school
sun(06): pravda - obah - soul/funk/old school/afrobeat
sun(06): lotus - stretch armstrong/dj soul - hiphop/80s/r&b/rock/old school
sun(06): nocturne - showbiz - hiphop/r&b/classics/reggae
sun(06): madame x - liftkid - house/brazilian/afrobeat - drink specials - 9 to 2am
sun(06): flat - soulfinger sam/boodakhan - hiphop/r&b/reggae/classics
sun(06): social club - dj will/dj self - hiphop/r&b/reggae/classics/soca
sun(06): noche - snatch-one - hiphop/r&b/reggae/classics
sun(06): deep - danny krivit - 718 sessions - house music
mon(07): apt - cucumber slice - soul/funk/rare grooves/latin/uprock/old school
mon(07): cielo - francois k - future dub/space vibes/abstract grooves (aka house)
mon(07): lot 61 - reach/ody roc - hiphop/reggae/rock/house/r&b
mon(07): bungalow 8 - dj soul - hiphop/r&b/80s/classics/rock
mon(07): sweet rhythm - harry whitaker's jazz band - live jazz - 212.255.3626
tue(08): canal room - victor duplaix live!!!/dj scribe - r&b/british soul/garage
tue(08): joe's pub - guest djs/live performances - soul/funk/classics/hiphop
tue(08): hiro/maritime hotel - jauretsi/cute/beverly bond - hiphop/r&b/classics
tue(08): belmont lounge - qool marv - soul/funk/r&b/old school/house/afro/world
tue(08): afterwork/bar below/bk - ayana soyini - reggae - 7PM
tue(08): afterwork/aubette - snatch 1 - hiphop/r&b/reggae/soul/classics - 6:30PM
tue(08): nocturne - reach/cassidy - hiphop/r&b/reggae/classics
tue(08): open air - jlayne/elijah/guests - rare grooves/70s/80s/old school/house
tue(08): sapphire lounge - eman/lola - house/deep grooves
tue(08): lobby - da union reps/massive b - hiphop/r&b/reggae/classics - loonacy
tue(08): whiskey hotel - dj jvc - hiphop/rock/80s/r&b/classics/house
tue(08): suite 16 - stretch armstrong/aphrodita - hiphop/rock/80s/old school
tue(08): village underground - mark whitfield project - live jazz - 9:30 - free
tue(08): the park - dj stu bronze - rock - free BBQ from 10 to 11:30
Word As Bond
My excuse is ... I was in Southern Californ-i-a, duuuude. Everything is so laid-back down there, I just figured I would make that the theme of this week's Holler. Laid-back. A.k.a. "late." Sorry about that. Anyways, I do have jet-lag and I'll be shaking off the Souther Cali sun for another few days. I couldn't even handle it. There's zero precipitation, no clouds, just sun and haze and smog and lots of guys saying "people say I kind of look like Brad Pitt." It's not the place for an over weight Russian kid to really live. I stayed in "Hollywoooooood Hollywood!", and it suuuuuuucked sucked!!!!!!!!!! It's like Jersey with Palm Trees. Wait, I said that about Houston. It's like Houston with a budding porn industry and lots of people who are too self-involved. On the flip side, it's real peaceful. Ain't a cop in sight, nobody acting up, no cars honking horns AT ALL (which was real weird--I got maybe ONE horn honk, and it was barely a honk; it was real soft, like "beep ... please"), and you won't be waiting for a green light longer than 20 seconds. Other good things include the Mexican Cafe in Old Town, San Diego, and Roscoe's. Oh my God. Roscoe's was heaven. They had to take me outta there in a stretcher. The best fried chicken and waffles ever! Ill mac and cheese, too. And the grits???? Word??
Anyways, I'm back. I missed you guys. I missed New York. Holler back. Welcome me home, yeah?
Happy Birthday to Evil D. It was last week, Monday the 24th. Sorry I missed it, but, well, you don't call me anymore, so it's your fault. If for some reason you didn't know, Evil D is a hiphop pioneer, a living legend, setting off real hiphop in the 90s with Black Moon and still killing the 1s and 2s. He's DJ Herbert's favorite #1 hiphop DJ. Plain and simple. Big shout out to DJ Wicked Wayne who held me down last Saturday at Lot 61. I hear you killt it! Killt! Thanks again, stroms! Also big thanks to Dan Cherry for the going-away gig. That was aiight!!!! And wassup to James Earl Jones. Dude calls me all the time, and I like talking to him, but every conversation ends up with a long rant about Verizon, and then I gotta cut dude short. He is getting a lil' bit old, so I hope he knows that he talks about the same thing everytime. You know I love you, James. I'll never forget the work we did together for that movie on the subway (which never went to screen).
Freedom was doper than dope and is still and every week it's crazy and people at all these OTHER parties are talking about it and every week it's simply the best thing to happen to NYC nightlife in a LONG-ass time (since Good World). If you didn't get my alert about it, it's because Hotmail's acting up. Acting stupid. Careful, Hotmail. Keep at it and you'll turn into AOL and everyone will need to look elsewhere for free email.
Last, big shout out to DJ Obah for speaking his mind. Herbert would like to, but I never got the nads to, plus I'm trying to stay as professional as possible. Me and you both got beef with the fashion industry: You with T5S who I remember back in the Giant Step weekly days when they were handing out free winter hats and all they had for a logo was a steaming cup of hot chocolate), and me with ... that ... company from the West Coast who I'll never do the honor of mentioning in this mail and inevitably give them free publicity. Unless they send me my stuff. And I'm not talking about no "box." I want--at this point--"boxes," plural! Feel me?
F.U, Scott!!
Peace, love, good health and success,
P.S.--Bye, Greg. You punk. You're so p-whipped, you gettin' dragged overseas!
P.P.S.--Let's Do This, Coltrane!!
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
June 03, 2004
AAPRC Weekly: Special
Inside the Labels Roundtable
What's life like for label publicists during turbulent economic times in the music industry? AAPRC catches up with Yvette Noel-Schure, Wendy Washington, Jana Fleishman, and J'ai St. Laurent-Smyth
Inside the Labels Roundtable
What's life like for label publicists during turbulent economic times in the music industry? AAPRC catches up with some of the industry's top African-American publicists: Yvette Noel-Schure, senior vice president of media/urban publicity at Columbia Records; Wendy Washington, senior vice president of media relations at Universal/Motown Records Group; Jana Fleishman, senior director of media and artist relations at Island Def Jam Music Group; and J'ai St. Laurent-Smyth, national director of publicity at Verve Music Group.
The music industry is in a state of constant transition and there's a stream of news about consolidation and layoffs almost daily. As a label publicist, how have you survived and remained steadfast and focused on your job?
Yvette Noel-Schure: I have survived because I believe I have been blessed to work with acts that are somehow always a company priority. In my 11 years at Columbia Records, I have worked Mariah Carey, Da Brat, Destiny's Child, Grover Washington, Jr., Kenny Lattimore, Beyonce, Kelly Rowland, Michelle Williams, Bow Wow, Will Smith, Jagged Edge, Jessica Simpson and now Prince. For some reason, I have always worked the high profile acts. I do not take that for granted and know in a minute it could all change. In fact, I'm anxious for a developing artist. And I never get so comfortable that I have not vaulted a plan B.
Wendy Washington: The music business is going through major transitions, so survival in this climate is not at all a reflection of skill and talent -- very talented publicists and music executives have been let go, so I can't say how I've "survived." I can just say that I stay focused on what I have to do and I don't worry about things beyond my control (i.e. mergers, layoffs). Ultimately power and peace come from a higher source and recognizing this helps me stay focused.
Jana Fleishman: As a label publicist, I try to remain focused on myself as a publicist...My artist projects always come first, however, I never lose sight of the need to make sure my relationships are strong apart from the artists I represent. That way no matter what happens in the industry, you are always more than the label, always more versatile than just being a publicist.
J'ai St. Laurent-Smyth: I have survived through the years at various labels and especially at Verve because of my faith, my family and friends. I have a support group of family and friends in which we pray for each other daily and often. My mom was a prayin' sistah! And I focus on my love of the artists with whom I work and the music that I love –– yes, I know. How very "Hallmark" of me, but I do have a passion for this music and that has sustained my focus.
The rise of radio conglomerates over the past 5 to 10 years have translated into less musical diversity and airplay on popular and R&B radio. How has that affected your overall media campaign and has it made your job more difficult?
Yvette Noel-Schure: I am fully aware that having lots of airplay really adds to a press campaign. But there are plenty of artists on the radio who are not media darlings. I believe there is a lot to be said about getting to know what else makes an artist tick. There are many media opportunities that could widen an artist's reach beyond the entertainment outlets. There are all kinds of special interest magazines. As publicists we need to look at our artists as multi-dimensional people and our goal should always be to broaden their scope.
Wendy Washington: The music business is primarily radio-driven, and magazine editors and TV bookers pay attention to SoundScan (sales) or BDS (radio airplay) to monitor how artists develop. I have noticed that the opportunities for print and radio to break new talent are more limited than they used to be, and it is particularly challenging to break straight R&B artists.
Jana Fleishman: I do not deal with any radio aside from syndicates.
J'ai St. Laurent-Smyth: Since the bulk of my work is a combination of straight-ahead jazz and smooth jazz/urban AC projects, radio comes in to play in different ways. Promoting jazz projects and artists most times requires us to dig a little differently and deeper into the artist and what makes them tick. Our music doesn't get the mainstream attention and support that most of the popular musicians tend to get. Therefore, we have to do special kinds of pitches.
Aside from having a great product, what do you see as the key elements to a successful campaign?
Yvette Noel-Schure: Timing. Sometimes it is just that artist's time. Maybe it's a situation where, at the moment, you are the best thing going. It helps to have an artist with a great personality too. An artist who is likeable and a good person will go further than a person who has a hit, but is just awful. It is still a business and people do not like doing business with negative people. There are too many choices out there now. Just be nice. That goes a long way. Can we say Beyonce?? The nicest girl in the world.
Wendy Washington: Aside from great product, one of the key elements is persistence––repitching and coming up with new angles when there is resistance. I've also found that successful campaigns really start with artists who have a vision for themselves and are flexible, open and articulate. Working with so many diverse, dynamic artists has kept me on my toes and pushed me to grow.
Jana Fleishman: Additional key elements include timing (what other releases am I competing with) and the artist's personality.
J'ai St. Laurent-Smyth: Artist flexibility and open mindedness. Their willingness to work harder and their open-mindedness to try new avenues of promotion. They have to realize and understand that you may have been popular a few years ago but the public is a fickle entity that is always looking for the "next new." We all have to work hard to convince them to spend their entertainment dollars on each and every new recording. Nothing is a given-–and nobody is always going to have a best-selling recording.
From your vantage point, have you seen any major changes in the way media covers black music?
Yvette Noel-Schure: Black music is music. I have seen that mainstream media pays attention much faster now. I used to have to make a lot more calls to mainstream before confirming a cover. Now if you don't lead with the black artists and music that are leading the way, you are definitely not a relevant outlet. Rolling Stone had Usher on their cover just about the time his CD was released. That would have never happened just a few years back. I know.
Wendy Washington: There are definitely more opportunities for hip-hop artists in the mainstream media.Jana Fleishman: There is still not a fair playing field...rock bands selling 10,000 copies have a better chance of getting covers...however, as the editor-in-chiefs start turning over and get younger, "Urban" artists get larger coverage.
J'ai St. Laurent-Smyth: It appears that the media only tends to cover the same artists over and over again and very rarely opens the doors for someone different and new or legendary (you have to be young and half-way cute). Many of our older legendary artists tend to suffer because they are no longer young and new.
When developing new recording artists, how have your media campaigns been affected with the recent closures of several African-American publications? How are you garnering more media coverage and attention?
Yvette Noel-Schure: You know, there are a wealth of black weeklies and urban regionals that now play a really important role in shaping a media campaign. It is not just about the national publications. It's important to me to start a buzz regionally. New York underground press was talking about Maxwell long before the rest of the country caught on. As black monthlies dwindle, we have to rely more and more on the black newspapers and black regional magazines that remain the heart of our communities.
Wendy Washington: There is definitely a void with the closures or sporadic publishing schedules of national and regional black lifestyle publications. This means that there are fewer opportunities to introduce new talent, so we've had to be more aggressive in pursuing coverage in the existing publications. Now, we sometimes have to settle for an album/single review, when before we could have more of a press campaign that was comprised of more features and profiles that told readers who the artist was. On the upside, there are many good regional magazines and these outlets have been instrumental in breaking our new artists.
Jana Fleishman: Nothing has changed. There are just fewer options. You still pitch with the same type of creativity you should always present.
J'ai St. Laurent-Smyth: By looking outside of the usual press box and using some of the artists' lifestyle activities (such as personal hobbies, family gatherings/interests, recording and charitable events) as catalysts for exposure in different kinds of publications, internet outlets or television shows. Sometimes going in the direction of exploring an artist's personal interests makes the artist appear more human, more of a regular person.
When it comes to working with recording artists, what are some of the daily challenges you face?
Yvette Noel-Schure: The biggest challenge, I hate to admit, is still convincing artists that this is their life, their dream, their job and the importance of being on time. It kills me when an artist keeps a journalist waiting. There are a thousand more artists that this person could be talking to. I loved working with Will Smith, because he was always on time. He treated this showbiz thing like a 9 to 5. Be on time and give it all you have. He was just as excited doing his twentieth interview of the day as his first. The artist has to want this more than the publicist. It's not about us. This is the life you chose. The one your talent dictated. Now straighten up, be on time and be nice about it.
Wendy Washington: The two biggest daily challenges are dealing with smaller budgets (with the same expectations in place) and dealing with the number of projects we are working on.
Jana Fleishman: A daily challenge...artists disappearing when they are supposed to be doing an interview or being in a foul mood when answering questions.
J'ai St. Laurent-Smyth: 1) Giving them a realistic picture of what real media coverage is in the world of jazz, and that most times we will have to come up with and pitch a few different hooks that have absolutely nothing to do with their new project to get coverage in different outlets.
2) Not all mainstream publications and outlets care about covering jazz.
3) The world's perception of jazz is that it is not cool, hip, happening or young––but what can we do to change that perception?
How do you handle dealing with the unrealistic expectations of media coverage by artists, managers and label executives (i.e. new or developing artists that want to be on the cover of Entertainment Weekly)?
Yvette Noel-Schure: I have to be honest about everything. I tell artists, managers and other executives at the label if I believe the goals are unrealistic. You have to crawl before you walk. They all want the covers of Rolling Stone and Vibe as their freshman gifts. No. That's your graduation present. You have to have a story. You have to have recognition factor. It's not just a hit record. And you can't want a cover and have nothing to say. And you have to give the publication access to you to get a real story. That comes with time. If you walk on weak legs, you eventually will fall. If an artist wants longevity, that artist has to know he has to build a number of great works along the way and the press will chronicle that growth for a lifetime.
Wendy Washington: It's useful to share emails and direct feedback from media outlets with executives, managers and artists so that they can have a more reality-based perspective. Every publicist has to remember that all anyone can do is the best she/he can do, and don't internalize others' unrealistic expectations.
Jana Fleishman: Handling unrealistic expectations…I list examples of coverage, types of stories that make lengthy features or covers (if an artist isn't going to give a juicy interview, chances are you're not going to get the same coverage as someone that lets a reporter in a rehab center)…lists of artists who have received coverage and what their past sales history has been.
J'ai St. Laurent-Smyth: By shooting it straight and telling them the truth. Also, letting them know that we will still pitch it anyway, and enlisting the artist's help in working with me in coming up with other cool things they're involved in that may make a good story for other outlets.
Obviously when dealing with established or high profile artists there are more media opportunities available to them. However, how do you handle television outlets that refuse to book them or publications that refuse to grant well-deserved cover stories when your talent has the same or better stats than other recording artists?
Yvette Noel-Schure: I have had few situations where I could not get what I wanted for a high profile artist. Often you realize that that particular magazine hardly ever puts Blacks on their covers. So the question becomes, does my artist really need to be profiled in that outlet? Some things, I have come to know, do not make or break a media campaign. It's nice to have, but not needed. Still, there are those you want to fight for. It took me one year to get Beyonce on the cover of Rolling Stone. Go figure. I had to keep fighting for that, because that is a music magazine and I believe she is an important artist, a producer and songwriter and I believed Rolling Stone was missing out. Turned out that their profile came at the best time. She was on the cover literally the day she won five Grammys. Will I put up the same fight with Vogue, who thus far has failed to see her beauty as cover worthy? Probably not. They will come around in time, because Beyonce is going to be here for a long time.
Wendy Washington: We've encountered situations where outlets have refused to give an established artist the coverage they deserved, but instead offered a "feature" or a "car" piece. Yet that same outlet would call to get quotes or include the artist in round-ups. We handled it by not granting the magazine any access to that artist because it wasn't fair to the artist.
Jana Fleishman: Keep fighting.
J'ai St. Laurent-Smyth: I try to subtly keep sending them updated radio charts, sales figures, new tour dates and high profile charitable, award show and entertainment performances. Slow but steady––pleasant with no hard sell. Either they will get it or they won't––simple as that.
Can you touch on the relationship between indie publicists and label publicists? What's the key to a successful working relationship between the two?
Yvette Noel-Schure: Honesty. Honesty. Honesty. I have had great working relationships with indie publicists and I have worked with the best. Patti Webster, Tresa Sanders, Paula Witt, Cassandra Butcher and Phyllis Caddell. I know their worth and I treat them with respect. I tell them what our goal is and I listen to what they believe is reality and we go. We may double team on some outlets, but for the most part they are on their own. These indies know the business. The only drawback, given the climate of the industry, is that indies cannot commit to anything that the label has to pay for, until I tell them a budget is approved. Sometimes it results in pulling a booking and that damage is always hard. The unfortunate thing is I have had to cut back on indies, because of budgets.
Wendy Washington: As the artist roster increases and the label headcount decreases, we are seeing more of a need for good indie publicists. The key to a good working relationship between the two is communication and respect. Good publicists are by nature territorial because I believe that good publicists take full ownership of their projects. This can be tricky when there is more than one publicist in the mix. I usually communicate what I need from the indie (expectations, procedures, etc.) and we remain in constant communication; in the best scenarios, we are on the same page.
Jana Fleishman: Successful relationship between indie and label: two people that are confident in their positions, know each others strengths and know how to use all contacts to the benefit of the artist…and constant, honest communication.
J'ai St. Laurent-Smyth: Taking great care in choosing an indie that will bring something new to the project and a different vision. Respect on both sides and teamwork and, finally, using an indie that is secure in their own talents (no need to "Willie up"). If the indie wants to be the star and/or drama queen and not a support player which is why they were hired in the first place–-then the working relationship just won't fly. It creates just way too much tension and drama.
What advice do you have for young people that want to get into music publicity? What are some of the dos and don'ts?
Yvette Noel-Schure: My advice to young people is to read everything. They need to know the differences between The New York Post and The New York Times and the subtle differences between Access Hollywood and Entertainment Tonight. Pay attention to the media. It's also important to be good to people, respectful and kind. The PR business is 95% about relationships. It's not about a fancy cell phone, the blackberry and the bling. If you are not gracious with folks, how are you going to get them in a situation where they even want to hear about your artists? Especially your developing artists. Be a good communicator and that means being a good listener and following through. Sometimes it takes one phone call to get something, but usually it takes about forty. Be persistent, without being an annoyance. Be smart. Be kind. Be thorough.
Wendy Washington: I think my background in writing has really helped me out as a publicist. Good writing, reading and analytical skills. Having an interest in and staying on top of plays, music, books and pop culture in general helps prepare you for a career as a music publicist. Anyone who is interested in getting into music publicity should pursue internships to learn the job from the ground up.
Jana Fleishman: For folks getting into the business: (1) Do be honest with editors. They remember and appreciate it later on.
(2) Don't be ridiculously demanding with editors when it is completely unwarranted. Bookers and editors remember when you make their life hell.
(3) Do be creative. Nothing burns someone out faster than doing the same thing for every project. Editors appreciate coverage ideas. Is your artist a daredevil? Have him jump out of a plane with a camera and writer. It makes things easier when the artist is actually doing something they may enjoy instead of sitting in a conference room or at dinner.
(4) Do make sure that you never compromise your artist. Artists' integrity is more important than coverage. Usually publicists and editors can meet on common ground and find a story idea that works for both parties.
J'ai St. Laurent-Smyth: The business has changed so much–-it's no longer any fun–-so find something else you love to do and do it. Quality of life is more important. Finally, don't let what you do for a living define who you are as a person.
Message Yvette Noel-Schure, Wendy Washington, Jana Fleishman, J'ai St. Laurent-Smyth, 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
AAPRC Weekly: Michael Lewellen
Michael Lewellen
Black Entertainment Television (BET)
On the weekends you might find Michael Lewellen sitting around the house reading a tome on crisis management. This is what he calls down time. To
Michael Lewellen
Vice President, Corporate Communications
Black Entertainment Television (BET)
Washington DC
On the weekends you might find Michael Lewellen sitting around the house reading a tome on crisis management. This is what he calls down time. To be fair, he's a wine aficionado and an avid tennis player as well. But the fact is, strategies for staying at the top of his game are never far from Lewellen's mind. "I will forever see myself as a student of this craft no matter how long I do it, and to me that's a good thing," says Lewellen, a 22-year communications veteran. "What it means is that you don't stop learning and you don't stop wanting to learn. Nor do you fool yourself into thinking that you got this figured out, because the moment that you fool yourself into thinking that––it'll happen during a press conference with the microphone in your face––you will screw it up."
As vice president of corporate communications at Black Entertainment Television (BET), Lewellen has to always be prepared for a microphone in the face. He directs all of the corporate communications and public relations strategies for the cable company's multiple entertainment properties. He also serves as lead spokesman and primary media contact. Being the guy who takes it on the chin when BET is accused of running raunchy music videos is not for the fainthearted, and Lewellen's competitive spirit seems especially suited for his high-pressure position. In fact, it was the pressure that comes with being a corporate spokesperson that drew Lewellen into public relations work. "When I saw spokespeople representing companies, knowing how critical their roles were and the risk associated with those roles, I found that to be very intriguing," Lewellen recalls. "When you're the spokesperson, you really have no margin for error…There's a certain excitement with that...The other thing I think that triggered [this career] is that when a crisis happened, the PR people were on the leading edge to meet that challenge."
Lewellen's desire to be on that leading edge has taken him on an impressive career path, one that has earned him recognition from PR WEEK magazine as one of the country's top African-Americans in the field of public relations. His first position in PR, after departing his job as a sports writer at a newspaper in Pine Bluff, Arkansas, was with telecommunications giant Southwestern Bell (SBC Communications). From there he served in various communications and business development roles for global athletic goods giant NIKE, and later as North America Communications Director for Amsterdambased financial services company ING Group. Lewellen re-established his athletic connection over the next several years with positions at Turner Sports in Atlanta and FOX Sports Network in New York. He joined BET in 1999.
His is a PR career focused exclusively on the corporate end of the business, and Lewellen confesses a distinct "gutless-ness" for coping with the inherent uncertainty of agency work. "The fact that the agency environment is so volatile and so hinged upon your ability to keep selling and landing clients––I never found that to be an attractive line of work," Lewellen admits. "What I've tried to do for the companies where I've worked is to take my skill set and focus it behind a single mission."
Lewellen admits, of course, that corporate PR is hardly a slam dunk in terms of job security. In the corporate environment, bad days––and the cyclical nature of business means bad days are always on the way––call for budget cuts. Because communications and public relations do not generate revenue, those areas tend to get cut the quickest. For PR specialists like Lewellen, that means the pressure is on to constantly prove their value. "Proving your value does extend beyond how many clips you can generate," Lewellen insists. "What we try and do--my team and I––is offer strategic value to everything from our programming process to the types of speeches that our executives give. We try to be a service entity and not just an expense item for the company. We find ways to assess situations in the market that may affect BET in some way. When you can contribute strategic value to a company that helps it stay in business and protect those revenue streams, then you are an important part of the business. You aren't just there to be activated when there's a crisis; you aren't just there to get the press releases out. You actually are a contributing part of the business."
While Lewellen has carved out a stellar career for himself, he does wish he'd met more African-Americans along the way. "By and large, especially on the corporate side, there still are not a lot of African-Americans," Lewellen says. "That is the thing that distresses me about the field, especially when you look at the growing ethnic diversity of our country. More and more of the customers out there in the marketplace are of ethnic origin. I would like to think that diversity of the market would create a lot of opportunities internally, but we're still not there yet."
In an effort to help usher more African-Americans into corporate communications, Lewellen is active in numerous professional organizations like the National Association of Black Journalists, the Public Relations Society of America and the National Association of Minorities in Communication. For up-andcoming PR practitioners, particularly students, Lewellen often gives two important pieces of advice: be ready to pay your dues and be ready to follow the opportunities. "The best advice given to me was 'be willing to pay your dues' as a means of developing the skills that you need to be good at the craft, and those words have guided me every step of the way,"
Lewellen says. "I think some students short circuit their development. I think some people who are new at this craft short circuit a real opportunity to grow their skills by wanting to grab for the brass ring too quickly. I've lectured to college students who will tell me 'I'm not accepting a job for less than $50 or $60 thousand per year.' Well, if you can find one of those as a new individual in the job market with zero experience––God bless you––but that to me is an unrealistic expectation."
Lewellen says it's also important to be realistic about where opportunities will be found. "Opportunities are not always in your hometown; they're not always in your favorite city," he points out. "When I left the Bell System in 1991 to work for Nike, some of my African-American friends in St. Louis at the time were saying 'are there any Blacks who live in Oregon who don't play for the Portland Trailblazers?' And I told them, 'there's about to be.' You must be willing to go where opportunity is, even if it's not necessarily a place that's on your hot list."
Projecting five years or so into the future, Lewellen says he hopes his next opportunity
will be with the company he'll retire from. He's matter-of-fact about admitting that BET very likely is not that company. "So much of entertainment is tied to trend and fad and what's hot at one time and what's not so hot at another. I can't see BET wanting a 60-year-old man out there trying to defend music videos," Lewellen laughs. "I see myself probably migrating to an old line industry where I'll sort of finish things up, put in that last twenty [years] and ride off into the sunset."
Until then, the Jonesboro, Arkansas native is hanging tough with BET and the challenges of positioning an entity that holds a unique position in the African-American psyche. "What's been tough is that BET––and rightfully so, I think, to a certain extent––is held to a much different standard by our audience than the other networks," says Lewellen about BET, which is 24 years old and now reaches 78 million homes. "My goal is to really get people to see that there is much more on BET than they realize…We've had six straight years of ratings growth which means that the diversity of the programming that we have is the right thing, that we're doing something right here at BET. But there are still tons of critics out there who criticize the network for everything from music videos to the talent that we have and it's unfortunate. No network––BET or anyone else––can be all things to all people."
Outside of BET, when he's not studying or hitting the tennis courts, Michael Lewellen may be found traveling back to Arkansas to visit family. A divorcee, Lewellen has three children who live in the South––two sons, Elliott and Ethan, and a daughter, Brandi, who's preparing to graduate from her father's alma mater, Arkansas State University, this spring. During his college years, Lewellen played tennis for Arkansas State, and his passion for the game hasn't diminished. For the past 20 years he's been a certified teaching pro for the United States Professional Tennis Association. "My best days as a competitive player, unfortunately, were several pounds ago," Lewellen said. "I look forward to the day when I can finally get my game and my fitness back together."
The oldest of five children, Lewellen has four younger sisters. "They're quite the quartet," Lewellen says with a laugh. "Mom and dad put me in charge of the girls early on, because, my dad said, 'I am just too old for this.' My mom's a retired public school teacher and my dad is a retired Baptist minister, so I come from a long line of big mouth people. I picked the right career."
Message Michael Lewellen 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
June 02, 2004
Tech Sessions #3
Knowing When To Say When A Track Is Done
Whether you know it or not, if you are producing just about any form of popular black music (i.e. jazz and blues excluded), you are wearing more hats than most of your rock peers
Knowing When To Say When A Track Is Done
Whether you know it or not, if you are producing just about any form of popular black music (i.e. jazz and blues excluded), you are wearing more hats than most of your rock peers.
Where rock cats do their thing by more or less orchestrating an entire band of musicians towards a common goal, we not only handle orchestration of the vocal but we are in many cases, the band.
My situation is cool for today's topic because I am part of a production duo. Most of our solo tendencies to push the envelope too hard sometimes are sliced by the push and pull between us because we really are two dudes who think very differently from each other.
Certain arrangements or sonic colors can get yanked from either side because the other dude may see or hear something differently than the person that's trying to make it work. But that only applies to teams.
Two questions that we get asked a lot by solo producers are 'why don't people hear my vision enough to take a chance on me?' or 'how come people keep telling me that my stuff is too busy?'
Most of the time, these two questions are really the same question just asked two different ways. Ultimately, it's 'when is it time to say a track is done?' There is no cut and dry answers across the board but, most of the time, if somebody can't hear your vision it's because you did not complete your vision. The beat maybe hot and you may have a serious melody going but ask yourself this 'does the track sound exactly like it does in my head?'
If you are honest with yourself and the answer is yes and you still end up with the same results, no amount of asking the listener usually can help you unless they are an artist or a producer themselves. I left out the business side of the industry purposely because seriously speaking, they don't give a fuck about potential; they care about completed tracks that are either singles or strong album tracks that hold up the artist's public image.
It's not the listener's job to get into your world. It's your job to drag the listener into your world. There is a big difference between the two.
Now on the other hand, if you hear the word busy as much as your grandparents did before the days of call waiting, then you probably need to trim some fat.
Let that heater sit for two days and come back to it. You will be surprised how much extra shit you have laying on top of the song that doesn't need to be there.
A lot of us put down beats or tracks without vocals and that makes it very easy to cross the line between a track being too bare for people to "get it" and there literally be no room for a MC or a singer to come through and do their thing.
So when is enough… enough? If you are still excited and snapping your neck …keep going. If you have the basic elements down pat and you can't get that one certain thing to either sound good or sit right in the mix…let it go; and as quickly as possible.
When your ears get muddy and you start convincing yourself that something that had you jumping up and down four hours ago now sucks… leave it alone.
There really isn't a concrete answer because everybody has their own fine line. So let your feelings walk you through the process until you find yours.
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 and tell him when you know a track is done!
In Rotation: Shirley Jean-Charles
Shirley Jean-Charles
Q Models/TIC Projects
Music: Osmo Puccino (French), Nas, 50 Cent, LL Cool J, OutKast, Aaliyah
Shirley Jean-Charles
Model/Chief Junior
Q Models/TIC Projects
NYC/Paris
Music: Osmo Puccino (French), Nas, 50 Cent, LL Cool J, OutKast, Aaliyah, Tribe Called Quest, Tupac, Cranberries, Puffy, and Red Hot Chili Peppers.
Magazines: Libération, Vogue, Elle, Vibe, Trace, Stratégies, and Capital.
Websites: journaldunet.fr, libération.fr, lastminutes.com, ebay.fr, amazon.fr.
Books: I love post-modern literature, especially fiction and history. I recently read Jean-Christophe Ruffin's Globalia and David Mitchell's Ecrits fantômes. Ruffin talks about the reality of a new society. In Globalia, he explains how our society is currently manipulated and corrupted by government. I was expecting more from the author because the end was so vague. I hope there's gonna be a second part. In "Ecrits fantômes", Mitchell uniquely tells his stories, interrelating one to another, at times making it hard to fully understand his book. I also like Paolo Cohelo.
TV: "Travel," "The Real world," History Channel, "The Oprah Winfrey Show," "Xmen: Evolution," "Smallville," and "Dark Angel" for American programs. "M6 Turbo" (car show), "Culture Pub," "Culture et Dépendances," and "Campus" (Literature programs) for French programs.
Movies: The Last Samaritain, The Last Samourai, Pulp Fiction, (all Almodóvar's work), All Science Fiction (X-men,...).
Actors: Nicole Kidman, Tom cruise, Penelope Cruz, Denzel Washington, and Danny Glover.
Cosmetics: Shu Uemura, Mac, and Clinique.
Designers: Yves St Laurent and J-L Sherrer.
Atheletes: Muhammad Ali.
Future Plans: I want to create my own jean's brand with an original fabric and develop a TIC strategy for Internet.
Restaurants:
-Toji, a great cosy Japanese restaurant on 7th Avenue between 22 and 23rd street.
-Le Mandingue, in the 11ème arrondissement of Paris. A great African restaurant with a lot of people from everywhere, traditional music and it's really cheap !!!
Stress Free Spots: My bathroom.
Food: Bourraké (speciality from Guinea), Steak à point au poivre vert (French), pizza, and everything with cheese.
Colors: Black, white and silver, yellow, and gold.
Hot Clubs: Au Lion d'or (Au-lit-on-dort, that's means In bed we sleep!!! Sorry but I love to sleep). When I go out, I used to go at the Manray in Paris at the famous Champs Elysées. This a place where you have all the Hip Hop parties in Paris where sometimes some American DJs spin.
Admirable Execs: Bill Gates and Oprah Winfrey.
My admirer: My mother.
Things I Like: Strawberries in Paris, Mango in Guadelupe, caramel candies, sleeping, homemade cakes, beaches, sobriety, sun, giving gifts, embracing people that I love, and God. I love God.
My words: "la roue, elle tourne" or "Time will tell."
Faith: I believe in God and myself.
Things That Are Not Cool: Washing dishes, always being in a hurry, injustice, suffering, and when you dismiss my intelligence.
Message Shirley Jean-Charles and tell her what you think