September 30, 2004
Tech Sessions #17
Musical X-Factor
Over the past installments we've discussed everything from gear to working with artists to compression to sampling and more. It has definitely been a fun ride. But the most important elements
Musical X-Factor
Over the past installments we've discussed everything from gear to working with artists to compression to sampling and more. It has definitely been a fun ride. But the most important elements of this music thing that we have not really dug that deep into has been how music makes us feel.
I'm a big believer that there is a certain space that exists between the explainable and the unexplainable that makes certain songs special. This x-factor so to speak is what really can make a song timeless. The crazy thing is that you can't read a book, study a manual, or read some dude's column to figure out how to pipe it into your music.
At best, you can allow yourself to be aware of it so when it does happen you can more or less sit back and enjoy the ride. A lot of times you will hear songwriters, producers and artists say that they feel like a vessel or a portal when a special tune pops up and that they are simply executing some sort of gift that was given to them.
There is a lot of truth to this. Often times, I try to avoid going anywhere near my gear if I feel like I "have" to write that day. More times than not I would rather be making music than doing anything else besides the obvious sinful activities, so those days are rare but when they do come I try not to force myself to make music.
On the same token, you kind of have to know that not every beat or track is going to be that special one. Not everything will even turn out all that good but the ones that are good should just be appreciated for being good but when that special wave shows up man… appreciate those moments because that's what we all live for.
I can't even say how many times I have pulled up an old pattern from a ZIP for my MPC that never got finished or found some old Pro Tools session on my hard drive that ended up becoming one of our special tracks. Who knows why on that first day the track ended up being scrap metal and then however long later it did it's thing?
Was there other stuff on my mind? The phone ring? Falcons come on TV? I mean it could have been anything. The good news is that every now and then I have any number of starting points to work from if I feel like it. The bad news is that I have a gang of discs and hard drives full of unfinished data.
It all comes down to allowing yourself to being open to let whatever comes "come." The key word again is feel. I mean shit, the music we make is all about feel and if it doesn't feel right, it doesn't sound right. That being said, there's a ton of blueprints and templates out there that tell you this is what you gotta to do to make a rap or an R&B track. But at the end of the day, it's got to feel right to be right.
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 what you think!
The Herbert Hollar
Word To Herbert
I'm wasted. Way-way-way-way-wasted. Jasper and Peter (Turntablelab.com) and Izzi and Gram dun took me out to the Fishy Poo and got me some shots of Petron (my favorite!) and some whiskey sours (my
Word To Herbert
I'm wasted. Way-way-way-way-wasted. Jasper and Peter (Turntablelab.com) and Izzi and Gram dun took me out to the Fishy Poo and got me some shots of Petron (my favorite!) and some whiskey sours (my favorite!) and I'm freakin' toe up from the flo' up. S'all good, though. I/m sober enuff ta write y'all this email. You're wonderin', "Herbert ... yyou never been drunk on your email before. i didn't know you party like that." Well ... I don't. But this here a special caucasian. I mean, this here a special occasion. You see, what I had to tell you, what I need to let y'all know, is this:
Herbert's Gettin' Hitched!!!!
That's right, ya''lls. Yyou heard me, son. I'll knock yout eh f out. Hahaha. Just kiddin'. I'm getting muurrrrrrred to the hottest, sexiest, smartest, most talented female in the world. She's the best. Hands down. And we're gettin' all sorts of murrrrrrrred this Saturday, October 2nd. She my baby, the one I told you I put lotion on, yeah, that one. She's been my sweetheart for the longest and now she's my ... wife. Wow. I said it. My wife. Wiiiiife!!
I hate to break it to you, ladies, but it's a wrap for the kid. I'm hangin' up the boxer briefs cuz I found me my soulmate. Yeah I said it, rub on your ti**ies. Nah. Yeah I said it. My soulmate. She's so purdy and so whipersnapper smart, I dun had to make her mines. All mines. So anyway, that's the big news I was tellin' y'all about, or at least hinting to y'all about. You know. Next time you see Herbert in the mix, he'll have a two-tone platinum and gold wedding band on his left hand ring finger. Sorry girls. "Lisa, Angela, Pamela, Renee, I love you, you're from around the way," but I'm going with my baby Alexandra. Sorry. Don't hate me.
Alright. Let's give 'em some Freedom now.
Last week was bananas. Platanos. It was packed, the drinks were flowing like mad, the dance floor was crrrraaazyyy as usual (you know what Freedom's about--music and dancing the night away), there were a ton of ladies gettin' down, and though Herbert was observing Yom Kippur with a 26-hour fast, he still rocked the freaking socks off the joint. You should've seen 'em when I dropped "California Love." They went bananas, and there were only like 20 heads actually from the Left Coast. Big shout out to all the home-skillets that came through, including Don Fatone and DJ Red Rokk, and all the deejays that come to pick up a few pointers from the man they call "Nasty Doo-Doo Herbert."
Saturday I was starving and broke the fast with a "quantity" meal at Gemini Diner. When it comes to breaking the Yom Kippur fast, it's all about quantity, especially at Gemini. Quantity before quality. Yup. Then Saturday night at Social Club was off the meat-racks. I kept beating them up with hot records. They were trying to leave up outta there, but I dropped 'em so hot they couldn't. They stayed till the end. They had to throw thems suckers out because I was just killin' 'em and they didn't wanna leave. Big shout out to DJ Wicked Wayne, DJ Rob Flow, Dan Tana (celeb doorman), heads from Boston, Pesci, and everybody else.
Big shout out to Crooked, holdin' me down at Umbrella this week; Ody Roc, holdin' me down at 17 this week; Cosi, holdin' me down at Freedom this week; and Mano, holdin' me down at Social Club this week. I'll be out ... gettin' murrrrred ... so I won't be back till next week, but don't worry: These cats are dope as dope can be, and they know how to rock it all nice like. Big shout out to Ruben Toro, Rich King, DJ Ric Rock from Miami, Jeru the Damaja, Dstroy, Ahmed, Seth Dawg and DJ Stretch Armstrong.
One last thing ... a corvette is not sexy with your drunk homeboy laying down in the back trunk. Not sexy at all.
Peace, life, good health, lots of money, and love love love love love love,
Herbizzle
P.S. -- Mazel Tov Eric Soler and Nick Cohen. They gittin' murrrrred too!
Herbert's Hot Picks
wed(29): umbrella - crooked - hiphop/r&b/reggae/80s/rock/classics
wed(29): apt - rich medina - old school/soul/funk/afrobeat/80s
wed(29): cielo - kevin hedge/louie vega/franck roger - soulful + deep house
wed(29): angel bar - scratch famous/teflon - reggae
wed(29): bOb - rholi rho/5th platoon - hiphop/r&b/reggae/80s
wed(29): lotus - ani quinn - hiphop/r&b/80s/rock
wed(29): madame x - jon oliver - soul/rock/rare grooves/rare sounds - 8pm to 1am
wed(29): belmont lounge - reborn/obah - soul/funk/house/afrobeat/old school
wed(29): serena - d nice/dj uncle ralph - hiphop/r&b/reggae/old school
wed(29): white rabbit - smooth c - hiphop/r&b/reggae/classics/80s
wed(29): openair - neil armstrong/rolando - hiphop/reggae/soul - happy bday, daddy
wed(29): joe's pub - last emperor/baby blak/dj killah cuts - live hiphop
wed(29): aubette - qool marv - soul/funk/r&b/old school/house/afro/world - 8 to 2
wed(29): afterwork/coda - guest djs/pleasure's birthday! - soul/r&b/hiphop/reggae
wed(29): afterwork/rumor - snatch 1/kaos - hiphop/r&b/reggae/classics
thu(30): guernica - blessed/selly/monica pineda - soul/funk/house/hiphop
thu(30): avalon - stretch armstrong/guests/mc dstroy - hiphop/r&b/reggae
thu(30): table 50 - q tip/mark ronson - hiphop/rock/soul/funk/classics
thu(30): ruby falls - good rotating djs/high fashion - hiphop/r&b/rock/80s
thu(30): black betty/bk - monk one/emskee/cosmo baker - soul/funk/classics
thu(30): spirit - dj kid capri/dj soul - hiphop/r&b/reggae/classics
thu(30): suede - ani quinn - hiphop/r&b/reggae/80s/rock
thu(30): quo - crooked - funky house/hiphop/80s/rock/reggae
thu(30): show - mada/klutch/vinnie rue - hiphop/r&b/reggae/old school/80s
thu(30): eugene's - camillo - hiphop/r&b/reggae/latin/classics
thu(30): crobar - larry t/guests - rock/house/all things crazy!!!
thu(30): marquee - reach - hiphop/r&b/80s/rock - bottles/models/mr. wonderful!!
thu(30): strata - goldfinger/snatch 1/rob flow - hiphop/r&b/reggae/classics - 6-4
thu(30): afterwork/kanvas - dj sweets - hiphop/70s/80s - 6PM
thu(30): afterwork/jade terrace/china club - camillo - hiphop/r&b/reggae/latin/80s
fri(01): starfoods - thank god it's freedom - the illest - see gigs below!
fri(01): copacabana - jellybean benitez/louie vega - you better ask somebody
fri(01): frying pan - nickodemus/mariano/guests - house/brazilian/new dance music
fri(01): mouton - dj e love/guests - hiphop/r&b/reggae/80s/old school/classics
fri(01): luahn - reborn/mary mac/XX guests - hiphop/r&b/reggae/deep house/classics
fri(01): lot 61 - dj soul - hiphop/r&b/reggae/classics
fri(01): joe's pub - guest djs - hiphop/r&b/reggae/classics/old school
fri(01): show - crooked - hiphop/reggae/80s/rock/house
fri(01): viscaya - ody rock - hiphop/r&b/reggae/80s/rock
fri(01): avalon - jason ojeda/tony draper/v-tone/guests - house/hiphop
fri(01): vue - frank delour - hiphop/r&b/reggae/house/classics
fri(01): hiro - vanjee - house/mix/stuff/high fashion
fri(01): eugene's - kulcha - hiphop/r&b/reggae/classics
fri(01): quo - good rotating djs - house/hiphop/r&b/reggae/rock/80s
fri(01): spirit - big ben/shadee/guests - house/trance/hiphop/r&b/reggae/int'l
fri(01): satalla - dj abou/dj mouss - african friday night dance party
fri(01): social club/lower level - manny d/franke/lou gorbea - house/live drums
fri(01): afterwork/sequoia's - willie rodriguez/john sciascia - latin music
sat(02): social club - mano/slinkee/cel - hiphop/r&b/reggae/80s/rock/old school
sat(02): viscaya - ani quinn/aphrodita - hiphop/r&b/reggae/80s/rock
sat(02): rehab - dj cosi/stimulus - hiphop/r&b/reggae/classics
sat(02): mission - stormin normin - hiphop/r&b/reggae/classics
sat(02): 40/40 - rahlo/k.o. - hiphop/r&b/reggae/classics/80s
sat(02): coral room - dj reach - hiphop/r&b/80s/rock
sat(02): etoile - goldfinger/precise - hiphop/r&b/reggae/classics
sat(02): shelter - timmy regisford - deep deep deep deep (soulful) house
sat(02): pm - crooked - hiphop/80s/rock/disco/house/reggae
sat(02): cherry lounge - sussone/big guests - hiphop/r&b/reggae - big dawg hour
sat(02): strata - big ben/ody roc - hiphop/r&b/reggae/80s/rock/house
sat(02): route 85a - andy "redlox" katz - soul/hiphop/classics/good!
sat(02): vela - dj devon - a mix of anything trendy, i gather
sat(02): bryant park hotel - snatch one leshkoshka - hiphop/r&b/reggae/classics
sat(02): deep - el flamingo - hiphop/r&b/reggae/classics
sat(02): 9 1/2 - derrick spaulding/e.m./lea live - hiphop/r&b/reggae
sat(02): ruby falls - good rotating deejays/high fashion - hiphop/rock/house/80s
sat(02): sullivan room - francis harris/david hollands/guests - house
sun(03): fez uptown - marc smooth/dallas green/dan.ce - classics/hiphop/r&b/reggae
sun(03): table 50 - rich medina/cucumber slice - funk/soul/afrobeat/old school
sun(03): 32 newark st/hoboken - lou gorbea/great guests - house music
sun(03): lq - snatch one/guests - hiphop/r&b/reggae/classics
sun(03): bembe/bk - nick patton - tribal grooves/universal rhythms
sun(03): lotus - goldfinger - hiphop/r&b/reggae/classics
sun(03): soho 323 - todd mallis/sal morale - hiphop/r&b/reggae/80s/house
sun(03): cherry lounge - dj ivan/los toros band live - all things latino
sun(03): pravda - dj obah - soul/funk/old school/afrobeat
sun(03): deep - camillo - hiphop/r&b/reggae/latin
sun(03): flow - big ben - hiphop/r&b/reggae/80s/rock/house
sun(03): 1073 atlantic b/w franklin + classon/bk - ruben toro - house + classics
mon(04): soho 323 - stretch armstrong - hiphop/rock/80s/old school
mon(04): apt - cucumber slice - soul/funk/rare grooves/latin/uprock/old school
mon(04): cielo - francois k - future dub/space vibes/abstract grooves (aka house)
mon(04): sway - guest djs/stylish crowd/skateboard dudes - hiphop/rock/soul
mon(04): crobar - mada/finesse/live new rock - rock/rap/house/techno
mon(04): blue note - jeremiah live - jazz/soul song bird - www.bluenote.net
mon(04): splashlight studios - big restaurant tasting and dj cat - call time out
mon(04): 9 1/2 - sussone/m.o.s. - hiphop/r&b/reggae/classics
tue(05): union square lounge/coffee shop - emskee skittles - soul/funk/old school
tue(05): joe's pub - guest djs/live soul performances - soul/classics/hiphop
tue(05): sapphire lounge - eman/lola - house/deep grooves
tue(05): lobby - will/self - hiphop/r&b/reggae/classics
tue(05): lotus - dj ettienne - a mix of everything sexy and funky
tue(05): plan b - dj omi - hiphop/rock/80s
tue(05): justin's - sussone/bobby trends - hiphop/r&b/reggae/classics
tue(05): table 50 - swamy/john creamer/david vasquez/guests - house
tue(05): 65 4th ave b/w 9th + 10th - jus-ske/guests - hiphop/r&b/reggae/soul
tue(05): afterwork/aubette - snatch 1 - hiphop/r&b/reggae/soul/classics
Herbert's Heard
1. "Drop It Like It's Hot" -- Snoop Dogg/Pharrell (They did it again.)
2. "New York" -- Ja Rule/Fat Joe/Jada (Thanks, Big Stan. Ja's back. Don't hate!)
3. "Hold You Down" -- Alchemist feat. Mobb Deep and Nina Sky
4. "Let's Go" -- Trick Daddy feat. Lil' Jon and Twista (Thanks, Face-Off!)
5. "Real Gangstaz" -- Mobb Deep feat. Lil' Jon
6. "Pobre Diabla" -- Don Omar
7. "Dammit Man" -- Pitbull (Thanks, DJ Ric Roc!)
8. "Disciple" -- Nas (My bro took saxophone lessons once. 'Member that, dude???)
9. "Nolla Clap" -- Juvenile, Wacko and Skip
10. "Dangerously in Love" -- Beyonce
Herbert's Gigsnext wednesday - umbrella new york - (440 w. 202nd, crnr of 10th ave)
you gotta come uptown! these cats know how to have some fun!!!!!
hip-hop/r&b/reggae/reggaeton by dj herbertowitz all night long!
ladies free b4 12/$10 after - guys $15 - rsvp djherbert@earthlink.net
every friday - freedom - starfoods (64 e. 1st b/w 1st+2nd aves)
#1 funnest friday night dance party in nyc, son-n-n-n!
classic hiphop/soul/dancehall/80s/house/classic r&b/funk
$6 peach punch - food till 2am - dancing - come as you are!!
$5 before 2am, $7 after - rsvp djherbert@earthlink.net
every saturday - social club (14 e. 27th st b/w 5th + madison)
the hot hot hot new saturday weekly - no more lot 61!
hiphop/r&b/reggae/80s/rock/house/classics by me - main floor
a mix of the same sort of music downstairs by slynkee and cel
look sharp - ladies free b4 12 - $15 - rsvp djherbert@earthlink.net
September 29, 2004
Survey Says #18
Fill in the blanks
1. The first song that I remember hearing use a sample was __________.
2. One of the hottest, new, techy gadgets out is the __________ because it __________.
Fill in the blanks
1. The first song that I remember hearing use a sample was __________.
2. One of the hottest, new, techy gadgets out is the __________ because it __________.
3. __________ puts out one of the best mixed tapes/cds, compilations.
4. I wish __________'s two minutes of fame would hurry up and be over.
5. I think at about the age of __________ you should really stop __________.
Message Terrill Joyner and The Crusade.net with your Survey Says responses
Perspective: Monique RedHeadDread Woods
Monique RedHeadDread Woods
Kraze Access Media/Khaotic Films/Pictures Inc.
Job History
Toys R' Us cashier...gosh, I feel like it was so long
Monique RedHeadDread Woods
Producer
Kraze Access Media/Khaotic Films/Pictures Inc.
Atlanta GA
Job HistoryToys R' Us cashier...gosh, I feel like it was so long ago...
McDonald's cashierKnife salesman (don't laugh)Lingerie sales (can't remember name of the department store)Movie Theatre concessionsCBS PageESPN/Classic Sports Network PATeam Event Coordinator (AIDS Walk NY & LA)Production Assistant (various music videos & tv shows)Associate Producer (various corporate videos, tv programs)Freelance EditorShooter (Mini-DV)Producer
What are you currently working on? Your day-to-day responsibilities?
Currently I am working on several projects, I produce segments for All Access DVD Magazine. That project entails me arranging video and photo shoots with various hip hop artists, celebrities and athletes. I compose questions, hire the photographer to shoot stills, shoot the interviews on location and edit the final piece for the DVD. Or sometimes I just handle the shooting and send the footage to another editor in NY.
My production company, Khaotic Films/Pictures, Inc., shoots commercials, EPK's and DVD's for a lot of Southern artists as well as behind the scenes footage at video shoots and concerts here in the Atlanta area.
I just completed shooting on a commercial featuring Bone Crusher and will supervise the post.
What inspires/motivates you?
God inspires and motivates me. I love that I can dream something in my mind and create it in reality for others to see. My family and friends motivate me because I want to make them proud. The creativity I see in other people is always a great source of inspiration.
What are your biggest challenges or the downsides of what you do?
When I'm working on a job, many people tend to skimp on or even overlook the post-production budget so they've spent all this money to shoot and have hardly anything left to pay the editor but still want an incredible job with tons of graphics and effects. It sometimes seems as if they think I get handed the tapes, blink my eyes and Bam! there it is. The best has to be when they hand me subpar footage but expect a Hype Williams type video.
On shooting behind the scenes--sometimes, when you work with celebrities, they almost feel as if you are working for the privilege of being around them as opposed to the pay so I get to travel and be around notable figures, but the pay isn't always great.
How do you balance your personal and professional life?
I have no personal life... Nah, I'm just kidding, but it is hard to have one because a lot of guys (outside the industry) feel intimidated by the company I keep or the hours I keep.
What career achievement are you most proud of?When I worked at ESPN Classic, I was producer for This Day in Classic Sports and I researched, wrote and supervised the edit for 365 one minute spots on great moments in sports history. It was the first thing I produced for air and because of that, I knew more useless sports trivia than all of my girlfriends combined.Co-writing a screenplay that made it to the second round in "Project Greenlight."Producing the DVD for Pastor Troy's Riding Big album on Universal Records.
What was your biggest personal/career mistake and what did you learn from the experience?
My biggest mistake was probably leaving ESPN. I felt like I was being passed over for the good assignments because I didn't go to a Big Ten School and I didn't fit into the old boy network (not white, not male) so I grew more and more miserable in my job until I finally quit. I would have to say now, that although I have moved on and found something that I love, I could have been stronger in that situation. Instead of griping about getting shitty assignments, I could have done the best job possible and shown them that I could handle whatever was thrown at me.
After quitting, I felt relief but anyone who knows me, knows that was my dream job. From that experience, I've learned to develop a thicker skin, to stop being so sensitive to other people's comments and to really go after and take what I want.
Was there ever a time where you thought you might not succeed in what you're doing or if this was the right thing to do with your life? Please explain.
It's more of a hustle not having corporate backing, not having the security of a weekly check. A lot of times, teaching seemed the way to go. The risk of living my dream has paid off though because a lot of people know me, they know my work and they call.
Guiding principles?
I keep God first and trust in that Higher Power that I am exactly where I am meant to be. I live in joyous expectancy of the best and my aim in life is to give wonderful service.
Birthday? Where you grew up? Where you went to school?
I am a Scorpio, born on November 3 (nevermind what year). I grew up in Queens NY (Go Hollis!) and Edison NJ. I attended the greatest Historically Black University in the world, Howard University. (Go HU!)
For more info, check out Thedvdmagazine.com and Shannonmcc.com
Message Monique RedHeadDread Woods and tell her what you think
Echoing The Birds & The Bees (West Coast) #9
Leftover Honey Event Recap
Friday @ El Dorado (Brentwood)
A cool little spot near UCLA that we rolled out to see what the West L.A. world would bring out. Nicely packed with a club full of fresh & familiar faces.
Leftover Honey Event Recap
Friday @ El Dorado (Brentwood)
A cool little spot near UCLA that we rolled out to see what the West L.A. world would bring out. Nicely packed with a club full of fresh & familiar faces. The people and dance floor got blurry when the drinks kicked in. These bartenders don't play! Tisha Campbell, Tichina Arnold and some of the "famous" UCLA basketball alumni were in the place.
Saturday @ 50/50 inside The Argyle Hotel (Sunset Strip)
Chill at the pool with an amazing view of the night's skyline, but bring it all in at midnight. The party gets sick at this place every Saturday with its crowd of naughty but very sexy women, sweatin' it out with the fellas on the dance floor. It's a refreshing mix of folks and it's on the strip, so it's a sure shot.
Sunday @ The Garden Of Eden (Hollywood)
Lisa Raye's birthday party brought the sun back and shined bright over the Garden this night. With the red carpet and a line outside that moved only an inch every 30 minutes, a lot of people showed up to celebrate with the actress, including her sis, Da Brat, who grabbed the mic to get the joint jumpin' with Biz Markie on the 1s and 2s. Farnsworth Bentley got it jumpin' on a go-go box and Lisa had it jumpin' in an all white outfit. Elise Neal, Terri Vaughn, Tank and Jermaine O'Neal were amongst the celebrities in VIP.
Wednesday @ Nirvana
Visionary Casting celebrated their Dime Anniversary, allowing only "dimes" in the spot. Small, intimate and sexy, this all white affair brought out some of Hollywood's up and coming beautiful faces and the agents that represent them...Fred Johnson, Anissa Williams, etc. etc. Bill Mahr joined us too. You know he's got mad love for the sistas. LOL.
Friday @ The Little Temple (Silverlake)
Res!!! She blew up the spot on stage, metal high heels and all. Now, a resident of Los Angeles, this twisted-hair progressive soul-rock diva is hosting and performing every other Friday night at Little Temple. Incredible vibe and definitely a home for us and those that need that real music fix once or twice a month. You can also count on a DJ to keep your ass on the dance floor, sayin' "Damn! What! Damn! This is my shit!"
Message Echoing Soundz & The Birds & The Bees and tell them what you think
September 28, 2004
AAPRC Weekly: Kevin Fegans
Kevin Fegans
Sixty USA
When Kevin Fegans went off to college he wanted to major in musical theatre. He had a love for fashion
Kevin Fegans
Public Relations Manager
Sixty USA
NYC
When Kevin Fegans went off to college he wanted to major in musical theatre. He had a love for fashion too––his high school classmates dubbed him "best dressed." Plus, he'd just won a coveted spot as a youth panelist host, working with Ananda Lewis on BET's "Teen Summit," and thought perhaps there might be a career as an on-air personality in his future. He was, in a sense, a typical college freshman. Fegans' parents refused to pay for him to major in musical theatre, so he decided he'd go to law school and majored in political science with a minor in public relations.
Though the future fashion PR whiz kid participated in fashion shows while at Howard University, his internship experience spoke to those future law school plans––stints for the Office of the General Counsel and the U.S. Department of the Interior. Fegans also worked retail part-time, for the Georgetown location of the British clothing store, The French Connection. In the end, after he finished at Howard, it was The French Connection that turned him away from law school and set him firmly on the fashion path.
In 1999, French Connection tapped Fegans for a job at their corporate headquarters in New York City. The 21-year-old went to work as an assistant to the company's vicepresident of finance. Fegans realized just a few short months into the gig, though, that it wasn't where he wanted to be. He was handling numbers, not fashion. He put his resume into circulation and landed a freelance position with the high-end fashion house Louis Vuitton.
There, Fegans worked as an advertising and public relations assistant, getting a heavy dose of the fashion neophyte experience. "I did everything from phone calls to following up on requests and events and coordinating with the advertising agency, to getting salads and going to Barney's to get my boss bronzer," Fegans recalls. "It was the full fashion assistant thing. I can remember washing lettuce."
The position at Louis Vuitton ended after just a few months, but from there Fegans went on to get another very big name in fashion on his resume––Vera Wang. The designer was working on her book Vera Wang on Weddings (HarperResource, 2001) and needed a project assistant. "Vera prefers to write by hand," says Fegans. "I took everything and put it into the computer and gave her choices and options as far as the writing before it went to the publisher. That was fun because I got to work with her sideby-side. It was a pretty amazing experience. I would sit with her during design meetings and phone calls and all kinds of things…Whenever she took a moment to work on the book I kind of had to be there ready to go."
After Vera Wang, the design house Ellen Tracy brought in Fegans to work on their fashion show for Seventh on Sixth, the American fashion week. This time, the freelance position became permanent and Fegans was hired on as public relations coordinator at the venerable label. He was 22 years old. "It's where I built my reputation and relationships in the industry and really decided that that's what I want to do," says Fegans of his years at Ellen Tracy. "I had a boss who was really great to work for, who let us float our own ships but still work on the same team…Because our department was so small––compared to Louis Vuitton who had like 10 people in their PR department –– we only had two for a company that's so big. I really got the exposure and experience that I needed to move on."
Before he moved on Fegans tried his hand at everything from strategically placing clothes on the right people, facilitating requests from magazines like Vogue, Bazaar, and InStyle and booking models for photo shoots to working wi th celebrities like Oprah Winfrey, who had an account with the company. Fegans gained tremendous experience, and overcame his coworkers reaction to his youth––everyone seemed surprised that he could write a press release. "The women that I worked with were probably in their late 40s, early 50s," he says. "I had to prove myself to them…"
Though Fegans describes the atmosphere at the 50-year-old company as a "country club environment"––he was one of only a handful of African-Americans on staff––it was also pretty cushy. Then privately owned, the company served breakfast every morning and staff traveled on private jets. Then, in 2003 Ellen Tracy was acquired by another label, Liz Claiborne, and the new bosses began making changes. Fegans decided it was a good time to move on.
"I kind of wanted something that was a little more me. Ellen Tracy is a more conservative brand, definitely an older customer," says Fegans of his move to Sixty USA. "Sixty is a very young, hip brand. Britney Spears wears us, Jessica Simpson, Mischa Barton––tons of young Hollywood really supports it."
In early 2004, at age 26, Fegans was hired as public relations manager for Sixty USA, the U.S. division of the Italian label that includes the brands Miss Sixty, Energie, Killah and Sixty. The wunderkind oversees all publicity and special events for the young company––it was founded in 1996––and finds himself among peers. The oldest person on board is the president, aged 35. More importantly, though, Fegans feels as though he's helping to build the brand. "I thought it would be nice to be where I could make my own mark, do something for the company," he says. "Ellen Tracy was already set when I got there so there was nothing to do except ride along. Here I can suggest ideas and think strategically how I want to do things and see them play out." One of his ideas, dressing stars for the red carpet at the 2004 MTV "Video Music Awards," took Fegans and his new staff down to Miami, where he hoped to get the company's clothes photographed on beautiful bodies. In the meantime he continues to do what he's always done, build relationships in hopes of building his new brand.
"I always say to have contacts is one thing–-I could give somebody my Rolodex and they couldn't do anything with it because it's the relationship that matters," says Fegans about what he sees as a key element in his success. "It's about knowing my editor at Vogue…her husband's birthday. I know what their dog's name is. Just random things. Not just doing it strategically, but actually being concerned about them. That's what I did at Ellen Tracy–-really make those relationships and not just be a contact person."
As for advice to other hopeful young fashionistas, particularly African-Americans? Fegans says there aren't large numbers of African-Americans in fashion PR, but he feels there is a significant presence. He does think the challenges of getting started in the business, though, could be a deterrent. "I remember when I first got here I was interviewing at W and they told me the position paid $19 thousand," says Fegans. "I was like 'whoa, $19 thousand, what am I going to do? How am I going to buy luxury clothes to go along with the gig let alone live in New York City…' There's no financial rules, but it helps to have someone supporting you initially...It's a glamorous industry that everyone wants to work in. At W, I remember the guy saying he gets 750 resumes a week."
Another reality, Fegans points out, is that so much about fashion is about "the look," and this holds true for the people behind the scenes as much as for the models in front of the cameras. "If you go to Ralph Lauren, the girls there look like the brand," says Fegans. "When you go to Galliano, those girls are a little more cool and hip…That's the way it works. There's also your contacts and how good of a publicist you are, but ultimately it's an aesthetic industry. There's a definite thing about looks. I know in Europe when you apply for PR jobs you submit pictures, but in the U.S. you can't do that."
In spite of the challenges, Fegans is a committed fashionista. His days and nights are filled with his work. After hours activities include industry parties and private dinners to introduce himself and Sixty USA to publicists and stylists. He travels extensively. Ask what he does when he can finally turn his cell phone off and he sheepishly answers that he doesn't turn his cell phone off. He does manage to find time for friends, though, and is making time this Fall to brush up on his tennis, a sport he played growing up in Petersburg, Virginia. There are no immediate plans for a return to his other childhood sport, figure skating, but with Kevin Fegans you never know what the future holds.
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
Message Kevin Fegans and the AAPRC and tell them what you think
September 24, 2004
The Herbert Hollar
Herbert's Heard
Lots of really good, new hip-hop on the radio. Most from the South. But ... that new Nas??? What??? Somebody tell me what sample he uses in the beginning--I forget. Wait a minute ... who the hell is
Herbert's Heard
Lots of really good, new hip-hop on the radio. Most from the South. But ... that new Nas??? What??? Somebody tell me what sample he uses in the beginning--I forget. Wait a minute ... who the hell is this? Is this? Is that? Snoop? Oh my goodness. Camillo's killing me right now! As long as he doesn't put on that new Anthony Hamilton joint. Then I'm going to cry.
Word To Herbert
I'm almost there, y'all. I'm almost in that little place we call the loony bin! But ... I won't tell why. I won't tell you what it is that's putting me there. Though I should, because getting things off your chest is good for mental clarity and all-around coping, but ... for dramatic purposes ... I won't. For the purpose of keeping "The Herbert Holler" the #1 New York City nightlife and music guide in town, the greatest piece of ... spam (hahah) to hit your inbox since ... since ...the one that says "Come watch me and my friends masturbating with chocolate chip cookies" ... I'll hold off for now.
See what I do for you?
Last week's Freedom party was crazy. I was dealing with the onset of a bad cold, and dealing with no Cosi (whom you all know is the other guy behind the wheels who I tag-team with), and dealing with prolly 450 people, and 5 birthdays and 1 going-away party and a line of people asking me for ... Ready for the World (wait ...that's not too bad), not-to-mention this thing coming up, so I was crazy. Sucking on Cold Eeeze's and sweating profusely and shielding party-goers and talkin' it up on the mic and it was nuts. Big shout out to my partner DJ Marc Smooth for ironing out the wrinkles and Stone Jackson at the door for keeping it tight. Big shout out to the legion of deejays that came thru: Dallas Green (Happy Birthday, doggy), Dred Preda, M.O.S. of the Ransom Reps, Obah, Boodhakan, Neil Nice (you're not allowed to talk to the deejay next time) and the others who I forget now.
They've re-done the spot, too. Made it real nice-like. Really sexy, with bordello reds and seductive blacks, and a subwoofer for good measure. bass is crazy right now, so get down there ASAP and stop trying to get into Table 50. It's really not that great. (Just kidding. It's a nice place, and they got some great events and good deejays, so you should go. And then afterwards come to Freedom. cuz we're freaking 10 times better!!)
So ... I had my new Ping irons, a new Ping driver, I was smacking the 6-iron about 170 yards consistently on the driving range, and then I finally got a chance to hit the links with Uncle Mel! And I was horrible! I had about 2 pars and the rest were 7s. Ew, son. Ew. My old teammate Nate is prolly reading this right now and laughing. Yeah. laugh it up, Cohen! We'll see who has the last laugh! We'll See!!
(I'm throwing my clubs out.)
Love (is in the air),
DJ Herbert
P.S. -- There is a VERY disturbing perfume commercial I've been hearing on Hot 97. It's really f-d up. It sounds like a very, very too-young girl in the heat of some romantic moment, and there's all this breathing and subliminal messages and stuff and it kind of really turned my stomach. You heard it?
P.P.S. -- Big shout to I.Emerge from the 5th Platoon. Officially #1 on the planet!
P.P.P.S. -- Happy (Belated) Birthday, Luck!
P.P.P.P.S. -- You suck at ping-pong, Yoav!
Herbert's Hot Picks
wed(22): umbrella - herbert - hiphop/r&b/reggae/80s/rock/classics
wed(22): apt - rich medina - old school/soul/funk/afrobeat/80s
wed(22): cielo - kevin hedge/kervyn mark - soulful house
wed(22): angel bar - scratch famous/teflon - reggae
wed(22): bOb - rholi rho/5th platoon - hiphop/r&b/reggae/80s
wed(22): lotus - ani quinn - hiphop/r&b/80s/rock
wed(22): serena - d nice - hiphop/r&b/reggae/old school
wed(22): joe's pub - talib kweli/guests - listening party - hiphop/soul
wed(22): 6's and 8's - 9th wonder/twilite tone/phonte/eli/lord sear - hiphop/soul
wed(22): aubette - qool marv - soul/funk/r&b/old school/house/afro/world - 8 to 2
wed(22): belmont lounge - reborn/guests - soul/funk/house/afrobeat/old school
wed(22): madame x - jon oliver - soul/rock/rare grooves/rare sounds - 8pm to 1am
wed(22): afterwork/coda - guest djs/live performances - soul/r&b/hiphop/reggae
wed(22): afterwork/rumor - snatch 1/kaos - hiphop/r&b/reggae/classics
thu(23): guernica - blessed/reborn/selly/monica pineda - soul/funk/house/hiphop
thu(23): avalon - stretch armstrong/mathematics - hiphop/r&b/reggae - NEW BIG JAWN
thu(23): table 50 - q tip/mark ronson - hiphop/rock/soul/funk/classics
thu(23): apt - language/duane/lindsey - classic electro/black 80s/bboy
thu(23): ruby falls - good rotating djs/high fashion - hiphop/r&b/rock/80s
thu(23): black betty/bk - monk one/emskee/cosmo baker - soul/funk/classics
thu(23): spirit - dj kid capri/dj soul - hiphop/r&b/reggae/classics
thu(23): marquee - reach - hiphop/r&b/80s/rock - bottles/models/mr. wonderful!!
thu(23): suede - ani quinn - hiphop/r&b/reggae/80s/rock
thu(23): sullivan room - juju/know:el - drumnbass/freeskool/bassheavystuff
thu(23): show - mada/finesse/exacta - hiphop/r&b/reggae/old school/80s
thu(23): strata - goldfinger/snatch 1/rob flow - hiphop/r&b/reggae/classics - 6-4
thu(23): milieu/NEW SPOT - baby blu - hiphop/80s/rock/house/r&b
thu(23): odea - qool marv - deep house music - beautiful spot
thu(23): quo - crooked - funky house/hiphop/80s/rock/reggae
thu(23): afterwork/kanvas - dj sweets - hiphop/70s/80s - 6PM
fri(24): starfoods - thank god it's freedom - the illest - see gigs below!
fri(24): frying pan - nickodemus/mariano/guests - house/brazilian/new dance music
fri(24): mouton - dj e love/neil ochea on drums - brazilian beat/house/classics
fri(24): union square lounge - marlon d/guests - deep house
fri(24): luahn - reborn/mary mac/XX guests - hiphop/r&b/reggae/deep house/classics
fri(24): lot 61 - dj soul - hiphop/r&b/reggae/classics
fri(24): joe's pub - guest djs - hiphop/r&b/reggae/classics/old school
fri(24): madame x - jon oliver - soul/funk/rap music/ill stuff you don't hear
fri(24): ruby falls - ani quinn - hiphop/r&b/rock/80s
fri(24): ida mae - da union/x-factah (rotating) - hiphop/r&b/reggae/classics
fri(24): quo - dove/reach - house/hiphop/r&b/reggae/rock/80s
fri(24): viscaya - ody rock - hiphop/r&b/reggae/80s/rock
fri(24): sullivan room - dj diz/scottie b/chris parkhurst/sleepyface/boo - dance
fri(24): coral room - richard hawthorne medinaburg - afrobeat/afrofunk/jumpnfunk!
fri(24): gstaad - dj jus ed - underground quality house music at a quality party
fri(24): queen of hearts - kaos/precise - hiphop/r&b/reggae - leaves at midnight
fri(24): table 50 - qool marv/dinesh/mc big idris/sounds of da future - dance!
fri(24): eugene's - kulcha - hiphop/r&b/reggae/classics
fri(24): spirit - big ben/shadee/guests - house/trance/hiphop/r&b/reggae/int'l
fri(24): copacabana - dj ace/dj self - hiphop/r&b/reggae/classics - bad boy bash
fri(24): cellar bar - carl kennedy/low end specialists - house
fri(24): blo - camillo - hiphop/r&b/reggae/classics
fri(24): hiro - vanjee - house/mix/stuff/high fashion
fri(24): trip - eman/joey llanos - house
fri(24): show - crooked - hiphop/reggae/80s/rock/house
fri(24): afterwork/sequoia's - willie rodriguez/john sciascia - latin music
sat(25): social club - herbert/slinkee/cel - hiphop/r&b/reggae/80s/rock/old school
sat(25): viscaya - ani quinn/aphrodita - hiphop/r&b/reggae/80s/rock
sat(25): rehab - dj cosi/stimulus - hiphop/r&b/reggae/classics - HAPPY B-DAY, DAR!
sat(25): mission - stormin normin - hiphop/r&b/reggae/classics
sat(25): 40/40 - rahlo/k.o. - hiphop/r&b/reggae/classics/80s
sat(25): coral room - dj reach - hiphop/r&b/80s/rock
sat(25): etoile - goldfinger/precise - hiphop/r&b/reggae/classics
sat(25): shelter - timmy regisford - deep deep deep deep house
sat(25): strata - big ben - hiphop/r&b/reggae/80s/rock/house
sat(25): cherry lounge - sussone/enuff - hiphop/r&b/reggae - hosted by fat jo
sat(25): 9 1/2 - derrick spaulding/e.m./lea live - hiphop/r&b/reggae
sat(25): nassau coliseum - mase/lloyd banks/lil flip/fat joe/elephant man/lazy k
sat(25): pier 63/frying pan - iron dj battle - victor duplaix/grand wizard theo
sat(25): deep - self - hiphop/r&b/reggae/classics
sat(25): route 85a - redlox (aka andy katzenburger) - soul/hiphop/classics/good!
sat(25): satalla - yerbabuena - "puerto rican music" - www.satalla.com
sat(25): ruby falls - frank delour - hiphop/r&b/rock/house/80s
sat(25): sullivan room - francis harris/david hollands/guests - house
sat(25): pm - crooked - hiphop/80s/rock/disco/house/reggae
sun(26): fez uptown - marc smooth/guests - rare groove/soul/hiphop/reggae/classics
sun(26): 32 newark st/hoboken - lou gorbea/great guests - house music - happy born
sun(26): lq - snatch one/ciara live!!(so they say) - hiphop/r&b/reggae/classics
sun(26): nv - sussone/bobby trends - hiphop/r&b/reggae - album release for 213
sun(26): pravda - dj obah - soul/funk/old school/afrobeat
sun(26): deep - camilo - hiphop/r&b/reggae/latin
sun(26): bembe/bk - nick patton/amanda muela - tribal grooves/universal rhythms
sun(26): flow - big ben - hiphop/r&b/reggae/80s/rock/house
sun(26): lotus - goldfinger - hiphop/r&b/reggae/classics
sun(26): soho 323 - todd mallis/sal morale - hiphop/r&b/reggae/80s/house
sun(26): room 203 - smooth c - hiphop/r&b/reggae/rock/soul
mon(27): tavern on the green - johnny famolari/nory cotto - latin music - 7:30
mon(27): apt - cucumber slice - soul/funk/rare grooves/latin/uprock/old school
mon(27): cielo - francois k - future dub/space vibes/abstract grooves (aka house)
mon(27): sway - guest djs/nyc style fashion and art - hiphop/rock/soul
mon(27): crobar - mada/finesse/live new rock - rock/rap/house/techno
tue(28): joe's pub - guest djs/live soul performances - soul/classics/hiphop
tue(28): sapphire lounge - eman/lola - house/deep grooves
tue(28): lobby - will/self - hiphop/r&b/reggae/classics
tue(28): table 50 - swamy/john creamer/david vasquez/guests - house
tue(28): 65 4th ave b/w 9th + 10th - jus-ske/guests - hiphop/r&b/reggae/soul
tue(28): justin's - sussone/bobby trends - hiphop/r&b/reggae/classics
tue(28): lotus - dj ettienne - a mix of everything sexy and funky
tue(28): plan b - dj omi - hiphop/rock/80s
tue(28): afterwork/aubette - snatch 1 - hiphop/r&b/reggae/soul/classics
Herbert's Gigs
wednesday - umbrella new york - 440 w. 202nd (crnr of 10th ave)
a brand new hiphop party at a brand new spot! herbert's headin' uptown!
hip-hop/r&b/reggae/reggaeton by dj herbertowitz all night long!
ladies free b4 12/$10 after - guys $15 - rsvp djherbert@earthlink.net
every friday - freedom - starfoods (64 e. 1st b/w 1st+2nd aves)
#1 funnest friday night dance party in nyc, son-n-n-n!
classic hiphop/soul/dancehall/80s/house/classic r&b/funk
$6 peach punch - food till 2am - dancing - come as you are!!
$5 before 2am, $7 after - rsvp djherbert@earthlink.net
every saturday - social club (14 e. 27th st b/w 5th + madison)
the HOT HOT HOT new saturday weekly - NO MORE LOT 61!!
hiphop/r&b/reggae/80s/rock/house/classics by me - main floor
a mix of the same sort of music downstairs by slynkee and cel
look sharp - ladies free b4 12 - $15 - rsvp djherbert@earthlink.net
Message DJ Herbert and tell him what you think
September 23, 2004
Ozone: KLC
KLC
Producer
Where would people know you from?
I was a part of Beats by the Pound. Me, Moby Dick
KLC
Producer
Where would people know you from?
I was a part of Beats by the Pound. Me, Moby Dick, Craig B, and Odell used to be the in-house producers for No Limit. There was another cat named Carlos who’s no longer with us. I produce solo now, with Medicine Men.
Why did you end up leaving No Limit? How did things deteriorate?
When people bring up the money I do talk about it, but it wasn’t the money that made us leave. It was the communication. When [Master P] decided to go pursue his basketball career, it fucked up our communication. Whenever we had to talk to him, we had to go through somebody. When it goes through somebody, it gets back to him all fucked up. That started some bullshit. Money didn’t have anything to do with us leaving, but after we left, shit, he started sending papers to our lawyers about “failure to report to work.” So we were like, fuck it. We were never signed to a contract, so we wasn’t even tripping on the money. We just wanted out. There were several times when we, [Beats by the Pound], tried to talk to him to get the situation solved, because it was some minor shit. It was just his pride. And one thing I know from experience is that he’s a real good person, but he’s influenced by the people around him. So a lot of the decisions that he made didn’t really come from him, it was just what other muthafuckers was telling him.
What did you see happen to No Limit after you left?
He broke chemistry. You can’t do that. These days in music, production is the key focus. I’m not taking nothing away from no rappers, but it’s just at that point where everyone wants the right beat. They can’t do nothing without that beat. Whenever a label goes shopping for a deal, the majors want to know who’s producing your records. Look at Cash Money: Baby ain’t stupid. Juvenile left, B.G. left, Turk left, but Mannie still there. He won’t let him go.
Is there anything P could have said or done to make you stay? Offer you more money?
You know what it was? All he had to do was come to us and admit he’s wrong sometimes. All he had to do was say, “Man, my bad, I fucked up.” But he’d rather shit out $30,000 or $40,000. He’d rather give us money instead of admitting he was wrong.
When did you finally leave No Limit?
We left in 1999. As a matter of fact, the last song I produced on No Limit was “Fuck Them Other Niggas.” After I did that song, shit just ain’t get worked out. We had a meeting with him where he finally offered us a contract, but the contract wasn’t good. He was in a conference call, probably somewhere in L.A., and we were waiting for him to call. After waiting six or seven hours, he finally called. The meeting went like this: P said, “If you’re not going to sign the contract, get the fuck out my face.” So we got the fuck out his face and never went back.
What have you been doing since then?
Working on my album and producing some other things. I did the “Move Bitch” record for Ludacris, and I’m working on some tracks for T.I. and Trick Daddy. I also have my album coming out.
Are you rapping on the album, or mostly just producing?
Just a lil’ somethin’, somethin’. It ain’t serious. I have other people to do that. I have an all-star lineup: Mystikal, Snoop, Juvenile, Lil’ Jon, Soulja Slim, B.G., Daz Dillinger, Fiend, Mr. Serv-On, Don Yute, C-Nile, Beautiful, and a lot of other artists. Fiend is on the lead single, “Down South.” It’s still the same Pound: me, Craig B, Moby Dick, and Odell.
Are you putting the album out independently or looking for a major distributor?
It all depends if the labels start acting right. Independent is offering me better money than the majors. People want it, but if the majors ain’t talking right, then I’ll go independent. I’ll make more money but I’ll have to go out and work the record more, which is actually something I need to do. People don’t know me, they know my music.
Why did you decide to change the name?
When we left No Limit, P had some other producers working under the name “Beats by the Pound.” His production was so fucked up, it burned the name. Anything after “Fuck Them Other Niggas,” we didn’t produce.
Why did Master P file bankruptcy?
P still has loyal fans, but like I said, it’s all about chemistry. People want to hear him on our shit. Whenever Snoop puts out a record, they still want to hear him on a Dr. Dre beat. Whatever Missy puts out, they wanna hear her on a Timbaland beat. Beats by the Pound created the No Limit sound from day one. Since 1995. When I hooked up with P in 1995, he was still in Oakland. He was buying beats from like ten producers. When we came up, it just fit. I hooked him up with the beat for “Bout It, Bout It,” and that turned out to be the biggest song on his first album.
How does the creative process work when you have four people in a production team?
It all depends. Most of the time we work individually, but there comes a point on the record where we might do three or four songs together. We each have an individual sound, so that’s why it balances out on the record. A real No Limit fan or Beats by the Pound fan could listen to a record and know which one of us did it.
Were you close to Soulja Slim?
Soulja Slim was actually my very first artist. Back in 1991, before I hooked up with Beats by the Pound, I had a record label. Mystikal, Mr. Serv-On, Soulja Slim, Pound, and Fiend, those were my artists. A lot of people don’t know that I brought them to No Limit. Me and P damn near got into it over Soulja Slim and Fiend, when I first brought them in. This was at the beginning, when P was building the company. Eventually, everyone came to an agreement. Fiend was on the “Bout It” soundtrack, and after he did that song, it was official that P wanted to fuck with him.
So who would you credit with No Limit’s success?
It was a collective effort from everybody. Everybody finally got their first break to be put out on a major, so it really didn’t matter whose album it was. We all came together in one room and made an album, and had fun doing it. It was never one person individually making his own record. It started getting like that later on down the line.
What other projects are you working on?
We just signed a cat named Calico, and we’re working on his project. We’re also working on a Medicine Man album called Beats by the Pound. B.G. and Soulja Slim also got an album together called Ain’t No Limit to my Cash Money. It’s hot as fuck. It’s probably the most gangsta shit you’ll ever hear in a long time. Everyone always wondered what it would be like if Cash Money and No Limit worked together. Soulja Slim actually brought B.G. to me, so his death really brought me and B.G. real close. When me and B.G. do a song together he’ll flow on it, but [Slim’s death] will fuck with him. It really does affect him. It was real hard for both me and him. Slim and B.G. was real close, even when that Cash Money/No Limit shit was going on. Nothing broke their bond. Nothing. That’s how it is with me and Mannie [Fresh]; a lot of people don’t know that cause they never see us. Me and Mannie are real tight. We have the utmost respect for each other when it comes to our work. He loves what I do and I love what he does.
Anything else you want to say?
Be on the lookout for the new KLC album, KLC the Drum Major, coming in August.
Ozone Magazine is the Southern Voice For Hip Hop Music reaching over 120,000 readers every month. For more info, visit Ozonemag.com.
Message DJ Khaled and Julia Beverly and tell them what you think. Or email Julia at jb@ozonemag.com.
September 21, 2004
What's In Your Deck? #7
Your Top 5 Music Picks
1. The Foreign Exchange-Connected (BBE Music)
This is a must have! I'd advise anyone wanting to pull up their pants, tuck in the bling, leave the gat at home and just simply chill out to some pretty hip hop
Your Top 5 Music Picks
1. The Foreign Exchange-Connected (BBE Music)
This is a must have! I'd advise anyone wanting to pull up their pants, tuck in the bling, leave the gat at home and just simply chill out to some pretty hip hop s#!?* should give these Little Brothers (no pun intended) a listen. From the soft whooooo's that ride the background of the beautifully melodic "Come Around" to the soulful and bouncy track "Downtime," this CD is a go!
2. Michael Jackson-Off The Wall (Epic)
This is one of the greatest albums of all time. I mean, what more can I say.
3. Erykah Badu-Mama's Gun (Kedar/Universal)
Even though, I know, we the public haven't been blessed with Erykah's musical talents at her fullest potential, this album surely comes close to it. The pain, the joy, the vulnerability that hovers over and through this album is evident but yet familiar to all who've experienced any of the latter.
4. Common-"Food" f. Kanye West (Geffen/Interscoope)
This track is fire! Common's flow has been resurrected and the rest is destiny.
5. Rhian Benson-"Say How I Feel" f. Dwele, Willie The Kid, and J Lyrikal
This is one of the most bangin'est, underground hip hop tracks I've heard in awhile. Simple and bass heavy, enough bass to make you put a $2500 speaker system in you $700 squatah (cheap, old beatup car).
Message Terrill Joyner and tell her whats currently in your CD deck
ThaFormula.com: Eric Roberson
Eric Roberson
Eric Roberson has been behind the scenes for years penning hits for artists from 112 to Dwele to Will Downing and Jill Scott and has quietly released 3 albums of his own original material, all worthy of the
Eric Roberson
Eric Roberson has been behind the scenes for years penning hits for artists from 112 to Dwele to Will Downing and Jill Scott and has quietly released 3 albums of his own original material, all worthy of the radio and video rotation the benefactors of his writings have received. With a strong musical background, knowledge gained from people he has surrounded himself with (A Touch of Jazz /Osunlande), and an incredibly live stage show, Erro (as pseudonym he has also recorded under) appears to be one hit record away from becoming the next singer/songwriter/producer to take over the game.
How did you become interested in writing and performing and when did you know it was something you really wanted to do?
I'd probably say it was just coming from a performance background. My parents put me in athletics and my sister in the arts. She was older and had to watch over me so I would have to go with her to her classes, theatre, plays or art classes, whatever she was doing at the time and eventually it just rubbed off on me. My father had a little keyboard, and he also sings so there was just music around the house all the time.
So you learned to play instruments early on as well?
I really never touched his guitar (laughs) but have learned to play enough to get by but I wouldn't by any means say I was a beast in any for or fashion on any instrument, I focus on my voice more than anything.
When did you realize sports weren't really your thing and the performing was?
Well, I won a scholarship to Howard University, I won a National pageant called "Black Teenage World" and for me to get that (a full scholarship) in doing something I love such as music and singing which was pretty much the main way I got it, it was very obvious to me that I needed to take it a little more seriously. I wanted to play football in college but immediately as soon as I got that (scholarship) it was a clear decision. Before I had become a senior in high school I kind of had already came to that decision, and my voice was just constantly changing everyday plus I was working on it constantly. I was a pretty easy decision and I missed playing football but it was an easy trade off.
When you were a sophomore at Howard you actually got signed to Waner Bros, were you signed as an artist or a writer initially?
I was signed as an artist. The group Shai was there and we were pretty good friends. I handed them a CD when they blew up and took off and they gave it to somebody in LA (Los Angeles) and it kind of just took off from there. I did one single and it didn't exactly work out as planned and I went back to school and finished up after that.
Was that deal difficult to get out of?
It was actually…Benny Medina had left the label after that single dropped and their really wasn't any direction after that. I went from one label to another and that situation didn't work out so I went back to school.
You're deal at Warner was as an artist, but now you have a deal over EMI, talk a little about that and exactly what kind of deal it is, a lot of our readers are interested in the different types of deals that are out there…
I have a publishing deal with EMI, it's very different than a record deal. It's more like I am being signed as a writer and it's their job to collect my royalties for me. They give you an advance and then when they collect my royalties from various albums and I recoup that advance. It's a pretty good situation, in the long run I always tell people that it's kind of like having a bank loan to a certain degree, but the deal definitely helped me out as a songwriter. The deal also allows me to spread my name out as writer more as well.
It must be difficult or take a certain kind of mind frame to be a writer because you have to hand off your song you've crafted for so long to someone else? What's it like to part with a song you've written and let someone else have it?
Sometimes it extremely difficult, but it depends on the song. That probably has a lot to do with why I started doing my own records because I had a lot of material that was a little too personal for me to hand over like that. A lot of these songs are practically like journals…if you decide to let it be that personal. A lot of people may not want to speak about stuff that's on their heart like that, but when you do sometimes it's hard to let someone else put that out into the world. At the same time, some of my biggest rewards have been standing in the middle of a room when Vivian Green would sing "What is Love" or Musiq Soulchild would sing "Previous Cats" and to have the crowd respond…it's almost like they don't realize I'm standing right there and just feeling their energy, so in that way it's kind of good. There are some songs that I would definitely never give away though. I've got this one song called "Be With You" that every artist in the world that's heard it has asked me for it, but it's just not gonna happen.
You're just teasin' 'em with it and then taking it away from them (laughs)…
(laughs) Yeah, I'm at the point where I don't even play it for them because I know what it will probably lead to so I would rather not even go down that road.
So you've actually already recorded it?
Yeah it's a very whole song that I will probably release on my next album.
How often is it that once you give away or sell a song that you actually get a hand in the recording of it or arranging of it, or do you rather let the artist take it and do their thing with it?
Almost 90 percent of the time I handle the majority of the whole process. I have a little studio out here at my house. The Vivian stuff and the Musiq stuff that I did was all recorded here, and I dedicated a lot of time and money to build a studio that would be competitive with others out there, one where we could create and experiment and write…so it's pretty hands on. I worked with Will Downing one time and actually never met him. Once we finished the song we just mailed it to him, he recorded it at his house and the funny thing is he live right in my area and I have still never met him. But most times I am pretty hands on and carry the song on through the creative process through recording and so on.
When you write, how do you hear it in your head? Do the lyrics or melodies come first and what seems to work for you?
The process is probably different every time. I'm in kind of a different place right now and I'll write when I really feel there's an inspiration for it and I'm really inspired to a certain theme or subject matter. I used to write all the time, just write, write, write, write and then once in a while I would have an overwhelming feeling and would go with them and those songs would be the special songs. I really just try to focus on those special songs rather than being a work-a-holic and just writing 50 million "cool" songs. I'd rather focus and write those personal important songs to me because those are the ones I get the most reaction from and they are the ones I probably wrote without as much as a pen a pad.
They some off more natural and honest…
Yeah, for me a lot of times I'll listen to my friends relationships or find an old couple and talk to them what they were going through or just listen and pay attention to people. I just kind of pick stories and put it to song. (laughs) Don't get in an argument around me or get into it...
(laughs) You might end up in a song on the net album!
Exactly, don't kiss on your girl too much or something, it will end up in the next song!
What about a song like "Change for Me" which is kind of different from most of your music, kind of a Euro-club joint, did you set out to do that or did it just kind of happen too?
You know, that song I did with the incredible Osunlande, he's a real good friend of mine and a talented artist, producer and songwriter. It's crazy because he does all kinds of music but I probably tried to convince him to do something more like the Vivian or Musiq and he was just like "let's do a house song" and I was like "I grew up on house, I'm definitely down, lets just try and write the strongest song we can and it doesn't necessarily have to be house." He actually did the beat and sent it over to me and as soon as I got I just went to work with it. It's funny, my nephew was over here and when I finished it I walked out of the studio and at this point he was really young, like three years old, I looked at him and he was just dancing around the room and I thought that I it got him movin' like that, it might be something to it. Sure enough now years and years later people just go for blood when that song comes on, it's just beautiful man. We've been talking about doing an album together but we're just takin' it one day at a time, it's not easy to get our schedules together.
I wanted to talk a little about the independent game and your deal with Warner and see how you compare the two ends of the spectrum…
You know for me, it's an interesting point. I had a conversation with someone today, I don't really want to say that someone should follow the routine that I did, it's what I had to do personally in my life, what I felt comfortable with. I'm just at a point where I've made money and it hasn't exactly made me happy, I just really want to follow my passion. Once I really just completely with no fear whatsoever the rewards finally started coming and paid off. The difference is that it's my own company, and I release my own records. It's difficult, I make a lot more sacrifice where it's was a team of people at a major and there is a history to it and they know how to break the records. The independent scene really has no rule book but I just really hope that artists are paying attention. I'm making waves slowly but sure and hopefully I leave some doors open behind me. I really just followed my passion and it just started working out. One thing now is that you can pretty much tour on your own because there is a lot of instrumentation in Black Music and it wasn't around 10 years ago when I was signed to Warner. But you pretty much have to be hands on and there isn't much room for error. I am my own road manager, my own everything on the road. Sometimes I'm a driver, there's no shortcuts at all on the road.
You have to have a hand on everything…
Yeah, another thing is the album is pretty much timeless and you can focus on working say the Tri-State area and whenever I want to get to Florida I can go there and it will still be fresh and brand new to them. If you can do material that will stand that test of time then you can eventually break through. In a year I can still be working this record because there will be people somewhere that have never heard it, it will always be new to somebody. Say you know a record on a major label they're like "its better do something in yadda yadda amount of months." But I have no problem with trying to earn my bid and earning every single sale. Let's go into every single city let it be a known one, or unknown and give me a crowd a mic and some speakers and we're gonna show out and hopefully win people over in every city we go to.
Yeah, I think a lot of artists are recognizing that, even ones that have been on major labels and have had huge hits, like Shai you mentioned earlier and Boyz II Men who just dropped an album on KOCH records.
Yeah, a big part of it, at least for me is that I don't have to compromise my creative aspects, I can do what I feel. Some people may want to be huge, but I really want to do music for people who want to feel the music who feel what I'm doing. I wouldn't say that I'm a great artist, or I'm trying to get people crunk. I'm trying to get that cat over there to pay attention, I more like "this is what I do and if anyone appreciate it, come and check it out." Before you know it there will be a big crowd over there because what we are doing is relatable, its life you know? It just needs to be seen and heard.
That's something I got from your music and the songs you have given others is that it's relatable. It's not your typical "I wanna sex you" songs, it's talking about the good times and bad times in relationships and it's relatable.
I think when it comes down to it, I look back at my songs and I listen to them like everyone else. Sometimes I feel like I didn't write them, like they were given to me more than I actually sit down and write em. It's real interesting with the tours and stuff because when I meet people a lot of times guys and girls want to talk about their relationships, like "I just want to let you know I can relate to that song, or this song when I heard that it made me see that I could love again or realize the relationship I was in was not a good one." I feel responsible you know, when I walk into a studio there can't be no lollygagging'.
You've released 3 albums independently and your first album "Esoteric Movement" which you pressed up 5000 copies of is gone, sold out. What's it like to put something out yourself and be able to be successful and move those kinds of numbers?
It's interesting, I probably could have pressed up more. But it ("Esoteric Movement") will be re-released very, very soon. The tour has slowed everything up but by the time you put this interview up, it should be ready go. It's just beautiful because with that record I didn't really know what I was doing, I had got out of a real bad relationship and was doing my own personal form of rehab through music and I had no idea that it would be selling all over the world and be getting talked about all over. That's how the new record really came about. I did "The Vault Vol. 1" first and I had sold a lot of the songs and it was just really something to because I had so many people calling me about "Esoteric" and I really didn't have it prepared to re-release it. A lot of the mixes were bad because I was just learning so I was like "I've got these new songs, let me just send it to whoever's interested," and I had no idea that so many people would buy that record. So I had sold some songs of "Vol. 1" so that's why I released "1.5" now and added some new songs. It's just been rockin' since then.
Talk a little about the Internet and its part in the success and promotion of your albums…
I'll tell you, it does amazing wonders. I mean to be able to sell records to Japan! My post office, I walk in there almost everyday sending off packages and we're sending them off to Japan and Europe. I get emails and messages from South Africa and just to know that someone out there has heard your music or even knows about it is just mind boggling. You know with "Esoteric" being that it was so hard to find that it's been like a big commercial. You know, I've been bootlegged and a lot of people have just copied it and passed it along and that's my airplay, that's my video. I don't really have them but my video and airplay has been the burns, and the internet usage and people sharing the stuff. When I got to Cali, I had no idea that people were that educated on my music. Just to see people singing along I was just like "wow, you people really know this stuff?" It's a blessing and it makes it a lot easier to reach out and really advertise because of the Internet.
You mentioned selling a lot of your songs, some went to Dwele or to Vivian Greene but what was the hardest song to give up to someone else that you have written?
Oooh wow, that's a great question, lets see…
Is there one that when you hear someone else sing it you just say to yourself "aw man, I remember writing that, or why did I give that up?!"
(laughs) You know what to be honest, "Rebound" on Carl Thomas' record. I'm a big fan of Carl Thomas and that session was one of the easiest sessions I've ever done. He's such a great singer and a study of character that he finished the song in just minutes, we blinked and it was done, we were just like "ok, now where we gonna eat at?" (laughs) When I met with him to play him some songs I had just did "Rebound" and was going to put it on my record and I though to myself "should I put this on this disc, because when he hears this he's gonna want it, I know he's gonna want it" but I really loved the song. Sure enough when I played it for him, I had put a lot of heat on that disc I gave him and he was just going through it like skip, skip, skip and I thought to myself "okay I though he would like that one." There was a lot of heat on there he passed. "Rock With You" was on there, "Hold On" was on there, he skipped over thing and then "Rebound" came on and like 10 seconds into the song he started calling his manager and in the back of my mind I was like "noooo!" (laughs) It was probably like 8 months later, I was at the gym and the song came on in my Ipod and that's when it really hit me like "I sold this song?" To this day I still can't even believe I sold that song but I'm happy I have it to him.
On the other end of the spectrum, what song did you give to someone and were glad about it because they really just did it right and took it somewhere other than where you may have?
"Rebound" is probably like that, but another one is probably "Mary Go Round" for Musiq just because of how much an impact it made. Also "Previouscats," I'm probably most proud of both songs I did for Musiq. Because those are the two songs that outside of my songs that I sing, I'm most known for. With "Previouscats" it was just so important, one of the most important songs I have ever penned and one of my biggest regrets is just that I hate that that song wasn't a single. Not because I'm sure I would have made a lot more money or anything of that nature, but it was just a song that the entire world should have heard. I think if everyone heard it…it's just a conversation piece. Being at his shows and seeing the crowd sing along to those songs is incomparable.
How important do you think touring is and do you enjoy as much as you do writing the music?
For me it is extremely necessary and mandatory to let the world know about my talent and my music. I can't just sit around and wait for people to find me because it just won't happen. It's a necessity for any artist I can't even imagine why someone wouldn't tour (if you could) if you had the ability and the talent. When I'm in the studio I perform, it's all some level of performing. When I'm in the studio at 3:00 in the morning behind the microphone I'm performing then. It's mandatory and rewarding.
I think the fans feel that, you have a way of involving the crowd in almost kind of a conversation friendly kid of way that makes them feel like they are a part of the show…
For me it is that way, at one point I was trying to be the sexy big shot and blow all the women away and make sure I have all these little tricks and stuff like that, but you know, I just have to be me and do whatever I feel, and from the moment I decided to really do that, I had to just step back and say "I have to be me." I'm not that cat that does well with trying to be someone else. I don't know if everyone can get on stage and try and be themselves, but it works for me. I try and make it like a family reunion with all my cousins and brother and sisters and aunts and uncles. All my sayings and all the little talks that I do during shows have just kind of been created on the road, something funny will happen or I'll think of something and I'll just be like "yeah, I'll have to put that in the next performance" I just try and let loose and have some fun and when you do that it becomes real easy and dissolves the pressure.
Yeah, like when you performed "Please Don't Leave Me" I had just kind of listened to it but never really "heard it" and once you kind of broke it down for everyone on stage it was just like "wow, I had never thought of it that way," and little things like that really make the crowd feel involved in the show…
Yeah, that's a perfect example of a song being "given" to me, because I wrote the song sure, but I didn't know what it really meant myself until way later. We're clearly evolving from that stage where we are just in love with the hunt of pulling in women that we're so caught up in this new girl that you don't even really look at today and then are asking yourself "why aren't I interested in this girl anymore?" the next week. I can't even count how many times I have done that before. So the one day when it just hit me, I was dumbfounded. The same thing happened with "Couldn't Hear Me over the Music" and a few others, I kind of just try to stay out of the way and figure it out later.
It just kind of comes as an Epiphany like "I wrote that, wow…"
Yeah, a lot of times I'll be like "wow, that's what the songs says" and people will look at me like I'm crazy and I just didn't know.
Once you invest yourself in what you write and have something you're happy with how do you find the music that will serve the song right?
It works in different ways. I think because of my success as a writer I get a lot of mail and CD's in the mail all the time with different producer's music. That's a blessing in itself, to have the opportunity to h ear so much music but it ranges. If you take a song like "Rebound" I sat down at a piano and I pretty much just came up with the whole song right there. Sometimes I'll do the music, sometimes I'll let others do the music. More times than not I'll have other people do the music because I want my music to sound different. Because if I sit a piano all day all my songs will sound the same so I try and spread it out. A lot of the songs on "The Vault 1.5" were created from just vibin', we all got together and just played music until something sounded good and we just kind of leaned on that and just fin tuned it until it sounded right. "Find a Way" is a perfect example. My band came over and plugged up everything and we hit record and just played all night. At one point we just found a groove that we all liked and it just worked out amazing. Even the mix on that one as far as the levels and everything from the first time recorded it I never changed it, it just sounded right. It's just a different process every singe time. I'm a student of every single process and I love it.
On both versions of "The Vault" you have some collaborations with A Touch of Jazz (ATOJ) and some of the Hidden Beach artists, what were those collaboration like because their sessions have been championed by so many…
Oh yeah man, I honed my skills for years over at ATOJ, they get a lot of credit towards my personal development as well. Dre and Vidal, Carl and Ivan, Darren, all the producers that were there when I was there…for I don't know how many years, maybe like five years we just stayed down in those basements and just grinded and did song after song. I had the pleasure of being there when Jill (Scott) first walked in and when Musiq first walked in and saw those albums be constructed and put together. It was just beautiful. I can honestly say that Jeff (Townes aka DJ Jazzy Jeff) is very responsible as well as the Roots for where black music is now. He definitely gave me and a lot of others an outlet to experiment. We spent certain nights just hanging microphones form the ceiling seeing how it sounded it sounded if I recorded it in this corner, or over here. It wasn't like a hit factory like Bad Boy where Puff would be like "yo we gotta get hits!" It was just, lets do something hot. Sooner or later it just happened that everyone kind of peaked and developed at just the right time when we did Jill and Musiq's album, everyone was just on top of their game.
Now that you mention Jill, I was listening to your album the other day, particularly "Obstacles" and there's little riff on there where it kind of sounds like you're singing Jill's "Getting in the Way" a song that you sang background vocals for. Was that a song you had ideas for for yourself or were you just kind of paying homage to it?
Yeah it was sort of paying homage to it. I was in there just acting a fool in the studio and when the part came up it just seemed like it would fit and it sounded good so we kept it.
We were talked about producers a little bit and I wanted to touch on it a little more, who are some producers you haven't worked with that you would be interested in working with?
It's a long list. One of my college friends…we've never actually released anything we've done is Rich Harrison who's kind of known for his stuff with Amerie and Beyonce. He has a soul side to him that's just crazy. He's one of the most talented producers I know hands down. I'd really like to do some more stuff with him and get it out there. Uhh, the Neptunes, I think they have a lot of incredible music and I would love to work with Raphael Saadiq as well.
Another producer I've read about that you're interested in working with is JayDee out of Detroit…
Yeah, actually it's funny you mention him and I didn't mention him before because he's probably at the top of my list, at least in my top 3 favorite producers, I'd definitely like to work with him.
What other Hip-Hop producers or artists are you feeling and how has Hip-Hop influenced you?
I was a die hard tribe fan, but Mos Def is probably my favorite at the moment. Outkast…I like what Nas is doing...Little brother & that Foreign Exchange project is brilliant and inspiring...Kanye West did a great album…But we can go back and talk about Run DMC and the ruler Slick Rick, Ice Cube, LL Cool J, I studied them all.
How do you feel about the merging of Hip-Hop and R&B? You mentioned Jay-Dee who I feel does it pretty well, but it seems as if a lot of it is done as a marketing tool and the R&B side is kind of suffering in creativity because of the pressure to conform to Hip-Hop which is selling…
Its funny when I meet a producer and they give me a CD of R&B beats and a CD of Hip-Hop beats I usually end up writing to the Hip-Hop beats because they are more musical. R&B has so many rules to it that it waters down the creative process a lot. Sadly when the two art forms are combined usually the watered down part of R&B is what is borrowed.
When it comes down to it, who do you think kids today have to look up to on the R&B side of music? Nowadays it seems as if they're interested in singing, but now they want to rhyme too…who's gonna move R&B music forward like Michael or Stevie did, and why would they want to with the extravagant image the artists and networks are portraying on TV?
It's hard to say. I've always say the next Michael Jordan will be nothing like Jordan, probably won't even play the same position, and its that way musically. The industry is looking for the next Stevie, but we have to open our eyes and ears for whatever. I feel Lauryn was opening the world to a new direction but I don't know if she or the industry will allow it. Usher & Alisha Keys are growing and developing the same way Stevie, Marvin & Aretha did. "Songs in the Key of Life" wasn't Stevie's first album, nor the beginning of his career so who knows where Usher, or any of the young singers are headed and I believe there are plenty of talented people young and old that are pushing the envelope of R&B but just have to be heard. That's the struggle.
It's almost like R&B/Soul music has an underground now and the world is waiting for someone to come in and ignite a new storm of creativity…
Yeah, it's difficult because it's completely off the radar, and we have a chance at really building something if we're just smart and stay true to the music. It's tough to say that when that contract is presented to you whether or not you will take or push forward, I mean I can't even say I would push forward. But right now I feel like Russell Simmons and Rick Rubin in my dorm room pressing joints up. That's where we're at right now. It can sink or swim and it's all in our hands and what we're going to do with it. It isn't a culture like Hip-Hop was, but it's an opportunity like Hip-Hop was.
So who is out there now that you are feeling and you've been listening too?
Wow, I listen to everybody really. I mean for me I listen to as much rock and Hip-Hop as I listen to R&B or Soul music. But on the soul side I still probably go back a little bit. D'Angelo, Lewis Taylor from London, I'm a big Omar fan from London. I'm always searching for that new undiscovered music, there's a new girl also from London named Amy Winehouse that's incredible. Peven Everett, everything he touches I have to buy…even Dwele. I loved his old album "Rise." Lizz Fields…I'm just constantly grabbin' and listening and trying just pull energy from it.
It seems like if you look hard enough, the good music is out there, but it's just not nearly as accessible as it should be.
Yeah, it's definitely out there. A lot of old records out there didn't get the just they deserved. I mean let's be real, Black music has never really gotten the support it should get, you know in comparison the push and promotion that a lot of other art forms get. A lot of times we have plenty of great albums that go unnoticed and I love finding them. My company is called "Lost Art," and my production name is "Raiders of the Lost Art," so we're tryin' to find that lost stuff, not only in he way that we produce music, but you know finding that album was done in the 70's by that cat that didn't get his props, like the Shuggie Otis' and stuff like that who did incredible music and never got heard.
I also wanted to talk about some of the song you have written and given to other artists. One of them is Jonnell who had a nice buzz going for a while but has been getting the run around on her release, how much did you write for her and do you know what is going on with that project?
I did a song on her album that was slated for Def Jam and I don't know if it was because of the change of the guards there or whatever the situation is that's going on over there, but she ended up getting dropped and it's very interesting that that album never came out, which is unfortunate. I can't stress to you how often that happens in this business. There's an artist "V" that's on ATOJ and V was there before music, before me and before Jill and the record that he did was on Elektra. Man that album…is still one of my favorite albums of all time. It's a major, major travesty that album never came out, but it happens.
Another artist we mentioned earlier is "Dwele," who you wrote "Hold On" for. You had actually recorded a version of that and I hear people arguing about who's version was better to this day…but how did you hook up with him and how did that collaboration come about?
Osunlande came by my crib and said "oh my god, you have to hear this record by this kid he's got an independent album out. He gave me "Rise" and I was head over heels in love with that record and was like "who is heck is this cat I have to find him." He was on Virgin later on and I was actually approached by Virgin to do some stuff on his album because he was changing some stuff up so I was like "sure, I would love to do something on there." Hopefully that's the first of many records from us. You know I wish that was his first single, because it caught a lot of buzz and I would have loved to see a video for it or heard Kanye rhyme over it before he got so hot.
We also talked about your work with Vivian Green who really took off and won a handful of awards. "Emotional Rollercoaster" which you wrote was an incredible record…how did you hook up with her and how did she come to choose that song?
Well Viv is like my little sis. We spent years together just developing and her just singing in my studio. She's a very great singer, writer and artist. If I ever had an artist under my own company I would measure her up to Viv from a vocal standpoint, from a looks standpoint from all standpoints. She pretty much has it all. Actually "Emotional Rollercoaster," she wrote a majority of that record and then I hooked up with Osunlande and the rest is just history, we came up with some beautiful stuff. The majority of the album we co-wrote together. But we had a lot of records done and I wish more them made the record but I was just really happy that someone I worked with so closely for so long just really got out there and did well. I'm proud of her.
You wrote a song for the movie "Prison Song," that really captured the whole mood of the movie which is pretty unusual these days seeing as how most soundtracks are basically compilations that have nothing to do with the film they appear in. How did that song come about and how were you able to capture the movies theme so well?
I would love to do more of that. It's interesting because the director came to my house because the producer of that song knew the director and they needed a song for the closing of the album. So they came over and brought the movie over and I pretty much said "take her out to lunch and let me just write and hopefully by the time you guys get back I may have a song." As I was watching the movie I just kind of started writing to it and by the time the movie finished I was finished and it all just kind of worked and developed. But I would love to do more of that because I kind of watch people and life as they were a movie anyways and I write about it. But then the movie never really came out but it came out on BET and it's funny because I'll always know when the movies on because all my friends jump on the phone call like :you're on BET!"
Hey man, you gotta get on there some how if they aren't gonna play your videos right! (laughs)
I know that's right! (laughs)
We touched on at ATOJ collaboration, tell me a little more about how the connection was initially made with them.
I had heard their music some years ago back when I heard V's album and from that point on I wanted to find some way to get into that studio. I was living in Atlanta when I met Keith from ATOJ who had a brother Phil Brown that worked for ASCAP. He put us together. I literally drive into to work for one trip and never left. I went and picked up my stuff from Atlanta and just started grindin'.
What do you have on the horizon now? Esoteric Movement has just been re-released (Ericrobersonmusic.com) and I know you're always writing but what else is on deck?
I'm workin' on a few different projects, and who knows what will be solid, but I hope to work with Dwele and a couple other projects but right now I'm just tourin' and doing music, we'll see where the music goes and who uses it, but I'm just trying to go for blood as much as I can on each project.
Message Eric Roberson and J totha I and tell them what you think
For more info or to buy his album, visit Ericrobersonmusic.com
Also be sure to check out Thaformula.com for the hardest interviews on-line!
September 20, 2004
AAPRC Weekly: Leslie Short
Leslie Short
FUBU The Collection and FB Ent.
Before Leslie Short traveled the career path that led to her current position as president of marketing
Leslie Short
President, Marketing, Advertising and Public Relations
FUBU The Collection and FB Entertainment
NYC
Before Leslie Short traveled the career path that led to her current position as president of marketing, advertising and PR for FUBU The Collection and FB Entertainment, she had another career as a dancer and producer. In the two very different worlds, however, the same rule applies: if she can visualize it, it's as good as done. "If I can see it-–even as a dancer-– if I could see it in my head, I could dance it," says Short. "When I'm producing events and things now, once it's clear in my head it's done."
This attitude has taken Short to success in not one but two highly competitive arenas. "It comes from my family who pretty much said I could do whatever I wanted to do, end of story," says the New York-born Short. "I was a Black ballerina and I was told there was no such thing as a Black ballerina…but there was never a doubt in my mind." When she was 15, Short began training with the famed Joffery Ballet during the summers. The day after she graduated from high school, she returned to the Joffery to study full-time.
Her career in dance led to Europe where she lived for 10 years and danced for the Bal de Rose, as the principal dancer for the Prince of Monaco, and at Paradis Latin in Paris. In Paris, the owner of a theatre in Tokyo saw her perform and invited her to Japan. Short was doubtful. "They didn't really take Black dancers to Japan. It was all about being blonde," says Short. "I had nothing to lose. I was in a theatre performing in Paris. I had a job. I was just like, 'why you want a Black girl all of a sudden?'"
Despite her initial reluctance, in 1993 Short relocated to Tokyo. She was named dance captain and put in charge of all the show's dancers. Early on during her second six-month contract with the theatre, however, Short tired of what she felt amounted to baby-sitting a group of very young French and American dancers. She went to the owners of the theatre and told them she wanted her own show or she would quit. At first the owners resisted, but Short had the entire enterprise planned out in her head––from financing to choreography to lighting to marketing. It was as good as done.
Short's show idea was an all-male dance revue aimed at increasing what Short saw as very limited entertainment options for Japanese women. The following year, the production company Short founded, J. Men's Tokyo, was named the fourth best business venture in Japan. The ballerina who just barely spoke Japanese was running one of the top shows in a country she hardly knew. The following year, though, Short went home for a visit and made an abrupt decision. "I saw Oprah on TV. I saw Maya Angelou and I went, you know what? It's time. I'm not exotic anymore here. Things are changing. I'm going to come back and produce for television."
Short had picked up a few basics about television production during her work in Europe, but otherwise was a complete ingénue. She didn't know a soul in television. In fact, other than her family, she didn't really know anyone in the States. But none of that mattered. "My whole theory about life is it's not over till it's over," Short insists. "You don't have to stay in one of anything."
Short returned to the U.S. and got an internship at New York City's WNET television. "People always said to me, 'You owned your own business and you interned?' Short says. "I said, yes, because no one cared what I did in Europe. I had to come back here and I had to take a whole bunch of steps back and make it happen."
During her internship, Short stood out––most interns don't wear Chanel––and when a position became available she was hired on as the public television station's music coordinator. She left WNET for the "Montell Williams Show," wanting more production experience. After two seasons as an associate producer, Short realized talk show production was not her calling. "I wasn't 21 and this wasn't my first job…I would watch these kids––they'd be breaking down crying in the corner because their guest pulled out…" Short recalls. "I ended up leaving because I was working on a lot of news stories and I just couldn't hear one more rape story. It made my skin crawl…I also wasn't the type of producer that stood by that fax machine waiting for my numbers to come in. When I realized I wasn't one of them then I knew I shouldn't be there."
Her next move was to retail giant Macy's, as a special events manager for the company's flagship store in Manhattan. There, Short put together in-store fashion events for designers like Ralph Lauren and Calvin Klein, and one day she was tapped to produce an event for FUBU. "It wasn't my area. It was another manager's area and she had a lot going on and I kind of got thrown this event," says Short. "When I met with the guys I was like, hmmm, there's something there."
Short was impressed with the FUBU founders' work ethnic and when they asked her to join them as their first PR and marketing manager, she said yes. "Everyone told me not to take this job," says Short of her decision to leave Macy's. "Everyone said I was taking a step back in my career, that they [FUBU] are not my type of people...It was a new, young company that everyone mainstream thought was just going to be a fad. They didn't think it was high profile enough for me. They didn't think it was organized enough for me…All the stereotypical images of Black folks and rap. I said you know, I'll be here two weeks, two months, two years. It's not that deep everyone. It's a job."
Short was a little concerned, though, about what her new bosses expected of her. "I sat down with the guys and said, 'You know the world that I come from. I was a dancer. I was in Europe…My Rolodex says CNN and Time and Newsweek…' I had never heard of Vibe and The Source…" Short says of that first conversation. "They were like, 'you don't need to know that because we know that and we'll give you that.' To this day I give them a lot of credit for stepping out of boundaries that they weren't sure of either. It has worked."
Short was thrown directly into the fray of hip hop fashion. In her first week there was a photo shoot with LL Cool J. Then there was the challenge of acclimating the company's long-time celebrity clients to the processes of the new marketing office. Suddenly, clients had to actually put in a formal request if they wanted to wear FUBU for an event–-and they had to actually return the items. "People were calling like, 'who you have over there? She told me I had to fax. You guys think you're big now? I used to come to the house and take it out of a box,'" says Short of the most delicate aspects of her early days. "I used to say to them, 'if you were there with them digging out of a box, then I know you got to be there with them now that they're growing into a solid company.'"
It has been eight years and the naysayers have been forced to eat their words. Short and FUBU have grown together and these days in addition to her marketing, PR and advertising duties, Short also sits in on design meetings and signs off on decisions made for the FUBU ladies line. In 2000 she became president of public relations and marketing for FB entertainment, the company's film, television and music production unit, and on occasion wears a producer's hat. In addition, in 1999, the tireless Short founded her own firm, K.I.M. (Keep It Moving) Media, a special events, branding and marketing firm based in New York with a newly-opened office in Los Angeles. "I'm working with celebrities and corporations and helping them pull together all the different projects they have going on and making sure there's one voice going out," says Short of the venture.
The former dancer manages to keep all the plates spinning by keeping a standing, crack-of-dawn appointment with the gym each day, praying and "knowing what needs to happen first." Short remains close to her parents, older sister and nephew, all of whom live in New Jersey. As for future endeavors, there are still a few things she hasn't tackled yet. She's been offered handbag and cosmetic lines but has turned them down, and, for now anyway, denies any ambitions for her own label. "At one point, way before I came to FUBU, I wanted to do a plus-sized junior line and I still want the education," she muses. "I've had my day on stage. It was an amazing day, and I'm good. I want to do deals now."
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
Message Leslie Short and the AAPRC and tell them what you think
September 19, 2004
Eye Spy: Ron & Ron
Ron & Ron Spring Line 2005
Check out Rony and Ronald Delice's latest creations and let us know what you think! Enjoy
Ron & Ron Spring Line 2005
Check out Rony and Ronald Delice's latest creations and let us know what you think!
Enjoy.
September 17, 2004
Tech Sessions #16
Making It
The subject of "making it" has become as relevant to producers as it has always been to artists. Now, I am no expert on making it but I can share my experiences because my push has been long and it
Making It
The subject of "making it" has become as relevant to producers as it has always been to artists. Now, I am no expert on making it but I can share my experiences because my push has been long and it has been hard.
One thing that I get asked about a lot is how to go about getting track placements. As a producer heading in that direction myself, I can't even begin to sit here and act like authority on this. We're fighting to get on just as hard as the next man.
Yes, we have good management and we are building our brand with a variety of different acts, both signed and unsigned, but all I know is what I know and have experienced.
There is no magic formula to any of this shit. To be honest with you, it is all 100% work and more work and then some more work after that. When that kind of hit me a while back, I had to change my personal viewpoint on things because at that time I was living in Miami Beach and I was partying all of the time.
It hit me very hard one night at this spot called Cro-Bar. The event was huge and there was a lot of VIPs rolling in and out on the spot and you would think my mind would have been like 'yo this is how they live.'
Thankfully it went somewhere else. Thankfully, I ended up saying to myself 'I see a lot of people out but I never the same people out every night, yet I am out every night. That has to be the difference.'
And from that point forward I have made it a mission to outwork the next man on some "I get up before you and I got to bed after you shit." Of course I am still social, let's not get silly or nothing, but I say all of this because everything positive that has happened to the Audio Assassins as producers has happened once we just put our heads down and started grinding.
Grinding became elevating our technical game by reading the manuals that came with all of our hardware and software to see what little tricks we had been missing. I know a lot of ya'll out there just plug and play and we did that too but for real… read that shit.
Grinding became taking the time to learn the names and background of not only the "stars" but the people behind the stars. I can not say how many times it has helped to be able to say 'nice to meet you I respected how you positioned so and so like this.' That's not even on some ass-kissing shit either. It's really about figuring out who you want to work with and why.
Grinding became treating production like an A&R gig and going out in the street and finding cats to work with so we could get these tracks heard in the context of a song. We both gained a real appreciation for what industry cats go through having sifted through hundreds of rappers to find a group as hot as Gaingreen.
Grinding became hooking up with BMI for publishing and joining NARAS to be able to go to local industry events to meet people that we didn't otherwise have access to.
I can list a ton of other examples but hopefully the idea has come across. Yo, none of this is to say that we are some honor student type dudes or anything like that. But for everybody who asked me how can they place tracks, these steps have put us in a position to where we have a legitimate shot.
It took all of that and then some to get just a shot. Now to some it may come easier than others because they know people who know people etc.
But for everybody who is coming in like we did, that doesn't know a mutherfucker, I have one word for you: grind. Everything else will take care of itself.
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 tips about making it and placing your track!
Ozone: DJ Khaled
DJ Khaled
Spend a few minutes inside DJ Khaled’s super-secret recording studio, Jerusalem, and you won’t be questioning his new title: the Beat Novocain. The bass flowing out of his state-of-the-art speakers is truly
DJ Khaled
Spend a few minutes inside DJ Khaled’s super-secret recording studio, Jerusalem, and you won’t be questioning his new title: the Beat Novocain. The bass flowing out of his state-of-the-art speakers is truly numbing. Khaled, known as the Arab Attack before 9/11, originally began his DJ career as a member of the Hitmen in Orlando, FL. He relocated to Miami where his career as a DJ took off. His unmatched energy both on the radio and in the clubs secured his spot as the premier DJ in Florida. Now, Khaled has turned his attention to producing tracks for his Terror Squad family and other major artists. Khaled kicked back in his production chair, showing off his custom red Air Force 1s, to chat with Ozone.
Tell me about your studio, where is it?
The location is not allowed to be told, but the name is Jerusalem. The studio is blessed because we recorded the hit record “Lean Back” in there, as well as the whole Terror Squad album. Jerusalem is the spot. It’s still early in the game, and it’s already making crazy big hits.
So it’s like a top-secret location?
Top-secret. The only way to get to Jerusalem is if you have a serious connect to the family.
Is it a house, or just a studio?
There are places where you can rest your head, but Jerusalem is Jerusalem.
Who else has worked at Jerusalem?
Wyclef, Bounty Killer, and Timbaland’s artist John Doe, but mainly it’s just a Terror Squad studio. That’s where I make my beats. It just so happened that [Fat] Joe came through when I was recording my beats and he wanted to record the whole album there. Really, I just use it to smoke out and make crazy beats.
So what’s the advantage of recording there?
It’s private, I get more work done, and there’s just a vibe there. Instead of spending money at a studio, I’ll just come from the club or something and start making music. That’s how it was when we recorded the Terror Squad album. We’d just come home from the club, recording. It was just vibes.
How long have you been doing production?
I’ve actually been doing production since I lived in Orlando, back in the Hitmen days. It’s been a long time. I stopped for a little while.
Why did you stop?
I was so heavy into my DJ game, I wanted to make sure my DJ game was right in Miami in the clubs and on the radio. Since I’ve got that stable, I’m back to producing music. What really made me get back into it was [Fat] Joe, cause he was on his grind recording the Terror Squad album. I heard a lot of the beats people were giving him, and they didn’t impress me. So I knew it was time for me to get back in the studio and make these fire joints. I know what Joe wants.
How many tracks did you do on the Terror Squad album?
I did the intro, “Nothing’s Gonna Stop,” and a song with me and Joe, “Yes Them to Death.”
How do you think your DJ experience has helped you as a producer?
It helped me a lot. DJs know how records start and break, and know about tempos. If you’re a DJ and you’re a producer, if a track doesn’t come out hot from your drum machine, you have to ask yourself if you would play it. DJs don’t like whack records. So as a DJ, being a producer, you know you’ve gotta make hot records. Not every DJ is a good producer, but I know one thing: I’m gonna be crazy in the game. I’m the Beat Novocain.
Do you feel like it’s caused you to scale back on DJing at all?
No, I could never scale back on the DJing aspect at all. I could say that it’s a great connection, though. Being a DJ and producer is the best way for me to expand my career in the game and make sure that I’ll have longevity.
Do you plan on ever scaling back as a DJ and focusing on production?
I love radio too much. I’ll probably be 80 years old still doing radio.
What’s your club and radio schedule right now?
I’m in the clubs Friday through Sunday, on the radio Monday through Friday, and then I’m in the studio whenever I’m not at the club. I’m traveling a lot more, too. I just produced a record for Fabolous, it’s crazy. Me and DJ Nasty did Camron’s song, “Lord I Know.” I did two songs on the Terror Squad album. I did a joint for Smitty. He’s signed to J Records, he’s gonna be really big. Remember that name. I did a joint on Pitbull’s album featuring Trick Daddy, and a joint with Ja Rule and Ashanti.
Since you started out in the game DJing with DJ Nasty, are you two going to do any more production collabos?
Definitely. Nasty’s my man. Whatever he wants to do, I’m down. When it comes to music, me and Nasty have this vibe. I’ll be in town or he’ll be in town and we’ll just knock it out. We don’t ever stop working.
Do you feel like the production quality of your beats has gotten better since you’ve been working at it?
Yeah, because I made myself step my game up. The more I progressed, I was like, damn. I’m the Beat Novocain.
Where did you come up with that name, the Beat Novocain?
When you hear the Terror Squad album, there’s a line where Joe says, “I picked up a few producers and with Khaled, dammit man, we did it again, the Beat Novocain.”
Since you’re so well-known as a DJ, do you think people have a hard time taking you seriously as a producer?
No. A lot of the artists know me because I’m a DJ. When I tell them I have beats, they don’t say anything until they’ve heard it. Then they be like, damn, I didn’t expect that. I can’t read their minds, but I know it messes their head up to hear that I’m making dope beats.
Where do you get your ideas from? Do you sample?
Yeah, I am a sampling guy. Most of my songs use samples. I just add a keyboard here and there to beef up the track. My motivation comes from Joe, and me wanting to stay in the game. I love making music and being in the studio. If it was my choice, I’d be in the studio every day. I love it.
Do you want to break down the technical aspects of the studio, like what type of equipment do you have?
I use an MPC 3000, the black limited edition. I use other models, but basically I just use my creativity. I make them street bangers. I use my creativity to make them hard-core joints. Like Nas’ “New York State of Mind,” I make those type of records. You won’t hear it on the radio, but everyone likes it anyway.
You don’t make radio singles?
I want to make radio singles too, but my specialty is that street, hard-core shit. The Beat Novocain.
Last time I saw you in the studio, you were working on a compilation.
Yeah, I did a song for Violator’s compilation album. I was featured on there. Me and Kay Slay will be doing an album together on TVT Records.
Is it going to be a North meets South vibe?
Yeah, like the best of both worlds, from a DJ standpoint.
So is it a mixtape or an album?
Nah, it’s gonna be all original tracks. We haven’t really sat down and combined all our ideas yet. This album is going to be crazy: New York and Miami connecting on another level. This is going to be the biggest DJ album in the game.
What’s the advantage of being a part of the Big Dawg Pitbulls? Or any DJ clique, for that matter, what’s the purpose?
The biggest advantage of being a Big Dawg Pitbull is Funkmaster Flex. He took the DJ game to another level. When I go to New York, I get embraced like I’m at home. I go to Hot 97 and get on the radio. Even when I’m not there, I still get love. New York is one of the biggest markets, and Flex helps me out there 100% since I’m a Big Dawg Pitbull. If there’s a road block, my affiliation gets me through.
There are a lot of DJ cliques, so how did you choose to go with Big Dawg Pitbulls?
Flex stepped to Joe and was asking questions about me, and then he called me and asked if I wanted to get down. It wasn’t about choosing a team, because I’ve always been on my own team. When Flex asked me, I was honored. A man with status like that, asking me to be down? That’s love.
What other projects are you working on?
Well, there’s the Kay Slay and DJ Khaled album, Fat Joe’s album, the Terror Squad album which is dropping in July, the intro to Tony Sunshine’s album, and Remy Martin’s album.
Do you think there’s any conflict of interest with you serving as both a producer and a DJ? Like, you can produce a record and automatically get it on the radio?
I see what you’re saying. But if everyone around me feels like it ain’t hot, then it ain’t hot. If it’s hot, it’s hot. I don’t care. If I make a record and it’s a hit, I’m gonna go crazy with it.
What if you made a record that you feel is hot and another DJ isn’t feeling it, do you think you’d second-guess yourself?
You can’t give up until the song is buried. That’s just one DJ’s opinion.
Anything else you wanna say?
Ozone’s the #1 magazine in the world. Don’t get it fucked up.
Ozone Magazine is the Southern Voice For Hip Hop Music reaching over 120,000 readers every month. For more info, visit Ozonemag.com.
Message DJ Khaled and Julia Beverly and tell them what you think. Or email Julia at jb@ozonemag.com.
September 16, 2004
Survey Says #17
Fill in the blanks
1. If I could retire any place in the world, it would be __________.
2. The most memorable moment in my life was when __________.
Fill in the blanks
1. If I could retire any place in the world, it would be __________.
2. The most memorable moment in my life was when __________.
3. One of my favorite board games from the 80's was __________.
4. I admit, I did take part in the __________ fad.
5. If I had to prepare a three course meal, starting with the appetizer to dessert, it would consist of __________.
Message Terrill Joyner and The Crusade.net with your Survey Says responses
The Herbert Hollar
Herbert's Hot Picks
thu(16): guernica - blessed/reborn/selly/monica pineda - soul/funk/house/hiphop
thu(16): table 50 - q tip/mark ronson - hiphop/rock/soul/funk/classics
Herbert's Hot Picks
wed(15): 17 - herbert - hiphop/r&b/reggae/80s/rock/classics
wed(15): apt - rich medina - old school/soul/funk/afrobeat/80s
wed(15): cielo - victor duplaix LIVE/louie vega/kevin hedge - soulful house
wed(15): joe's - wordsworth+jean grae+masta ace+mr.complex live/dj evil d - hiphop
wed(15): angel bar - scratch famous/teflon - reggae
wed(15): bOb - rholi rho/5th platoon - hiphop/r&b/reggae/80s
wed(15): lotus - ani quinn - hiphop/r&b/80s/rock
wed(15): aubette - qool marv - soul/funk/r&b/old school/house/afro/world - 8 to 2
wed(15): belmont lounge - kyle smith/reborn - soul/funk/house/afrobeat/old school
wed(15): madame x - jon oliver - soul/rock/rare grooves/rare sounds - 8pm to 1am
wed(15): serena - d nice the dj/dj scratch - hiphop/r&b/reggae/old school
wed(15): canal room - synapse/madsol desar/paul ethnik live - reggae/hiphop/soul
wed(15): afterwork/coda - guest djs/live performances - soul/r&b/hiphop/reggae
wed(15): afterwork/rumor - snatch 1/kaos - hiphop/r&b/reggae/classics
thu(16): guernica - blessed/reborn/selly/monica pineda - soul/funk/house/hiphop
thu(16): table 50 - q tip/mark ronson - hiphop/rock/soul/funk/classics
thu(16): ruby falls - good rotating djs/high fashion - hiphop/r&b/rock/80s
thu(16): cherry lounge - suss one/dj m.o.s. - hiphop/r&b/reggae/soul - new spot!
thu(16): black betty/bk - monk one/emskee/cosmo baker - soul/funk/classics - BIG
thu(16): spirit - dj kid capri/dj soul - hiphop/r&b/reggae/classics
thu(16): marquee - reach - hiphop/r&b/80s/rock - bottles/models/a.k.a. no herbert
thu(16): quo - crooked - funky house/hiphop/80s/rock/reggae
thu(16): suede - ani quinn - hiphop/r&b/reggae/80s/rock
thu(16): canal room - rob flow - hiphop/r&b/reggae - a-list event guide party
thu(16): show - mada/finesse - hiphop/r&b/reggae/old school/80s
thu(16): crobar - dimitri from paris/larry tee/jon jon battles - house/electro
thu(16): sullivan room - dara/db!!! - drumnbass/freeskool/bassheavystuff
thu(16): b3 - elin band/kim jade band - live brazilian jazz/soulful rock - 9:30pm
thu(16): sob's - rekha/eddie stats/dave sharma/deep singh - bhangra bhangra dood!
thu(16): strata - goldfinger/snatch 1 - hiphop/r&b/reggae/classics - 6-4
thu(16): brooklyn new music festival - www.seedsandbones.com - live craziness!!!
thu(16): afterwork/kanvas - dj sweets - hiphop/70s/80s - 6PM
thu(16): afterwork/viscaya - camilo/guests - hiphop/r&b/reggae/classics
thu(16): afterwork/suede - k.o./rahlo - soul/r&b/hiphop/reggae/classics
fri(17): starfoods - thank god it's freedom - the illest - see gigs below!
fri(17): halcyon grand opening/57 pearl street/dumbo - big guest djs - 6 to 10pm
fri(17): show - crooked - hiphop/reggae/80s/rock/house
fri(17): frying pan - nickodemus/mariano/guests - house/brazilian/new dance music
fri(17): mouton - dj carol c/neil ochea on drums - brazilian beat/house/classics
fri(17): capitale - snatch 1/dj will/showcase bashment - hiphop/r&b/reggae/soul
fri(17): union square lounge - marlon d/guests - deep house
fri(17): open air - evil d/butta l/mr. walt - hiphop/soul/80s/reggae/old school
fri(17): quo - disciple/live percussion - house/"21st century disco"
fri(17): luahn - reborn/mary mac/XX guests - hiphop/r&b/reggae/deep house/classics
fri(17): lot 61 - dj soul - hiphop/r&b/reggae/classics
fri(17): joe's pub - guest djs - hiphop/r&b/reggae/classics/old school
fri(17): madame x - jon oliver - soul/funk/rap music/ill stuff you don't hear
fri(17): sullivan room - charles feelgood/dj fame/james miller junior - dance
fri(17): spirit - big ben/shadee/maja - house/trance/hiphop/r&b/reggae/latin
fri(17): ida mae - da union/x-factah (rotating) - hiphop/r&b/reggae/classics
fri(17): ruby falls - ani quinn - hiphop/r&b/rock/80s
fri(17): carnaval - liftkid/david hollands/live percussion - house/dance
fri(17): satalla - african friday night party - dj beto - www.satalla.com
fri(17): eugene's - kulcha - hiphop/r&b/reggae/classics
fri(17): afterwork/sequoia's - willie rodriguez/john sciascia - latin music
sat(18): social club - herbert/slinkee/cel - hiphop/r&b/reggae/80s/rock/old school
sat(18): viscaya - ani quinn/aphrodita - hiphop/r&b/reggae/80s/rock
sat(18): rehab - dj mono/stimulus - hiphop/r&b/reggae/classics
sat(18): mission - stormin normin - hiphop/r&b/reggae/classics
sat(18): 40/40 - rahlo/k.o. - hiphop/r&b/reggae/classics/80s
sat(18): chetty red - van vader/guests - hiphop/r&b/reggae/classics/old school/80s
sat(18): sullivan room - francis harris/tangun/eric andrew - house
sat(18): coral room - dj reach - hiphop/r&b/80s/rock
sat(18): etoile - goldfinger/precise - hiphop/r&b/reggae/classics
sat(18): shelter - timmy regisford - deep deep deep deep house
sat(18): pm - crooked - hiphop/80s/rock/disco/house/reggae
sat(18): spirit - dj camilo/jonathan peters - house/hiphop/reggae/r&b
sat(18): sob's - rich medina - brazilian/afrobeat - big brazilian music night
sat(18): strata - ody rock/big ben - hiphop/r&b/reggae/80s/rock/house
sat(18): plaid - big ben/peter parker - hiphop/r&b/reggae/80s/rock
sat(18): afrique/259 halsey st/newark - dj earon/ultra nate live - house/soul
sun(19): battery park city - live house vocals/soulful dance - meltingpotnyc.com
sun(19): fez uptown - marc smooth/guests - rare groove/soul/hiphop/reggae/classics
sun(19): joe's pub - evil d/mr. walt/butta l - old skool
sun(19): lotus - goldfinger - hiphop/80s/r&b/rock/old school
sun(19): 32 newark st/hoboken - lou gorbea/great guests - house music - happy born
sun(19): pravda - dj obah - soul/funk/old school/afrobeat
sun(19): lq - snatch one chicken fried steak - hiphop/r&b/reggae/classics
sun(19): deep - camilo - hiphop/r&b/reggae/latin
sun(19): st. peter's church - jimmy lovelace benefit w/jazz show! - fatcatjazz.com
sun(19): room 203 - smooth c - hiphop/r&b/reggae/rock/soul
mon(20): union square ballroom - louie vega/jellybean benitez - house music all...
mon(20): tavern on the green - johnny famolari/nory cotto - latin music - 7:30
mon(20): apt - cucumber slice - soul/funk/rare grooves/latin/uprock/old school
mon(20): cielo - francois k - future dub/space vibes/abstract grooves (aka house)
mon(20): sway - guest djs/nyc style fashion and art - hiphop/rock
mon(20): ideya - ola fresco - live salsa/new art - 6 to 8pm
mon(20): crobar - mada/finesse/live new rock - rock/rap/house/techno
mon(20): afterwork/coda - dj chase/live comedy - soul/r&b/reggae/hiphop - 5:30pm
tue(21): joe's pub - dj soul/guests/talib kweli listening - soul/classics/hiphop
tue(21): sapphire lounge - eman/lola - house/deep grooves
tue(21): lobby - will/self - hiphop/r&b/reggae/classics
tue(21): table 50 - swamy/john creamer/david vasquez/guests - house
tue(21): suite 16 - big ben - hiphop/r&b/reggae/80s/rock
tue(21): 65 4th ave b/w 9th + 10th - jus-ske/guests - hiphop/r&b/reggae/soul
tue(21): vela - dj crooked - hiphop/reggae/rock/80s
tue(21): plan b - dj omi - hiphop/rock/80s
tue(21): afterwork/aubette - snatch 1 - hiphop/r&b/reggae/soul/classics - 6:30PM
Herbert's Heard
"You Got the Love" -- The Source (Can someone buy this for me? I'll pay you back.)
"The Best I Can" -- The Muthafunkaz (Thank God there's still some dope house.)
"Love Street" -- R. Kelly (Yeah yeah yeah yeah.)
"You Haven't Done Nothin'" -- Stevie Wonder
Word As Bond
Big teengs a gwan! Herbert's got a big important job to do the beginning of next month, so until then, he'll be crazy and screwfaced every time you see him out. Not because I'm an angry dude--never that. Rather because I'll be on so little sleep, I'll basically be sleepwalking when you see me. If I turn to you and say "tuna, lettuce and dressing please," understand I'm sleepwalking (and probably dreaming about food I used to eat when I came home from school). Or if I say "double bogey," I'm dreaming about the golf I played in high school.
Once again, I need to confess how much I like R. Kelly's music. His latest album is what we all need: good, positive happy dance music for lovers and friends. DJ Will from the Bronx put me up on some of the other tracks on the album, and then I returned the favor and put him up on the Maroon 5 song. Yep. You heard me. DJ Will from the Bronx bought Maroon 5's "This Love." 2 of them. For sure, dude. (Haaaa--got you, homie!). Anyways, I picked up a copy of "Love Street," my new favorite R&B tune. And you already know what "You Saved Me" did to a Herbert. Now, when I come home Saturday night, my baby comes out of the bedroom cuz she hears the TV, and she says "What are you doing??"
On the television is Roy Brown, Channel 67. Gospel hour. Hallelujah!
Last Wednesday, Umbrella was really really nice. It continues to grow in numbers, with some of the nicest, sharpest folks uptown partying to new hiphop joints and some of the old school for sure! We got something big--something REALLY big--comin up soon, so check us out. Umbrella's on 202 and 10th Avenue, and I'll be back in full effect next week. Tonight, gotta play for the lovelies at 17. If only they'd stop sweating themselves so hard!
Freedom on Friday was bananas. Off the chain. Folks were in there from about 11PM till 4:15 when the last record was dropped. Of course, I laid a little Muthafunkaz on 'em, cuz they got that song "Best I Can" and it's good, not like the rest of the House songs I hear that are ... good musically, you know, Brazilian drums and African vibes and soulful and stuff, but lack energy and real dance floor appeal that yanks you outta your chair. It all sounds so ... Sunday afternoon, you know? But this joint really rocks. Big shout out to the legendary D Nice. Thanks for the love, homie. I got you this week.
"My name is Her-bert. My name my name my name is Her-bert."
Saturdays at Social Club was really fun, no doubt. Prolly cuz they had a crew of heads who I used to party with at NYU in full effect. These kids know how to party and dance and get crazy, as do most of the heads that come through every week. Now if I only remembered to put my freaking house keys in my pocket later that night! Yeah ... I locked myself out. I contemplated using a credit card to shimmy the lock open, cuz you know I'm not trying to pay some jerk off $175 to let me back in to my apartment, but, I tried doing that once in the college dorms and I sucked real bad at it, so I crashed with a friend (celebrity door man Dan Tanner, to be exact) on the Lower East Side and called my super the next day. Thanks, Dan!!!!
I'm okay! Don't worry. I know you're concerned. Everything was okay. I even went out that night and got really drunk at DJ Marc Smooth and Stone Jackson's Ear Candy party uptown at Fez. Now, for those of you who know me, for those of you that've seen me out at night, you know that I am never drunk. I rarely drink at all, so when I do decide to get a little toe-up, it gets outta hand. I was pretty shi**y, I gotta tell you that. I think Rocwilder was in there and he gave me a look like "What's wrong with this crazy white boy?" It ain't bad enough I was the only white boy in there, and it ain't bad enough I have such an ... extraordinary dome, but now you got the only white boy with an ... unusual head size (that actually sounds worse than just saying "big") swaying to and fro, foaming at the mouth, eyes all googly, barely mouthing the words to some song that I thought I knew but prolly didn't.
Next time, I should make it an event all its own. Come out and see DJ Herbert drunk. It's quite a site to see, I tell you. Ask Roc. In the meantime, I'm going to reload the nutrients in my body by buying about 6 boxes of Bolthouse Farms' "Perfectly Protein Vanilla Chai Tea" drink. Not just because there are 10 grams of soy protein with each serving, not just because there are 530 milligrams of potassium per serving, not just because each serving is 30% calcium, 200% B6, 20% magnesium, 180% vitamin C, 15% iron, 195% vitamin B12 and 20% zinc, and only 160 calories with no more than 3 total grams of fat (2 of them saturated), but, well, because it tastes so darn good!
After all that, you know you're gonna go to the deli and get some.
Peace, love, good health, excellence, and definitely none of this season's Real World (it's one of the worst yet),
Herbert's Gigs
tonight - the rich bi*ch party - 17 (37 West 17th St b/w 5th + 6th)
herbert's hired again for the hottest hump-day party in nyc!
hiphop/r&b/reggae/80s/rock/classics by herbert, ya herb?
very exclusive - dress really really sharp - models/bottles/etc.
10pm - $20 - free if ya get a table!! - rsvp djherbert@earthlink.net
every friday - freedom - starfoods (64 e. 1st b/w 1st+2nd aves)
#1 funnest friday night dance party in nyc, son-n-n-n!
classic hiphop/soul/dancehall/80s/house/classic r&b/funk
$6 peach punch - food till 2am - dancing - come as you are!
$5 before 2am, $7 after - rsvp djherbert@earthlink.net
every saturday - social club (14 e. 27th st b/w 5th + madison)
the Hot Hot Hot new saturday weekly - No More Lot 61!
hiphop/r&b/reggae/80s/rock/house/classics by me - main floor
a mix of the same sort of music downstairs by slynkee and cel
look sharp - ladies free b4 12 - $15 - rsvp djherbert@earthlink.net
Message DJ Herbert and tell him what you think
September 14, 2004
Perspective: Barry Cole
Barry Cole
Spot Music
Job HistoryProduction Assistant for concerts at The Greek
Barry Cole
Music Supervisor
Spot Music
NYC
Job HistoryProduction Assistant for concerts at The Greek Theatre in Berkeley CAFuton Shop ManagerPerfume SalesmanClub and Radio DJFilm InternArt Department CoordinatorMusic Supervisor
Three words to describe yourself.
Consistent, hard working, and visionary.
What are you currently working on? What is your day-to-day responsibilities?
My current projects are:Beautyshop (Barbershop 3) directed by Bille Woodruff and starring Queen Latifah, Alfre Woodard, Keshia Knight Pulliam, Djimon Honsou, Kevin Bacon, and Alicia Silverstone on MGMRoll Bounce (1978 Roller Skating film) directed by Malcolm Lee starring Bow Wow, Meagan Good, Nick Cannon, Mike Epps, and Charlie Murphy on FoxFace (3 generations of Chinese women explore and come to terms with each other in modern day New York City) directed by Bertha Pan starring Treach, Bai Ling, Kristy Wu, Will Yun Lee, and Ruth Zhang. An independent film.Slow Burn (Gotham City Thriller) directed by Wayne Beach starring Ray Liotta, LL Cool J, Mekhi Pfeiffer, Taye Diggs, and Guy Torry. An independent film.
What made you decide to pursue this career?
Music Supervision allows me to combine my passions for music and film.
What inspires/motivates you?
The possibilities...
At what point did you decide to make this career choice?
I was assisting the Director and Producer while in Pre-Production for New Jersey Drive. The director, Nick Gomez, was in need of music to audition for the film. I called the same contacts that had been servicing me as a DJ to get the Director new music. The Producer asked me to be the Music Supervisor and, later, to start and run the music department for his Production Company. It was my first gold record and I ended up music supervising over 20 films with The Shooting Gallery before opening my independent venture, SPOT music.
How do you balance your personal and professional life?
Djing, friends, family, yoga, tai chi, and kite flying.
What career achievement are you most proud of?
I am proud of being able to look back upon almost 10 years and 50 films worth of music and film that I helped to create and share with the world. I am also proud of being able to approach each new project as if it were my first.
What was your biggest personal/career mistake and what did you learn form the experience?
At first, I tried to do every job myself. My biggest mistake was working myself into the ground. After I had enough experience, I was able to create a system and form a team that would assure that both business and creative needs for each project are met.
How did you overcome any roadblocks?
I learned to delegate.
Was there ever a time where you thought you would not succeed? Please explain.
After 9/11, many of the resources that had been financing independent film in New York film were no longer available. I had recently gone independent and did not know if I was going to be able to keep my company open. If there are no films, there is no need for a music supervisor. Brown Sugar was scheduled to begin shooting just after 9/11. Rick Famuyiwa, the director, called the crew together to discuss whether or not to make the film. The vote was unanimous to move forward with production and Brown Sugar created film jobs in New York at a very pivotal time. I am currently working on my fifth film for the studio that produced the film.
Is there a down side to your position?
The music supervisor is always an easy scapegoat if something goes wrong. The music budget is also the first to be cut if funds are needed in another area. My job is to manage the combined agendas between the director, producers, the studio execs and the record label. If everyone is not on the same page, the results (as I have learned the hard way) can be disastrous. At any given time, any of 100 people can call regarding information on one of up to five projects. If the Music SUpervisor is not alert and prepared, the job can get the better of you.
What are your Guiding principles?
My guiding principles grow as I gain experience. Right now, I am commtited to doing the best job that I can with the tools that I am provided. Rather than be frustrated if I am not advancing at a faster rate (career-wise) I am trying to enjoy the climb. This career has given me invaluable stories and lessons from which I will refer for the rest of my life.
What were/are your biggest challenges?
My biggest challenge was to be one of the few music supervisors based in New York City. I didn't have a mentor, no one who came before me in this town who showed me the way to go.
What are the personality traits you think a successful person in this industry should have?
In this day and age, industry people must be good listeners, very perceptive and open to innovation. They must also be able to make the right decision given a small amount of time.
What advice would you give someone who is just starting out?
Anyone interested in working in film should be a Production Assistant on a film. There is no better way to gain access to every department integral to bringing a film together. Scout out a department that appeals to you and ask lots of questions. Hopefully after the experience, one can make an educated decision about what department is most appealing.
When is your Birthday? Where did you grow up? Where did you go to school?
My birthday in March 3, 1971 and I grew up in The Bay Area, Northern California. I attended Dartmouth College in New Hampshire.
Message Barry Cole and tell him what you think
September 13, 2004
AAPRC Weekly: Constance White
Constance White
eBay
Constance White admits that her high school classmates would be very surprised to know that she's
Constance White
Fashion Spokesperson
eBay
NYC
Constance White admits that her high school classmates would be very surprised to know that she's become a leading fashionista. "When clothes became very interesting to me …my parents had divorced. We fell on financial hard times and that in a way made me more creative about how I dressed," White recalls. "I think I was more of an interesting dresser than a cutting edge dresser."
How things have changed. These days, the veteran fashion journalist has blazed a trail among the nation's top media outlets and, nearly two years ago, was tapped by Internet giant eBay––which marked nearly $2 billion in fashion sales in 2003––as their fashion expert. The former "interesting dresser" stands among the top echelon of fashion journalists and is the only African-American woman who has called the shots in fashion at a mainstream consumer magazine.
But for timing, her star turn in fashion journalism might not have happened. White received a Bachelor's degree in journalism from New York University (NYU). At graduation, though, she was still undecided on what type of journalism she wanted to pursue. "I had two loves-–music and fashion," White says. "I decided I'd apply to the top trade papers in each industry––music, Billboard, and fashion, Women's Wear Daily. Women's Wear Daily called me first. Billboard did call me after but by then it was too late."
And so it was fashion.
During college White had worked for Ms magazine, starting out as a summer intern. Because she was the only intern who lived in New York City, she was able to stay on year round. Her work for the feminist publication was seemingly a far cry from the fashion journalism that would become her passion. "The irony doesn't escape me," she says dryly. "I think that's why I always wanted to do stories like 'what's up with women fashion designers.'"
Before she'd get to write about the plight of women fashion designers––which she did, for the New York Times––White wrote about the fur industry, her first beat when she arrived at Women's Wear Daily (WWD) in 1988. The beat turned out to be much more "exciting" than she'd bargained. "Within six to 12 months the animal rights movement had really pushed itself forward in the public eye and become very aggressive," says White of the days when PETA activists made headlines for splattering fur-wearers with red paint and other unwelcome fluids. "It was actually a very interesting time. It was fashion and also the much broader picture of politics and personal liberties and all those things mixed up together––and crime."
Later during her five years at the top fashion trade, White moved to sportswear, which she covered for the rest of her tenure. During this first big break in fashion journalism, she learned how to cover a beat, how to stay on top of her corner of the industry, and that when it came to race, fashion was no different than any other field. "I was very lucky and in some sense was sheltered by having my first job in fashion be at WWD," White says. "When you walk into a showroom I was very aware of the fact that I was walking in with WWD stamped on my forehead and that it made a big difference…In terms of the competition and the African-American representation in the field in fashion, that kind of thing would never deter me. I was very aware of it and I made myself very aware of it. You address that kind of thing with the tried and true ways that some of our foremothers and forefathers would address it. Be strong. Look for role models. Look for support and press on toward your dreams."
In 1993, White pressed on, leaving WWD for a lofty spot at one of the top consumer fashion glossies––Elle. As executive fashion editor, White stayed in tune with the fashion industry's latest trends, and interpreted them for Elle readers. But she was there for only a year or so before she got an offer she couldn't refuse. "Being a style reporter at The New York Times was my dream," says White of her departure from Elle for the venerable daily.
In 1994, White was living her dream, but it wasn't easy. "The New York Times was a huge adjustment," she says of the transition from magazines. "I think I sweated bullets for like two months. We had a weekly fashion section that we had to get out. We had to make sure it was filled and filled in compelling ways. Even though you had a week to work on it, it's not much time really, to spend for a really good story. Even though you had a week to work on it, you also had to be prepared for breaking news."
Once again, as with her early days on the fur beat, White found herself covering the industry during interesting times. "Fashion had just hit the radar as this huge pop culture phenomenon," she remembers. "A lot of fashion companies had just recently gone public so they were now big businesses and attracting attention."
During her five years at the Times, White finally wrote that story on the plight of women designers and why there aren't more in the fashion industry. She also had a number of fashion stories make it to page one, including the demise of celebrity designer Isaac Mizrahi's line and the self-organizing of the American fashion designers––now known as Seventh on Sixth. White also teamed with another writer for a two-part series on the society shifts that led to women spending significantly less money on clothes. "It's a big achievement to get a story in the New York Times, but to get it on page one, and to also get a fashion story on page one, is a big deal," says White. "You have to have insight into the beat that you're on so that you can put the story in a larger context. So that it's compelling not just to people who follow that particular industry or community, but people on the peripheral."
As much as she loved her work for the Times, White had always known she wouldn't be a "lifer" at the "Gray Lady." When uber-editor Tina Brown, the brash Brit who'd retooled both Vanity Fair and The New Yorker, invited White to be the fashion director of a bold new multi-media enterprise, White made the leap.
Talk magazine was part of a venture among Brown and the Weinstein brothers of Miramax films, and White was intrigued by the possibilities. "I don't think I would have left for any other editor," White explains. "Number two, what she [Brown] was proposing was very exciting, which was this integrated…'we're going to do the Internet' and 'we're going to do a magazine' and 'we're going to do TV.' And the idea of working on a start up was very interesting."
Though White had a great relationship with Brown, Talk never quite found its footing and in 2002, in the wake of the drop in ad pages following the double whammy of the dot-com bust and the September 11 terrorist attacks, the magazine folded. White had left before then, though, to pursue a completely different sort of project––pregnancy and motherhood.
After taking a year's maternity leave, White eased back into the working world and began freelancing for publications such as ESSENCE and People magazines and covering the shows for The Chicago Tribune––which she's been doing for the past three years. In 2002, White began a stint as a correspondent and news anchor for the New York City cable channel, "Full Frontal Fashion TV." Then, in 2003, a most unexpected suitor entered the picture––eBay. The Internet shopping giant was taking its fashion section seriously and asked White to come aboard as their fashion spokesperson.
In addition to covering industry trends and offering style advice to eBay shoppers in the on-line magazine Personal Style, White represents eBay in the media. "Whenever anyone wants to talk to eBay about style, they speak to me," White explains. "That involves quite a bit of television appearances."
For now, White is pleased with the work at eBay and the opportunity to get her feet wet in Internet media. She also looks to the future with hopes of doing her own style television show and publishing more books. Her first book, Style Noir, was published in 1998. The effort is half how-to––a service book that gives tips on improving personal style, incorporating African influences and arranging your wardrobe for optimum use––and half history. During her travels in Africa and the European fashion capitols, White had long noticed the influences of African and African-American style. When the opportunity presented itself, she happily dug into writing a history of the relationship between Black culture and mainstream fashion.
During her downtime––what there is of it––White sees a few movies, does a little reading and tries to make regular visits to the gym. Mostly, she spends time with her family and does volunteer work with the organization BRAG (Black Retail Action Group), which helps minority youth navigate their way in the retail fashion industry.
What is a typical workday like for you?
A typical day for me begins with the morning paper. I turn on my cell phone and then head straight to my email (which I could be dealing with all day if I'm not careful!). If I'm working in my office that day, I'll make phone calls, do some writing, take care of issues that arise from email, work on eBay projects and respond to a media interview. If I'm in writing mode-–for eBay or The Chicago Tribune-–I'll spend the whole day writing except for must-answer calls and emails. At least once a week, I'll visit a designer to review a collection. See what's new out there.
As the eBay style director you're advising a really broad audience about fashion. What's been the greatest challenge?
Becoming somewhat of a techno-phile! Seriously, on the fashion front what we work hardest on making sure our vast audience knows there are fabulous fashions on eBay and helping them navigate how to find what they're looking for on the site.
For years you've covered the whirl of fashion weeks in America and abroad. Out of the hundreds of styles you see during the shows, how do you decide what's hot and deserves to be reported?
Some of it is instinct and some of it is learned. In terms of trends, I look at what important designers are doing and what's happening on the street. And important doesn't necessarily mean well-known. I look at the context-–what's happening in people's lives at that moment whether its soccer moms, celebrities or hip hop kids: Does this look like something that would connect with a certain group. If it's new and exciting, if it's credible-–I report on it. Sometimes it's not a trend but a new talent-–and he or she deserves to be watched.
Someone once said that we'll probably see an African-American President before we see an African-American at the helm of Vogue or Elle. Why is fashion media still largely unchartered country in terms of diversity?
Hmmm. Who said that? How profound! And frightening. Fashion more than even politics is so dictated by image and what we see. I love that Black girls have opted out of fashion magazines. It's protection because their images are not celebrated but often denigrated or obliterated. There may still be people who believe that the skills and aesthetics necessary to be a great fashion journalist cannot be learned. But that's not true. Anyone from any background can learn them. Of course to be really good at anything, I think you have to have a God-given knack for it, but to be good at it, you just need to have the desire, the break and half a brain. As we love to say in the world of style, fashion is not figuring out brain cancer. What's missing is, though it's improved, Blacks are not getting enough breaks. I guess Black politicians are getting more breaks?
What does it take to make it to the top as a mainstream fashion journalist? What's your best advice?
Get a degree. Intern somewhere fabulous––like WWD, Vogue, Elle etc. Start-ups are also good for learning a lot quickly. Network, network, network. Get to know people in positions of power––make sure they know you. One day they may have a job for you––and at the very least––any day of the week they can give you good advice.
Do you think that we'll see a Black designer at the helm of a major house anytime soon? Is there another Willi Smith on the horizon?
We've already seen this. Patrick Robinson has headed up two-–Anne Klein and now Perry Ellis. Kevan Hall headed up Halston. Tracy Reese is building her business––one day that girl is going to be a powerhouse. You have Daymond John and his team at FUBU, Damon Dash at Roca Wear, Puffy at Sean John. Are these people designers? Not in the pure sense, but they as much direct their lines as Martha Stewart oversaw her sheets.
As a journalist, you've worked in every available media-–newspapers, magazines, television and now the Internet. From your perspective, how has the proliferation of outlets and mediums impacted the fashion industry?
It's made fashion an irrefutable part of pop culture. One of the stories I was proudest of doing at the New York Times was a story that identified a phenomena that quietly unfolded–-right under our noses––hip hop had had a revolutionary effect on fashion. It's not high fashion but nonetheless, a wave of Black designers and executives has hit Seventh Avenue due to hip hop. This was quite unexpected.
What's your take on the way fashion––particularly when paired with celebrity––has become such an essential ingredient in pop culture?
Top celebrities all want to rub up against designers these days. They all want to be dressed by them, to be in their company. They all want perfume deals, lingerie deals. The housewife in Urbana, Illinois wants to know what Reese Witherspoon is wearing not what award she won.
What is the most sought after fashion item on eBay right now?
The live-strong bracelet, which for better or worse, became a fashion item, is hot. Tweed jackets and charms are hot. Designer handbags are on fire for women. And men can't get enough of sneakers––Nike, Puma.
Tell us one thing people might be surprised to know about you.
That I worked at Ms magazine.
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
Message Constance White and the AAPRC and tell them what you think
September 09, 2004
Survey Says #16
Fill in the blanks
1. The verse "__________" from __________'s song is a true testiment of my life.
2. I think the first official hip hop inspired clothing line was __________ introduced by
Fill in the blanks
1. The verse "__________" from __________'s song is a true testiment of my life.
2. I think the first official hip hop inspired clothing line was __________ introduced by __________.
3. (List in order of preference: Family, Career/Finances, Spirituality)
In my life, i) __________, ii) __________, and iii) __________ matter most to me.
4. I think everyone should read the book __________ at least one time in their life.
5. A relationship title (Is/isn't) __________ important if you're not married but have been seeing a person exclusively for a certain amount of time.
Message Terrill Joyner and The Crusade.net with your Survey Says responses
Tech Sessions #15
Real Producers Vs. Beat-makers II
Ya’ll are going to have to let me stay in the same lane for two weeks in a row. If you missed last week, I would say read Real Producers Vs. Beat-makers before you continue
Real Producers Vs. Beat-makers II
Ya’ll are going to have to let me stay in the same lane for two weeks in a row. If you missed last week, I would say read Real Producers Vs. Beat-makers before you continue.
Most of the feedback that came in was nothing but positive and for that I am appreciative but the topic of not limiting yourself to being just a beat maker sparked a real serious debate with someone and via their anonymous consent I’m going to bring you their part of the show and my thoughts on it.
Now, this particular person’s logic, reasoning, operating procedure etc is that hip-hop is becoming to reliant on super-producers who control every aspect of the product and that rap production in it’s purest form is simply a DJ with two turntables, a mixer, a sampler and/or a drum machine.
Basically the bare-knuckled point is that rappers should do what they do and producers do what they do and let the engineer make it sound good.
Now to his credit, this is a 22 year-old who pushes more of the classics than most 40 year-olds I know. A new producer coming in that does it because he loves it and not because he has to make it. He is not trying to be the next whoever or somebody who came up on some backpacker shit and is getting all kinds of high and mighty. That has to be understood to get the whole shape of his point.
Where I agree is that every artist should be “ready” to be in the booth before they cut. I won’t use Pro-Tools to splice or jigsaw puzzle a decent verse together. But do I believe that it’s my job to coach the best vocal possible out of the artists? Yes. So in regards to super-producers taking over the game, we agree on the point that some aspects of production have gotten too out of hand and that people who can not sing or rap are being allowed to do so because they are marketable.
But you know what? That’s life and there should be room for fluff. We shouldn’t be forced to live on a diet of nothing but fluff. But some people have a sweet tooth. Oh well, their cavities.
Now, I’m not going to dog dude, nor am I in a position to do so but whether he realizes it or not his mode of thought as a rule is keeping our music from being everything that it can be.
As producers, artists, fans, industry folk whatever, we have placed way too many limitations on what it is we like, do and or willing to accomplish. I straight-up asked dude if he had any desire to once he gets on push ahead to working all sides of the production game and his answer was like ‘ naw. I’m going to stay in my rap lane.‘
Truthfully, dude is tight with his skills and is very smart so I don’t think he’s going to have a problem as long as he pushes ahead and I’m not going to fault him for wanting a certain thing. That’s not what this is about.
This is about a bigger picture that grows smaller with everyday. Being a kid who grew up with hip-hop and can not imagine a world where it doesn’t exist, I bugged out when I really listened to what makes a classic album like Isaac Hayes’ Hot Buttered Soul tick. Ditto for Al Green, Marvin Gaye, Curtis Mayfield, The Bar Kays and too many others to list.
It’s not that older is better. It’s that this music which we draw from so heavily took chances. That music would run with a rock riff over a funk beat and have the sweatiest baby come back to me vocal you have ever heard in your life over it. And that music is timeless.
Shit, if you want to break it down on the strictly financial, imagine yourself an old retired fat ass old man with a MPC in your lap and the biggest task of the day being going to the mailbox to get your publishing checks for a bottomless well of spins at classic/oldies radio for songs you wrote 20 years ago. That to me is game.
Staying on point (or trying to), I’m going to end part two of this topic by going out on a major limb. The roots of more than 75% of the music that is made in this country is directly traceable to the innovations of the “urban” cats of the day. A producer now more than ever is in the position to take the lead in the race to the next level.
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 hip him to how you differentiate between between real producers and beat-makers! Remember, if we limit ourselves to doing just one thing what’s going to happen tomorrow?
September 08, 2004
AAPRC Weekly: Mikki Taylor
Mikki Taylor
ESSENCE magazine
To anyone watching, Mikki Taylor's career path should have been clear. As a child growing up in New
Mikki Taylor
Beauty Director and Cover Editor
ESSENCE magazine
NYC
To anyone watching, Mikki Taylor's career path should have been clear. As a child growing up in New Jersey, the future ESSENCE magazine beauty director and cover editor was immersed in the business of style and beauty. Her mother was stylist to legendary jazz singer Sarah Vaughn and later owned a salon, and even Mikki Taylor's playtime was a portent of things to come. "I played with my dolls until I was 14," Taylor admits. "Now I smile and say I'm still playing with my dolls. It's kind of what I do today every time I step into the studio, where it's clearly about examining the possibilities of where we can go when it comes to our beauty."
As cover editor for ESSENCE, Taylor's vision of African-American beauty has graced the face of the country's top magazine for Black women. During her 18-year tenure, Taylor has turned out more than 300 covers, featuring luminaries from the worlds of entertainment, beauty, politics and more-–from Denzel Washington to Oprah Winfrey. As beauty director, her take on beauty and beauty products has shaped the way millions of Black women style their hair, put on their make-up, and, perhaps most importantly to Taylor, find their place in the complex landscape of modern beauty. "My whole mission is to help women own their lives and celebrate their beauty to the fullest," says Taylor emphatically. "To me as long as there are women who are saying 'oh, I wish I could so-and so…or I wish I could get control over this…' to me, then, the homework isn't done. You have to show women how––how you're going to celebrate your beauty in your one and only life. How you're going to own it and lead and not be led. Those are some things that are real key to me."
Taylor's ideas about beauty and style began to coalesce during childhood as she watched the almost therapeutic relationship between her mother and the customers in her Newark hair salon. "Beauticians hear everything that's on a woman's heart, from her deepest style desires to the affairs of her life. Oftentimes what they are serving in return transcends hair styling and moves into that which is self-empowering. Beauty has such a profound sense when you come of age witnessing it from that perspective and seeing the ultimate transformation both inside and out. One can't help but be affected in one manner or another."
Taylor says she never had a desire to follow in her mother's footsteps in the salon business, and instead started modeling in high school. By the time she graduated, her career was in full swing. Taylor made the decision to forgo college and pursue modeling full-time with her parents' support. Throughout the seventies she worked successfully and, in 1977, made her way into a different facet of fashion with the clothing company, Tahari. Starting as a model, Taylor moved into public relations for the company and eventually became a merchandizing and textile coordinator. She assisted in opening one of Tahari's first in-store boutiques in Chevy Chase, Maryland.
In 1980, she moved to ESSENCE as accessories and home sewing editor. Just one year into her tenure, Taylor was promoted to beauty editor. In 1986, she lobbied for the position of cover editor and got it. In 1999, she was named beauty director. Taylor had no background in editorial but attributes her success to another valuable attribute: "I had a passion for women," Taylor says. "I really came into the business with a why-not attitude. Magazines in themselves were fascinating to me because they were the inspirational buy, the dream tools."
Growing up, Taylor didn't aspire to work for magazines, but remembers the impressions left by the publications her mother brought home from her days of touring with Sarah Vaughn. "From her years of being on the road with Sarah, [my mother] would bring home all kinds of magazines, particularly from Europe, and I was swept away. What I saw represented a whole other world and a completely fantastical way of looking at beauty and women and it was just amazing. There were no limitations within those publications, very unlike what was going on here in America."
In the more than two decades she's spent at ESSENCE, Taylor has observed sweeping changes in styles and attitudes when it comes to Black beauty. "When I started out at ESSENCE as beauty editor, the amount of products that were available for Black women really could fit within the span of my two arms," Taylor recalls. "In the 90s, with the census report serving as a wake-up call, cosmetic companies began calling us to play."
Attitudes outside of the magazine have changed, but inside, some things are still the same. "At ESSENCE our mission is still the same after 35 years, and that's to celebrate Black women, to celebrate our people––beginning with the cover," says Taylor of the process of putting together the magazine's face. "Part of my delight is collaborating with our cover team... and in bringing together the creative team that's going to turn each cover out––with newness, with freshness, with an 'oh my God how amazing.'"
Sitting firmly at the helm of the magazine's beauty pages, as well as penning her own advice column, "Absolutely Fabulous," Taylor keeps her hands on everything: from the selection of models, make-up artists and hairstylists for shoots, to the review of every word written about beauty. Additionally, in 2003, Taylor added published author to her list of accomplishments. Self-Seduction: Your Ultimate Path to Inner and Outer Beauty (Ballantine Books/One World) examines what Taylor calls "a new life resolution," and encourages women of color to explore the balance between spiritual and physical nourishment––the key to true beauty. "I always say this is a path that I was led to and that's my sense of God's purpose in my life," says Taylor of her extraordinary career. "The work is really a gift and it's not anything that I can claim as my own. It's about empowering others. It's not about me and it makes me more humble with each passing year."
Away from the halls of ESSENCE, Taylor is a wife and mother of three. She spends down time at home in New Jersey reading and listening to music. Not surprisingly for a woman who grew up across the street from Sarah Vaughn-–the chanteuse bought the house Taylor grew up in so Taylor's mother could be nearby if Vaughn needed her––Taylor loves jazz. The people who filled my mother's life gave me such a passion for jazz," says Taylor. "I have quite a huge music collection and do enjoy having the time to spend and to hear those sounds and to add the latest sounds, as well."
That quiet time is precious because it doesn't come often. Taylor travels extensively and is in demand as a motivational speaker. It should come as no surprise that she spends a lot of time speaking to women. "If I could boil it down, my goal is to help women master the simple," says Taylor. "To not have a wish list but to have a reality-checked plan where you're checking off what you desire on a steady basis––because 'someday' never comes."
What is your definition of beauty?
True beauty has everything to do with how one sees and honors herself. And so, it is a sense of total well-being. In truth, it's a necessary blend of spiritual and physical health. Moreover, it's about purpose. And we know that purpose is about more than "How do I look?" Purpose is, "What am I about always?" And beautiful women play for keeps.
What are the most significant developments in the beauty industry you've observed during your tenure at ESSENCE?
The fact that technology has finally caught up with the needs and desires of African-American women. I've been talking about beauty products from the time when the selection from product manufacturers could fit in the span of my two arms. Today, I see a sea change in that technology and companies are calling us to play and accomplish our dreams. And we can shop at all points of sale-—from the corner drug store to the most prestigious department stores.
In addition to your duties as beauty and cover editor, you also pen an advice column for ESSENCE. From that perspective, when it comes to beauty what are Black women struggling with most?
I don't like the term struggling. African-American women are looking to micromanage their beauty and style unlike ever before. And so yes, we are in hot pursuit of the radiant, blemish-free complexions of our dreams. We are looking to maintain healthy hair, while wardrobing the hottest styling options. And most of all, we're trying to enhance that all-time luxury known as "time for self," which is why we have such an intense interest in pampering treats and spa services. These are the kinds of ideals that top our list.
As cover editor, you and your staff are responsible for putting together the "face" that ESSENCE shows the world. What's the greatest challenge in getting that job done every month?
To me, we are only limited by our vision. So for us, the challenge is to take new courage every month and to really have vision and to create something that hasn't been done before. I pride myself to present our top celebrities in a way that has never been seen before. And that's not a challenge, but it's an opportunity that I welcome. We put this magazine out for and about ourselves. So we're telling our story every month—-it's a celebration of our people, particularly Black womanhood.
What does a typical workday look like for you?
There are no typical workdays. Everyday is a journey of a different kind; the mission remains the same but the process changes everyday. One day sees me shopping for the best products for more than 8 million readers. Another day sees me creating beauty pages and defining the substance that they will share. Another day it's television and radio interviews, meeting with creative artists, meeting with cosmetics companies and talking to them about the needs and desires of African-American women, or meeting with hairstylists to define the future. There are no typical workdays because it's not a typical job. Every day gives you an opportunity to contribute to how African-American women see themselves; because in this period in our history, these are no ordinary times. So my workdays are defined by opportunity, so therefore there are no typical workdays.
In addition to your work with ESSENCE, you penned a book last year, Self-Seduction: Your Ultimate Path to Inner and Outer Beauty. What was the motivation behind the project?
I wanted to offer women of color a new life resolution. I really wanted to see us own our lives and celebrate ourselves both within and without. The book offers new life resolutions to help us own our lives and celebrate our beauty to the fullest. And it offers something substantive-—because beauty is about more than the physical and "How do I look?"
In terms of your career, what are you most proud of?
The contribution that I've made to the lives of Black women everywhere.
About what aspect of the fashion and beauty industries are you most optimistic?
What I am most optimistic about when it comes to fashion is how our unique style is coloring the world. I see the evidence of this stretching from the streets of America to the world's top runways. I see Asian women with locks and Caucasian women in braids. I also like the intense interest that companies are taking in our needs and desires and our unique flavor. I also like what I see on the business end with such successful partnerships as Beyoncé and Hilfiger and Sean Combs and Estée Lauder companies.
It seems you've been surrounded by the beauty industry your entire life––from growing up the daughter of a stylist and salon-owner to a modeling career to ESSENCE. What is it about the industry that drives you?
It's not the industry that drives me. It's Black women that drive me. And being able to have a say so in how we see and feel about ourselves.
Tell us one thing people might be surprised to know about you.
That I'm as shy as all get out. But I have learned to move self out of the way on behalf of the interest of African-American women. So that shyness is no longer a stumbling block.
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
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Message Mikki Taylor and the AAPRC and tell them what you think
Ozone: Charles Dixon
Industry 101: Charles Dixon
The best way to describe “Sir” Charles Dixon is by using an example. Let me begin with a story from back when I was a young buck, calling him as TJ’s DJ’s Record Pool music director to request vinyl
Industry 101
The best way to describe “Sir” Charles Dixon is by using an example. Let me begin with a story from back when I was a young buck, calling him as TJ’s DJ’s Record Pool music director to request vinyl servicing. Since he was my contact at Columbia Records, I spoke with him on several occasions to build a relationship, but one conversation in particular stuck out.
During our exchange he explained to me the work that he needed to do on a Sunday. For me personally, I use that particular day to follow the Supreme guideline and try to rest. I was curious to find out why a vet in the industry, who’s been the link between some of the nation’s largest record labels and DJs, still needed to grind on a traditionally quiet day. He responded, “Because everyone else is still sleeping.” That captured the personality of Sir Charles. Always working hard to get ahead, but still taking time to educate. Here, Sir Charles Dixon was willing to take some time to educate Ozone readers about the politics of the music industry when it comes to the relationship between artists, DJs, record labels, and radio stations.
What are some of the record labels you’ve worked for?
I’ve worked for Columbia, TVT, MCA, and Tommy Boy, just to name a few.
How did you break into the game and begin to work for the major labels?
I started as a DJ. In 1990, I left WPGC, and although there have always been mixshows, it was a station that created the commercial mixshow format. I had a Saturday 7-midnight, fully Arbitron rated show in D.C. We went from number 22 to number 1 in the market in two and half years. After it went number 1, they put shows like mine on 40 different stations including New York’s Hot 97. From that background, I was brought in by the majors to manage DJs.
How are DJs perceived by labels?
DJs are perceived as entry level people to some labels. My first job was being a DJ. DJs are my specialty. I feel that DJs are on the cutting edge and are the doorway to the industry. The key to breaking a record is to take it from the streets to the mixshows to create a buzz. DJs are extremely important in developing an artists’ career from the beginning.
Why does it seem as if there is little difference between many of today’s DJs?
The problem is lately, there aren’t a lot of DJs breaking music. They are playing the same records waiting for someone else to break them. When I was coming up as a DJ in the early 80’s, we would try to break styles from others to find what was different and cover up the records so you couldn’t see what we were playing and couldn’t play the same record. Today, DJs are playing records that are only on the videos. DJs today are being constrained by their PDs, consultants, and playlists. Radio won’t let DJs be DJs.
Why is it important for a DJ to learn about the world outside of the booth?
A DJ should know what the PD knows, learn what he learns, and then you’ll have a better of understanding of where he’s coming from. You should learn about quarter hours, BDS, Arbitron and ratings so you have more power. Today, most DJs are lazy and just want a show to tell their friends and family. It’s not like it was ten years ago. BDS and Soundscan have affected the playlists. If a record was hot, we played it and weren’t concerned with BDS. Labels today are more concerned with first week numbers. Labels need to understand that just because you’re getting spin, that doesn’t mean that you’re going to have sales. You can have 1,000 spins on an overnight, but it doesn’t mean that you’re going to reach a large audience. Take the Lumidee [“Uh-Oh”] record, for example, that came out on Universal. It was one of the most played records last summer and had over 6-8,000 spins a week, but in the end it only sold about 30,000 records. So that proves that radio alone doesn’t have the impact. You must have a hot record on the streets through the DJ. When I was on TVT and promoted the Lil Jon “Bia Bia” record, we worked that song for ten months! That’s why TVT is successful, because they take time with their artists.
So what is the best way for a record label or an artist to utilize radio?
Why run to the radio straight from the studio before there is a solid base? All radio cares about is their listener base and Arbiton ratings. Get the record hot in the streets first, so when they do take it to radio, they look like geniuses. That’s how it used to be. Now A&Rs take the records straight from the studio to the air, then when the record doesn’t test well because nobody has heard of it, the station pulls it off of the air. Plus, radio never goes back on a record because they feel like, “You tricked me once and the record’s not hot.” When a record takes the time to become hot, they won’t believe it because they tried it already and don’t want to be wrong. Radio is about playing commercials, they don’t care about the music because they make their money through commercials. If the same song that’s played keeps you listening, then they’ll continue to play it. Radio is used to discover records already hot, not break records.
Do you see any artists that are hot on the horizon?
In Orlando, I really like Apollo Kreed. Down in Miami, I think that Jacki-O is one hit away from being a superstar. She has a tight flow and she’s got the body to back up all of her sexy-style lyrics. And Cipha, I think he’s set to become the next don of reggae music. His voice is incredible.
So what projects are you currently working on?
Right now, I’ve started my own marketing, promotions, and production company that’s called Sir Charles Entertainment Productions, LLC. Having my own company allows me to have more of a neutral position to better help achieve a common goal. Today, people have sold out on originality in exchange for a quick turnover. Back in the 80’s, we were original, but it seems like the industry works on a twenty year rotation. What was hot twenty years ago is beginning to resurface now. I’m looking for the new trends that will come from the streets. I’m doing this to be a pioneer and innovator, not just to do it. Plus, I also have a live hip-hop/R&B mixshow on Music Choice through Direct TV and Digital Cable that reaches a customer base of over 35 million listeners.
What’s the best way for someone to get in contact with you?
They can email me at SirCD@aol.com or call me at 201-816-8607.
Ozone Magazine is the Southern Voice For Hip Hop Music reaching over 120,000 readers every month. For more info, visit Ozonemag.com.
Message Sir Charles Dixon and Keith 1st Prophet Kennedy and tell them what you think.
September 07, 2004
Word On The Street
What'z Up Wit Cha? - Alexander O'Neal
"Alex, Alex Baby! What'z up wit cha?" That's what I planned to say but once I heard that sexy, seductive voice on the other end of the phone, it quickly changed to "May I speak with Mr. O'Neal please?" I
What'z Up Wit Cha? - Alexander O'Neal
"Alex, Alex Baby! What'z up wit cha?" That's what I planned to say but once I heard that sexy, seductive voice on the other end of the phone, it quickly changed to "May I speak with Mr. O'Neal please?" I got nervous as hell because I realized just who I was talking to. On the other end of the phone was an "All True Man" whose songs have occupied my cassette deck and cd player for more than a decade. To no surprised, he was a very sweet, personable man who was more than willing to talk to me about yesterday, today and tomorrow.
Another milestone was crossed by Alex on August 24, 2004 when Tabu/EMI Records dropped "Greatest Hits", a compilation with 15 of Alex's songs. Cuts like Fake, Criticize and What's Missing are included as well as the huge duet songs he made with Cherelle.
I began by asking Alex what this "Greatest Hits" compilation meant to him in terms of accomplishments. "It's a great thing!" He replied. "It's great to be working with a major record company as well was with Clarence [Avant]". Clarence, the history making innovator who made Tabu Records a household name. He was very influential on the careers of Alex, Cherelle, Jimmy Jam, Terry Lewis and the SOS Band just to name a few. "Mentor", was the word which Alex used to describe Avant. "He's a mentor".
Being so much more than a vocalist and performer, Alex was very smart about surrounding himself with individuals who could enhance his gift. "I didn't use to like my voice". He said modestly. "I felt it was too nasally but soon I learned to appreciate its uniqueness." After a brief stint a lead singer for (believe it or not), The Time, Alex embarked upon a solo career, never cutting his friendship and ties with fellow band members Jimmy Jam & Terry Lewis.
We all know how those Brotha's can write their asses off but what I was most curious to know was if the duo wrote all of those hits to fit his style or was his style predominately developed out of their writing? "My style was created from a combination of a few things." He replied. "At the time, the Minneapolis music scene was huge and Jam & Lewis had the same feelings about the music which made it easier for them to write. There were songs that they wrote especially for me because they understood my style and what I was about musically."
Now don't get it twisted. Even Alex said that "a lie's not the truth unless you believe it" so don't believe the hype that he's not still doing the damn thang. He's been touring over seas and domestically, he's stared in the hit gospel play "Guilty Until Proven Innocent," he's been raising his 8 children, and working on a new project. "I have a new deal with EMI and I'll be working again with Clarence, Jam and Terry." I don't know about you, but I can't wait for that. With so many attributes under his belt, I asked him if there were any plans for a biography. "Maybe at some point, but not just yet. There's so many more things that I'd like to do before I write a book."
Reflecting upon all of the changes in music within the last 10 years or so, I asked him his feelings about R&B music today. "The young generation is doing a great job of keeping the tradition going". He answered. "Hip hop adds excitement to the music. Usher is bad and his album is one of the best albums that I've ever heard. Every song is good. I like other artists like Beyonce & Joe as well."
I interjected with my two-cents at this point of the interview with the comment that if Alex and all of the other mature R&B artists that we love so much had the avenues like the internet, videos and cable music channels to rely upon like Usher, Beyonce and Joe there's no telling where their careers would be to date? Michael Jackson was one of the only artists lucky enough to jump on that band wagon. "You're right!" he agreed. "The support is there for them. We weren't allowed to cross over. They wouldn't allow us to sell our music like that and cross over. We had barriers."
Finally, I played a little game of word association with Alex. I told him that I would call out a name and I wanted him to give me one word to describe the person and here is how he responded:
Alexander O'Neal? And he replied "Consistent."
Prince? And he replied "Misunderstood."
Cherrelle? And he replied "Adorable."
Bobby Z? And he replied "Genuine."
What makes our word association exercise so unique is that most of the words that he used to describe others, we his fans use to describe him. Alexander O'Neal is a genuine Brotha with an adorable talent who consistently makes hits with many more to come.
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AAPRC Weekly: Phill Wilson
Phill Wilson
Black AIDS Institute
Phill Wilson is a marathon man––literally and metaphorically. The former high school runner
Phill Wilson
Executive Director
Black AIDS Institute
Los Angeles CA
Phill Wilson is a marathon man––literally and metaphorically. The former high school runner returned to his old sport in 1999 and started training for marathons. "When you run a marathon you literally run it one step at a time," Wilson explains. "The thought of running 26 miles is overwhelming, but the thought of making just one more step is something that most of us can always do."
The marathon philosophy––one step at a time––is a theme Wilson puts into practice everyday. The writer and activist has lived with HIV, the virus that causes AIDS, for 24 years. He has had fullblown AIDS for 14 of those years. In spite of the fatal reality of his status, his diagnosis has never been an ending. In fact, for Wilson, the diagnosis was just the beginning.
Wilson was infected in 1980, but there was no such thing as an HIV test. He didn't get an official diagnosis until 1985, but he began to suspect his status long before then. "AIDS was much, much more frightening then because during those days people were often dead in three months," Wilson recalls. "A long time survivor was someone who lived nine months."
What was just as upsetting to Wilson was the attitude in the 1980s that HIV/AIDS was a White, gay male disease. Even before his own HIV status was confirmed, Wilson never bought into that. "I remember the saying that my grandmother used…'when White folks get a cold, Black folks get pneumonia,'" says Wilson. "I knew that if this was a disease that was killing White folks, and people like Rock Hudson were getting the disease…and rich folks, then it was going to be really, really bad for us."
Unfortunately, he was right. Today African-Americans and Latinos make up 66 percent of all new AIDS cases in the U.S. Among women, African-American women make up 73 percent of new HIV cases. Among children with AIDS, two-thirds are African-American. Many find the statistics shocking, but none of the 21st century numbers is a surprise to Wilson. Twenty years ago, Wilson was working with a group that urged the Centers for Disease Control (CDC) to publish HIV/AIDS data by race. When he saw the numbers, Wilson realized that African- Americans were already being affected in significant numbers. "We represented 25 percent of the AIDS cases as early as 1984," says Wilson. "Today people are talking about the changing face of AIDS, but Black folks have always been disproportionately impacted."
Starting in 1990, Wilson, who had majored in fine arts and Spanish literature at Illinois' Wesleyan University, took on a number of public policy roles related to the struggle against the disease. From 1990 to 1993 he served as the AIDS coordinator for the City of Los Angeles, and was director of policy and planning at AIDS Project Los Angeles from 1993 to 1996. He was co-chair of the Los Angeles County HIV Health Commission from 1990 to 1995, and was an appointee to the HRSA AIDS Advisory Committee from 1995 to 1998.
"I grew up in the housing projects on the South Side of Chicago. One of the things that I learned from that experience is that we cannot survive unless we are actively engaged in our own survival," says Wilson of his fervent devotion to activism. "I was born in 1956 in an America that was totally intolerable for Black people. So we knew that the world had to change and it would not and could not change without our proactive aggressive participation."
Wilson's efforts in the struggle against HIV/AIDS came to a halt, briefly, in 1996, when his disease surged forth and nearly killed him. "By 1999 I had gotten considerably better and I felt it was time for me to go back to work," he recalls. "As I looked around to see what was the state of AIDS in America at that point in time, what I saw was that, in the intervening years, there had been progress in some communities, but there had been very little progress in the Black community."
So Wilson founded the Black AIDS Institute, the only Black HIV/AIDS think tank in the United States. The Institute is devoted to stopping the HIV/AIDS pandemic in Black communities. It develops public and private sector HIV policies, conducts training, offers technical assistance, disseminates information and provides advocacy from a uniquely and unapologetically Black point of view.
His work with the Institute has taken Wilson and his message about HIV among African-Americans across the globe. He was the coordinator of the International Community Treatment and Science Workshop at the nternational AIDS Conferences in Geneva, Switzerland, Durban, South Africa, and Barcelona, Spain.
In 2001 Wilson added the title of columnist to his resume, writing three monthly columns––all of which focus on AIDS and health as it impacts Black people. One column appears in Plus magazine. The second is syndicated through the National Newspaper Publishers Association, and carried in about 55 Black newspapers around the country. The third column appears monthly on the website, www.blackaids.org. "I talk about stigma. I talk about rejection. I talk about self-esteem and about self-love and about accountability and responsibility," says Wilson of his editorial writings. "My columns give practical advice on how to protect yourself from HIV, and how to take care of yourself should you become infected."
Wilson's writing also has been published in the Los Angeles Times, the New York Times, the Los Angeles Weekly, Essence, Ebony, Poz, PLUS, VIBE, Jet and Arise.
His efforts and undaunted spirit have earned him recognition both nationally and internationally. Among the many awards and honors is one from The Ford Foundation which identified Wilson as one of Twenty Leaders for a Changing World (2001). He was a member of the U.S. delegation to the 1994 World AIDS Summit in Paris, and has worked extensively on HIV/AIDS policy, research, prevention, and treatment issues in Russia, Latvia, the Ukraine, the UK, Holland, Germany, France, Mexico, South Africa, Zimbabwe, Zambia, Tanzania, and India.
"I count my blessings. I have been living with this disease for a long time and not everybody was able," says Wilson. "So I have a responsibility to do everything I can to stop this disease. It is my job to urge other Black folks to do the same. I have a family that loves me…I'm very lucky that I have not once ever had to use critical human and emotional resources to deal with family rejection…Sadly, one of the reasons why Black people with AIDS die so much quicker than White people with AIDS in this country is because too many of us have to deal with the rejection or the potential rejection or the fear of rejection by our family."
In his free time, Wilson spends time with his family, goes running and relaxes in his garden, tending roses and gathering the energy to keep going. His struggle is daunting, but he's not disheartened. He's not stopping. "The whole point of running a marathon, for me, is symbolism for how you fight the AIDS epidemic," says Wilson. "A marathon is not a sprint. The AIDS epidemic is not a sprint."
One of your columns runs in African-American newspapers around the country. In light of the reputation that the African-American community has for shying away from the issues surrounding HIV/AIDS, what do you think of the responses you're getting from your readers?
I've been pleasantly surprised at the response my columns have received. It's been my experience that Black folks want to know about HIV/AIDS. My readers don't seem to be afraid of the issue. And thankfully, the National Newspaper Publisher's Association papers (the distributor of one of my columns) is not shying away from running the column. I'm in about 50 Black papers across the country now.
Do you have an ultimate goal in mind in terms of what you hope to accomplish with your columns?
My goal in everything I do is to bring about the end of the HIV/AIDS epidemic in Black communities. We can stop AIDS dead in its tracks, but we each have to do our part. I'm just trying to do my part.
You have three different columns, all of them centered around HIV/AIDS. Do you have an established criteria for topic selection? What's that process like for you?
I usually begin with what's topical. I go from there to how I'm feeling. Finally, I think about what's pissing me off at the moment. In the end, I blend those three ideas and figure out how to motivate my readers to do something. When Black women are 20 times more likely to have AIDS than White women and 15 Black men die from AIDS everyday, each of us needs to be doing something everyday!
As someone who is living with HIV/AIDS, how much of your own life ends up in your writing? How protective are you of your privacy?
On some level every column I write is personal. I'm like the guy on the "Hair Club for Men." I try to be both the commentator and the subject.
The 15th International AIDS Conference recently took place in Bangkok. How did the Black AIDS Institute take part? What do Americans, particularly African-Americans need to know about what's happening with HIV/AIDS globally?
The Black AIDS Institute was the leading, actually, we were the only Black American voice from the Bangkok AIDS conference. There were less than twenty abstracts with "African-American" in the title. That's out of nearly 6000 abstracts. Not one oral presentation (the most prestigious presentation) was about the African-American epidemic. Think about it African-Americans represent over 54% of the U.S. epidemic and we were virtually "blacked out" of the most important AIDS conference of the year. I think the message for African-Americans has to be "get a grip." This disease is having its way with us and we aren't even in the game. At the rate we're going, the AIDS epidemic will be over in Africa long before it is over among African- Americans. Soon African leaders are going to be talking about all the Black AIDS orphans in the United States.
If you had to give the current U.S. administration a grade on its policies regarding HIV/AIDS, how would it fare? Why?
I think the administration deserves some props on the global front. They've fallen short on delivery, but I do think they are at least making an effort on the global stage. On the domestic front, the current U.S. policies are a complete failure. Prevention efforts are being undermined; flat funding for treatment and care is causing a total collapse of the HIV/AIDS health delivery system. Inappropriate emphasis on abstinence only and total rejection of funding for needle exchange programs are resulting in the loss of Black lives.
From your perspective as an activist who's been involved with the struggle against HIV/AIDS since the very beginning, what are you most optimistic about?
I'm optimistic because I know we can stop this epidemic. Failure is not an option. We have the tools to bring HIV/AIDS to its knees. The question is do we have the will, compassion and love of self, to use those tools effectively.
As someone who's on the forefront of the struggle with HIV/AIDS in the African-American community, what would you say is the most important issue on the table?
In a word, the most important HIV/AIDS issue facing African-Americans, is mobilization. HIV/AIDS is the most devastating health threat of our times, and we are not mobilized to fight it. We need to mobilize young people, especially students on Historically Black Colleges and Universities (HBCU) campuses. We need to mobilize Black women. We need to mobilize gay men. We need to mobilize straight Black men. Each and everyone of us can do something, and each and everyone of us must do it.
What's one thing individuals can do, right now, to effect positive change?
Individuals can do four things:Get informed. What you don't know can kill you.Get tested. Knowing your HIV status and that of your partner can save your life.Get treated. HIV/AIDS is not the automatic death sentence it once was. Treatments are available. But you have to know your HIV status in order to get treated.Get involved. Black AIDS organizations are dying on the vine because Black people are not stepping up to the plate. The Black AIDS Institute, along with the Balm in Gilead, the National Black Leadership Commission on AIDS, Outreach Inc., and others are calling for the first national mass Black AIDS mobilization. Every Black institution in this country needs to make HIV/AIDS a top priority. Every Black leader needs to be talking more about HIV/AIDS.
Tell us one thing people might be surprised to know about you.
I've been living with HIV for 24 years and full blown AIDS 14 years. I'm a marathon runner.
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
Message Phill Wilson and the AAPRC and tell them what you think
September 03, 2004
AAPRC Weekly: Gil Robertson
Gil Robertson
The Robertson Treatment
If you think those Horatio Alger stories, the "pull yourself up by your bootstraps" sort, don't happen
Gil Robertson
Syndicated Columnist
The Robertson Treatment
Atlanta GA and Los Angeles CA
If you think those Horatio Alger stories, the "pull yourself up by your bootstraps" sort, don't happen anymore, then meet Gil Robertson.
In 1992, Robertson, who graduated with a bachelor's degree in political science from Cal State Los Angeles, was working with Possenberger Associates, a Santa Monica political consulting agency. But his heart wasn't in it. Robertson wanted to write and decided he would start as an entertainment journalist, hoping to create a name for himself before making the transition to author. He began making calls to national magazines in Los Angeles and New York that he knew used freelancers. Problem was––this is the "nothing but his bootstraps" part––he had no clips, not one. Needless to say, things didn't go well, but Robertson regrouped and quickly realized he'd have to start with publications outside of the top two media markets.
His first story was published in the Tri-State Defender, the largest African-American newspaper in Memphis. After that, Robertson was able to get regular assignments from national publications like Rap Pages and Class magazine and quickly amassed a file of glossy clips. By 1993, Robertson's byline could be seen in the pages of The Source and Word Up!, and in 1994 he was named urban editor of Cash Box magazine, a music industry trade in Los Angeles. That same year he also took on duties as urban music editor at another trade, Music Connection.
In just two years, Robertson had built a successful career in entertainment journalism, but he still felt he wanted to do more with his writing. Robertson expressed his frustrations to his father. "My father suggested that I start my own column and syndicate it," says Robertson.
The idea had some appeal, and in true Robertson fashion, he simply made it happen. "By that time I had already started attending NABJ conferences and gotten friendly with more than a few editors and publishers," Robertson says. "So, taking my dad's idea, I reached out to those people and they agreed to carry the column. We started in November of 1996 with 12 papers, all of which are still with us today."
The bi-weekly column, which he dubbed "The Robertson Treatment," is an arts and lifestyle piece that today is published in some 30 African-American news weeklies nationwide. Robertson's first column was a profile of the actor Sam Jackson and his role in the film "Eve's Bayou." "The Robertson Treatment" has gone on to feature everything from travel to profiles on artists of color from around the world. "I've always taken it upon myself to not always deliver the most obvious story," says Robertson. "Very often I have featured people who otherwise wouldn't have gotten that level of exposure. Folks like Susanna Baca from Peru…I've done spotlights on several Brazilian and Colombian artists. I mean a lot people don't even know there are Black people in Peru. I've always used my work as a journalist as a way of educating, as well as entertaining. I actually expand people's world."
As early as the mid-1990s, Robertson's own world had begun to expand. While out on the entertainment industry party circuit, Robertson was often approached by publicists seeking his advice on getting their clients more exposure. After awhile he couldn't ignore the fact that he was doling out a lot of free advice. The entrepreneur in him thought it only made sense to get some clients of his own. His first was a rap group out of Sacramento. So, in addition to his job as an editor at Cash Box, Robertson was the head of his own public relations venture.
Robertson Treatment, LLC was formed in 1997 and the company's media relations clients have included Viacom, Clear Channel and Paramount Television, as well as major league baseball's Tony Gwynn, music producer Quincy Jones III, actress Elise Neal and author Omar Tyree. In spite of the fact that he has a foot in two worlds––journalism and PR––Robertson has never felt the two were at odds. "You can count on one hand how many times I've actually written about my own clients," says Robertson. "A lot of people initially were sort of skeptical, and felt that I was treading on some type of impropriety. But I've always kept the two worlds fairly separate."
In 2003, Robertson, with seven years worth of celebrity profiles under his belt, decided the column needed a fresh approach. "Once you've spoken to someone time and time again, it gets to the point where most of your conversation is about their family or about just catching up and not about the project," says Robertson of his years of interviewing celebrities.
Turning on the Robertson ingenuity once again, he made the column a non-profit entity and now shares writing duties with up-and-coming journalists looking to get more exposure––a situation he understands all too well. "I like for them to be young, spirited and energetic. I like for them to have ambition," says Robertson of the writers he works with. "When they're writing a story for us, I work very hands on in making sure they grasp all of the elements of creating a good story and that they include those things in their final draft."
These days, Gil Robertson is a busy man with offices in Los Angeles and Atlanta, where he recently bought a second home. As a journalist he has written more than 50 national magazine cover stories, from publications such as Savoy, Today's Black Woman (TBW), Black Elegance, Entertainment Today, Upscale, Heart and Soul and many more. He is also realizing his dream of becoming an author. The enterprising Robertson has self-published Writing as a Tool of Empowerment, a guide on how to succeed in the media marketplace. Plus, during this month's NABJ conference in Washington, DC, Robertson and fellow publicist Karen Taylor are launching the workshop series "Creating an Independent Brand" at the National Press Club. As a featured expert, Robertson appears regularly on NPR's "Power Point," as well as on "The Tavis Smiley Show" and "E! Entertainment."
Your column, The Robertson Treatment, has actually become a collaborative effort now that you share writing duties with some of the journalists you mentor. What prompted this transition?
Well, Robertson Treatment Syndicated Column (R.T.S.C.) is not exactly a collaborative effort, but represents more of a growth avenue for media professionals. After authoring the column solo for its first five years, I recognized the dual function the column could provide serving as a source of information and entertainment to readers and also a training ground for journalists to expand their abilities as writers. As a lifestyle column, R.T.S.C. provides developing writers with access to A-list talent across a broad base, and provides them with a byline literally seen by millions of loyal readers.
The Robertson Treatment is syndicated in African-American newspapers around the country. Has working exclusively with the Black press been a conscious choice on your part?
Absolutely!!! According to my media partners, R.T.S.C. brings tremendous value to their goals of delivering access to a cross section of interesting personalities. It's very heartening to know that R.T.S.C. brings that level of value that our media partners appreciate.
What are readers getting in your column that they aren't getting anywhere else?
Exposure to the world… From Black Peruvian singer, Susanna Baca and Cape Verdean diva Cesaria Evora, to destinations like Brazil, Figi and Rome, Olympic athletes, political leaders and more, R.T.S.C. expands minds and delivers to its readers the vast possibilities that exist for them in life.
What aspect of your work are you most proud of?
Being able to provide a platform for others is what I'm proudest of…The column has been the source of tremendous opportunity for the more than 50 writers who have used clips from R.T.S.C. to further their careers.
What's been your greatest challenge?
In general I don't see challenges in life, only opportunity…However, some of my greatest headaches are presented by media professionals who place a higher premium on reaching mainstream readers instead of the loyal African-American audience that my column serves.
Are there projects on the horizon about which you're particularly excited?
Many!!! My growing activities as a lecturer presents tremendous opportunities for me to expand and entrench my brand. My growing career in books also keeps things very busy in my offices.
What's a typical day like for you?
Well, I'm usually at my desk by 9:00 a.m. (EST) and begin my day checking emails, banking records and notes from the previous day. The phone usually starts ringing by 9:15 a.m., and after that the day moves along with a constant rhythm that I must admit is addictive. On any given day I will interact with R.T.S.C. media partners on a variety of projects and issues; deal with publicity pitches that come out of my office; coordinate lectures with faculty representing high schools and universities across the country; negotiate with corporate marketing departments over sponsorship activities related to my various academic outreach activities; and deal with pitches from the many publicists seeking placement in my column. My days always deliver a real big buzz.
Is there a professional in journalism or media who has inspired you?
I am inspired by all of my colleagues who each day demonstrate creativity, enterprise and resilience against incredible odds.
You wear a lot of hats in your career––journalist, media consultant, author, workshop leader. What's the ultimate goal?
To helm a viable and sustainable media brand that delivers value to the masses.
Tell us one thing people might be surprised to know about you.
Most people would be very surprised to know that I am very shy and introverted. While I certainly know how to rise to the occasion in order to handle or manage a situation, I really do enjoy my own company and I very often find it difficult to transition into the type A personality that most people associate with me.
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
Message Gil Robertson and the AAPRC and tell them what you think
The Herbert Holla
Herbert's Hot Picks
fri(03): starfoods - thank god it's freedom - the illest - see gigs below!
fri(03): frying pan - nickodemus/mariano/guests - house/brazilian/new dance music
Herbert's Hot Picks
wed(01): 17 - herbert - hiphop/r&b/reggae/rock/80s/classics
wed(01): cielo - louie vega/kevin hedge - soulful house
wed(01): apt - rich medina - soul/afrobeat/old school/funk/classics
wed(01): table 50 - nickodemus/osiris - house/soul/brazilian/afrobeat
wed(01): angel bar - scratch famous/teflon - reggae
wed(01): bOb - rholi rho/5th platoon - hiphop/r&b/reggae/80s
wed(01): lotus - ani quinn - hiphop/r&b/80s/rock
wed(01): aubette - qool marv - soul/funk/r&b/old school/house/afro/world - 8 to 2
wed(01): suede - frank delour - hiphop/r&b/rock/80s/house
wed(01): madame x - jon oliver - soul/rock/rare grooves/rare sounds - 8pm to 1am
wed(01): canal room - dj synapse - soul/funk/hiphop/reggae/r&b - live music stuff
wed(01): nuyorican cafe - all that! legendary open mic/live music event - GO!
wed(01): delancey lounge - cosmo baker/dj eleven - soul/funk/reggae/hiphop/80s
wed(01): afterwork/rumor - snatch 1/m.o.s./self/kaos - hiphop/r&b/reggae/classics
thu(02): guernica - blessed/reborn/selly/monica pineda - soul/funk/house/hiphop
thu(02): table 50 - q tip/mark ronson - hiphop/rock/soul/funk/classics
thu(02): ruby falls - stretch armstrong/jus ske - hiphop/r&b/rock/80s
thu(02): black betty/bk - monk one/emskee/cosmo baker - soul/funk/classics/disco
thu(02): spirit - dj kid capri/dj soul - hiphop/r&b/reggae/classics
thu(02): sullivan room - goldie/burner bros/mc armania - jungle/broken beats/etc.
thu(02): sob's - rekha/eddie stats - basement bhangra music, son-n-n-n
thu(02): quo - crooked - funky house/hiphop/80s/rock
thu(02): demerara's - qu/p-funk/doc - house dance conference/hiphop/breaks
thu(02): suede - ani - hiphop/r&b/reggae/80s/rock
thu(02): canal room - mad linx - hiphop/r&b/reggae - high fashion
thu(02): afterwork/jade terrace/china club - kevin lyttle live!!! - guest djs
thu(02): afterwork/ole/pavonia/nj - dj mark. t/aldo - house/80s/dance classics - 5
thu(02): afterwork/manhatta - dj eleven/mOma - soul/hiphop/classics
thu(02): afterwork/kanvas - dj sweets - hiphop/70s/80s - 6PM
fri(03): starfoods - thank god it's freedom - the illest - see gigs below!
fri(03): frying pan - nickodemus/mariano/guests - house/brazilian/new dance music
fri(03): union square lounge - marlon d/guests - deep house
fri(03): ruby lounge - dj ola - hiphop/funk/reggae/classics/80s/r&b
fri(03): show - crooked - hiphop/reggae/80s/rock/house
fri(03): circle line cruise - louie vega/lou gorbea - deep soulful house
fri(03): piano's - small change/guests - crazy vinyl/rarities/soul
fri(03): spirit - louie devito/big ben/lucho - trance/hiphop/r&b/reggae/latin
fri(03): open air - evil d/butta l/mr. walt - hiphop/soul/80s/reggae/old school
fri(03): luahn - reborn/mary mac/guests - hiphop/r&b/reggae/deep house/classics
fri(03): lot 61 - dj soul - hiphop/r&b/reggae/classics
fri(03): joe's pub - guest djs - hiphop/r&b/reggae/classics/old school
fri(03): 337 w. broadway/grand - soulfinger sam/boodakhan - soul/r&b/rap/reggae
fri(03): mouton - dj carol c/neil ochea on drums - brazilian beat/house/classics
fri(03): viscaya - ody rock - hiphop/rock/80s/old school/r&b
fri(03): autumn skate bowl/67 west st/bk - premier/green lantern/live art - 8pm
fri(03): etoile - ski-hi - hiphop/r&b/reggae/classics
fri(03): crobar - whitmore/exact/todd mallis/lee kalt - house/hiphop/80s/r&b
fri(03): eugene's - kulcha - hiphop/r&b/reggae/classics - happy b-day, envy!!
fri(03): m1-5/52 walker street b/w broad + church - j-zone/gregg nyce!
fri(03): fashion 40 - paris/john quick/stylz - hiphop/reggae/caribbean
fri(03): flo - john davis/guest djs - house in basement-hiphop upstairs
sat(04): spirit - herbert/jonathan peters - house/hiphop/r&b/reggae/80s
sat(04): diplomat/23rd + fdr - summer boat boogie - cosi - rsvp me now!!
sat(04): rehab - dj cosi (see freedom)/stimulus - hiphop/r&b/reggae/classics
sat(04): mission - stormin normin - hiphop/r&b/reggae/classics
sat(04): 40/40 - rahlo/k.o. - hiphop/r&b/reggae/classics/80s
sat(04): chetty red - van vader/guests - hiphop/r&b/reggae/classics/old school/80s
sat(04): sullivan room - francis harris/billy velin/hipp-e - house
sat(04): southpaw/bk - eleven/ayres/cosmo baker - old school/classics/reggae
sat(04): coral room - sureshot - hiphop/r&b/80s/rock
sat(04): strata - ody rock - hiphop/rock/80s/old school/r&b
sat(04): viscaya - ani quinn/aphrodita? - hiphop/r&b/reggae/80s/rock
sat(04): birdland - lynne arriale trio - jazz piano - http://www.birdlandjazz.com
sat(04): jazz gallery - jonathan blake quartet - http://jazzgallery.org
sat(04): royale/bk - rich medina/osiris - afrobeat/afrofunk/afrohouse/afrosoul
sat(04): etoile - goldfinger/precise - hiphop/r&b/reggae/classics
sat(04): shelter - timmy regisford - deep deep deep deep house
sat(04): plaid - big ben/peter parker - hiphop/r&b/reggae/classics/80s/house
sat(04): pm - crooked - hiphop/80s/rock/disco/house/reggae
sun(05): idol - herbert - soul/funk/reggae/r&b/classics/old school/house/80s
sun(05): fez uptown - marc smooth/guests - rare groove/soul/hiphop/reggae/classics
sun(05): 337 w. broadway/grand - soulfinger sam/boodakhan/cosi - everything funky
sun(05): joe's pub - evil d/mr. walt/butta l - old skool
sun(05): lotus - goldfinger - hiphop/80s/r&b/rock/old school
sun(05): 32 newark st/hoboken - lou gorbea/great guests - house music - happy born
sun(05): table 50 - rich medina/cucumber slice - soul/funk/afrobeat - 8 to 1
sun(05): pravda - dj obah - soul/funk/old school/afrobeat
sun(05): taj - derrick spaulding - hiphop/rock/classics/house
sun(05): plaid - dj will/dj self/black terror sound - caribbean music madness
sun(05): cielo - rekha/darshan jesrani/falu/live visuals - bollywood disco!
sun(05): lq - snatch 1 - hiphop/r&b/reggae/classics/caribbean of course!!
sun(05): soho 323 - todd mallis/sal morale - hiphop/rock
sun(05): eleven - sid l/vaga/sabo/nappy g on drums - afro/latin/brazilian house
mon(06): eastern parkway - west indian parade - watch out for the big wheels!!!
mon(06): apt - cucumber slice - soul/funk/rare grooves/latin/uprock/old school
mon(06): cielo - francois k - future dub/space vibes/abstract grooves (aka house)
mon(06): joe's pub - eleven/cosmo baker - rick james tribute/soul/funk/rock
mon(06): pravda - dj obah - soul/funk/old school/afrobeat
mon(06): sway - guest djs/nyc style fashion and art - hiphop/rock
mon(06): 46 grand - dj o - street music, ya heard!
tue(07): joe's pub - guest djs/live performances - soul/funk/classics/hiphop
tue(07): sapphire lounge - eman/lola - house/deep grooves
tue(07): lobby - will/self - hiphop/r&b/reggae/classics
tue(07): mission - dj hud/mc frank jugga - hiphop/r&b/reggae/classics
tue(07): table 50 - swamy/john creamer/david vasquez/guests - house
tue(07): apt - champion soul/jamez nylon/mkl/spy music/roughstars live - soul
tue(07): coffee shop - emskee - underground/abstract/beats/rhymes - 9 to 2
tue(07): afterwork/aubette - snatch 1 - hiphop/r&b/reggae/soul/classics - 6:30PM
Herbert's Heard
"You Got the Love" -- The Source (Still. Until I find it and play it 100 times.)
"Sensitivity" -- Ralph Tresvant (Killed 'em at Freedom.)
"I Like" -- Guy (Ditto.)
"If It Isn't Love" -- New Edition (".)
"Dial My Heart" -- The Boys (See above.)
Word As Bond
Wassup everybody. How are things? Good? That's good. Things are really good for me because I whipped my cousin's ass in ping pong! That's right, y'all. Team USA (me) and Team Israel (my cousin Yoav) have been at it for a very long time, ever since the '80s when I my dad bought me a ping-pong table for my 14th birthday. Whenever my cousin came into town, he always put a pretty hard beating on me. He had some type of Middle Eastern twang, kind of like the Chinese style of gripping and hitting, but more like a remix on that style. Alas, every summer, I lost to this monster of a ping-pong player. But not this Summer! This Summer Herbert won the gold and brought the glory back to the States, and oh what a great win it was! My cousin was cursing and yelling at me, and then things got really heated and he started making fun of me and wacking the ball at my head on purpose, and then he ended up taking his shirt off he was so heated and pissed, only to be reprimanded by the Chinese owner of the joint (who was probably already pissed of he was jacking the Chineses style) who came over and said "Put shirt back on please."
Hahahahha. Sorry, Yoav. Not this time, bit*h!! And that goes for any of you out there who thinks you can take me, the 1984 Jewish Community Center Teen Champion, the 1985 Camp Nock-a-Mixon Summer 5th Grade Champion and the 1987 Nevele Ski Resort Christmas Season Champion (I got all the trophies to prove it, punks). bring it on!!
Now ... before I get into my MTV Video Music Awards review, let's talk about Freedom. It was a dead weekend, they said. People skipped town to get away from the National Republican Convention, they said. There are like 5 other events going on, not-to-mention it's one of the last weekends of the summer, they said they said. I say "nonsense!" (Oooh that's mean.) Freedom was packed!!! As always!!! As usual!!! There was a ridiculous amount of girls there for most of the night, and you know Herbert had to play "Sex Shooter" (the song, sweetie, the song. Not me, I'm didn't play sex shooter, it's the name of the song. You know I love you and you alone, okay?) and all the Janet Jackson and Prince and all that sexy '80s.
You know what? Our party's so dope, we even had somebody in there who--get this--tried to sabotage our party by pulling out a speaker cord. And when all that sound was redirected to one speaker, and that speaker blew, we thought it'd be a wrap, cuz all we had was this one clock-radio monitor from my mom's basement Cosi and I use to mix ...but no!! People just sang the whole song, lifting their voices to the heavens, singing out loud like they never did before, because they love music, and that's what this party is about. F your models, F your new Nike airs, F your studded leather wrist bands and your sport coat over jeans and come down to Freedom and free your soul, free your mind, free your tushes! It's the illest party. Don't front. Stop lying. Don't be a ... a ...419. Yeah, I said it. Herbert had a long, serious discussion with a Nigerian cab-driver and he told me what's what. 419 means a fake, a charlatan, a phony, a mountebank! I.E. you if you don't come to my party because you wanna hear "Yeah" 100 times and watch people dance to it in the VIP section.
Saturdays has also been outstanding at Social Club. Though I won't be there this week, the party still rocks ridiculously. And it's all females to begin with, thanks to the promoter making it ladies free before midnight and open bar till 11, so fellas, put down the Playstation 2 controllers and come out and buy some drinks and do something with yourselves!
Now onto the Video Music Awards. I love MTV, I grew up on it, learned all my hot dance moves from it, and I mean that, so please don't start calling me a hater or some counter-culture freak when I say this: This year's VMAs sucked pretty bad. The performances, the hosts, the crowd, the venue (barely even a stage). Maybe it was Miami, and that's how it is (all you need is a catwalk down there, I guess), but I don't know. It was just ... well ... poor. There was weird things going on with the editing, if you noticed. Like, when those "pop culture ambassadors" (the people MTV hired to go crazy in front of the stage) held up the Usher cards. Did you notice what happened when their arms grew tired? Some PA ran by them and poked them with something and they put the cards back up. Crazy. And what's with all that camera time for ... Bruce Willis? Huh? I mean, I love the guy, 'cuz he's the only guy out there with a head bigger than mine, but ... what? Maybe he's got a movie coming up that MTV's involved with financially. That might be it. That might also be the reason they played a snippet of Mase's new song, because that ish ain't that popular. But business is business I guess. Ya know?
Props to Will Smith's agent--he was the only star that "looked" like he still listens to rap music. Everyone else was in button-downs and slacks. And then, of course, there's La La. I still don't know what the F she be saying when she be saying what she be saying. It all comes out like ... like ... blah-blah-la-la-la (maybe that's where she got her name). Just slow down a little bit, girl, lemme hear what you gotta say. Now what about Jessica Simpson. Did you hear her?? What was she on? Was she drunk? Was she sick? Did she suck on some helium for fun prior to her piece? I mean, that ish is fun. We all did it once. Suck on a little helium and then say "hey guys, what's going on" in an Alvin and the Chipmunks voice. All I know is, she has a good voice, but she messed it all up somehow. And who's JoJo? Okay, okay, so Alicia messed up and said "ethniticity." Ish happens. You can still be edumacated and mess up a word or two, so who cares. She did her thing next to Stevie, and I salute her for it. But why did Sway have to beg the audience for a standing ovation for Stevie? Did you notice they didn't even give a darn he was there? And let's not even get into the Ray Charles thing. MTV had to zap those kids with the stick repeatedly to get them to applause for that number. Sheesh!
But hey ... at least we got Bruce Willis!
Honestly, I really ain't just hating. I ate MTV every night for dessert after the chicken and rice, the peas and carrots, alongside the apple sauce with little white medicine balls for good cocky (whoa ... went too far). I remember the first award going to the "Money for Nothin'" video and all that. I love and still, to this day, want my MTV. Just no side order of bad VMA, please.
Peace and farewell to DJ Mark T, a great DJ and even greater music lover and dancer. Nobody can jump as high as that fool during "Hot Music." We will miss you, and we do expect to visit you down South soon. Also big shout out to my girl for putting me on to this dope Lebanese restaurant on 15th and ... 7th, I believe? Food is damn damn good. And last, the #1 Protest Sign I've Seen This Week:
"Bush is pussy."
That's right. Bush is pussy, yo.
Peace, love, understanding, good health and no arguing,
Herbert's Gigs
tonight - the rich bi*ch party - 17 (37 West 17th St b/w 5th + 6th)
herbert's hired again for the hottest hump-day party in nyc!!!
hiphop/r&b/reggae/80s/rock/classic house by herbert, ya herb?
very exclusive - dress really really sharp - models/bottles/etc.
10pm - $20 - free if ya get a table!! - rsvp djherbert@earthlink.net
every friday - freedom - starfoods (64 e. 1st b/w 1st+2nd aves)
#1 funnest friday night dance party in nyc, son-n-n-n!
classic hiphop/soul/dancehall/80s/house/classic r&b/funk
$6 peach punch - food till 2am - dancing - come as you are!!
$5 before 2am, $7 after - rsvp djherbert@earthlink.net
this saturday - club spirit - vip room (530 w 27th b/w 10th + 11th)
huuuuge saturday night cameo for the herbster (filling in for riz!)
hiphop/r&b/reggae/reggaeton/80s/touch of classic house by moi!!!
look sharp - some big club steez - $25 - rsvp djherbert@earthlink.net
sunday - new gig - labor day celebration - idol (166 1st ave b/w 10 +11)
big stan's so f-ing cool new sunday night new york city style party - SERIOUS!
a mix of everything soulful, everything funky, with a touch of new hits
10 to 4 - guys $10/ladies free - free vodka 10-11 - rsvp djherbert@earthlink.net
believe the hype: http://www.bigstanco.com/laborday.htm
Message DJ Herbert and let him know what you think
September 02, 2004
Tech Sessions #14
Real Producers Vs. Beat-makers
Check it out, I was on a conference call the other day and an interested label party straight up asked if we were real producers or just beat-makers. Now at first I was semi-taken back. My answer was ‘we're
Real Producers Vs. Beat-makers
Check it out, I was on a conference call the other day and an interested label party straight up asked if we were real producers or just beat-makers. Now at first I was semi-taken back. My answer was quickly ‘we are producers. We see the record from start to finish.” After a second thought I came around and understood why dude answered the question.
And not to come at anybody too hard here but the truth is: there is a divide going down in the production scene. There really are a lot of cats who are coming up who really believe that their work is done when they get a beat picked off their beat CD.
In my mind, that doesn’t make you a producer that makes you a songwriter, collaborator, musical partner or whatever… pick a term. But dropping a hot beat by itself excludes you from being a serious producer.
Why? Well, look at cats like Dr. Dre, Quincy Jones, Timbaland, Roni Size, Rick James ( r.i.p.) and more recently (to name a few) Just Blaze, The Neptunes and Kanye West. Their work is or was not limited to executing the musical end of shit nor in a lot cases was limited to what came off their MPC.
Even from the musical side of things, these gentlemen all at one time or another have coached studio/session cats into giving them whatever musical element they are looking for onto their tracks.
Now before somebody says ‘well I can’t afford to go and get a session guy,’ understand that this is not my point. My point is that more times than not production is vision and the execution of it.
Yes, a song may technically take birth with your dope ass beat but what happens when it comes time to lay those final layers on the joint? Or what happens when somebody cuts a vocal that’s half-assed for whatever reason? Who is the person that is responsible for seeing the vision all the way down the line? Not the engineer, it’s the producer.
Honestly, the smartest thing we ever did I believe was throwing ourselves into the vision mix as early into this thing as we did. I don’t even think we had more than 10 beats that we liked before we were on the street looking for rappers and singers to turn them shits into songs.
That forced us, whether we realized it at the time or not, to figure out the real dynamics of a great song. That forced us to be our own engineers in a way that we knew how to make the beats sound hot, the vocals sound hot and most importantly how to make it all sound hot together. That forced us to learn more shit about people even because when you walk with somebody through the ups and downs of their life, you not only learn about them you learn a lot about yourself and what you are capable of.
Pardon a brother if this sounds like it’s on some I’ve been to the mountain shit. It’s not even like that. But as we enter into a phase of where things are falling into place, I personally am in that zone where I am kind of reflecting a bit.
And if there is one thing that I am proud of is the fact is that I can say with confidence that my boy and I are producers….
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 hip him on real producers and beat-makers and how you differentiate between them!
September 01, 2004
Survey Says #15
Fill in the blanks
1. I think the one thing that's evident in every other new female artist is __________.
2. If __________ were alive, he/she/they would really give __________ some real competition.
Fill in the blanks
1. I think the one thing that's evident in every other new female artist is __________.
2. If __________ were alive, he/she/they would really give __________ some real competition.
3. I predict that __________ will be the next big thing.
4. I've watched the movie __________ so many times that I know almost every other line.
5. The most overly hyped artist, group, actor, or athelete is __________.
Message Terrill Joyner and The Crusade.net with your Survey Says responses