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AAPRC Weekly: Marcus Mabry

Marcus Mabry
Newsweek

With Marcus Mabry, chief of correspondents for Newsweek magazine, persistence is the thing. The

Marcus Mabry
Chief of Correspondents
Newsweek
NYC


With Marcus Mabry, chief of correspondents for Newsweek magazine, persistence is the thing. The summer after his freshman year at Stanford, for instance, Mabry needed two things: newsroom experience and income. In his hometown of Trenton, New Jersey, he'd gotten two part-time jobs––one at Macy's and the other at a local Mexican restaurant––but he still needed a newsroom gig. He called The Trentonian every week and asked the city editor if there was something he could do––opening mail, answering phones, anything. Each week the editor said there was nothing. Then, one day the person who did The Trentonian's community calendar quit and when Mabry made his weekly call the editor had good news. The editor told Mabry they only needed him two or three days per week and there was a chance, not a great one, that maybe he'd be able to pitch a story and get a byline or two. Before he went back to Stanford six weeks later, Mabry had eight bylines.

The accomplished young journalist sites that persistence as the engine that's driven his Horatio Alger-esque tale––a journey from a struggling, singlemother-led household in Jersey to one of the top positions in American journalism. That persistence, Mabry says, was born somewhere between his mother's starry-eyed optimism and his grandmother's dogmatic pragmatism. Mabry's mother gave birth to him while still in her teens and his father was absent. His mother and grandmother, women with markedly different life philosophies, struggled to raise he and his brother alone. "[My mother] really instilled in me and my brother that you can do anything you want. There are no limits," says Mabry. "[My grandmother] is very religious…She had this quote: God meant for some people to be poor. That was just her way of looking at the world. You work hard and you don't get anything out of it and that's life."

Luckily, Mabry was able to find a place somewhere between the two. "That sense of reality about the world along with that sense of 'with persistence and determination you can make your own destiny'––those two things have helped me my whole life and have been crucial to any success I've had," he says.

And Mabry's successes have been considerable. His mother recognized her oldest son's exceptional intelligence early on and guided him toward The Lawrenceville School, an exclusive prep school in Princeton that Mabry attended on scholarship. He got his first taste of journalism there, writing for the school's weekly newspaper. After profiling a German exchange student who lived in his dorm, Mabry realized he was good at reporting and that he enjoyed it. He kept writing for the newspaper and later, after winning a full scholarship to Stanford, he pursued journalism further, though he never intended it as a career. He worked on dual degrees in English and French Literature and International Relations and planned to go to law school. In the meantime, Mabry needed to earn money. Rather than a job in the dining hall or library, he joined the staff of the Stanford Daily, which actually paid student contributors. Mabry became the wire editor for the Daily and by the summer before his senior year had three plum summer internships to choose from: The Los Angeles Times, The Washington Times and Newsweek. He chose Newsweek because they promised to assign him to the Atlanta bureau, where he covered the 1988 Democratic National Convention.

In the fall of 1988, Mabry headed to France to spend the first two quarters of his senior year as an exchange student in Paris. He speaks fluent French and had been a devoted Francophile since third grade when he had to pick a country on which to write a report. "Since then I've had this love of France and all things French," says Mabry. "As I grew up I discovered this history of the long line of African-Americans…who went to France and sought out France as a refuge from America and American racism. I thought, wow, there's a whole history of people like me who were attracted to this place…and many of them are great heroes of mine, like James Baldwin."

In France, Mabry touched bases with editors at Newsweek's Paris bureau, and while he didn't get any assignments, he did get fortuitous advice. He'd been accepted at Yale Law School and planned to enter the following year, but once again he was concerned about earning money and helping to support his family. A Paris bureau editor suggested he defer law school, take a job at Newsweek, and go to school once he had money saved. Mabry took the advice, and on the way back to California stopped in New York for an interview. In 1989, a few weeks after he graduated from Stanford, Mabry returned to New York as Newsweek's newest associate editor and a writer in the business section. A year later, he called Yale Law to give up his spot. Mabry had finally decided on a career in journalism.

When Mabry interviewed for the job, his future boss in the business section, Mark Whitaker––who is now the editor of Newsweek––asked Mabry where he saw himself in five years. "I said I'd like to be a correspondent in Paris," Mabry recalls. "And [Mark] laughed and said, 'yeah, we all want to be correspondents in Paris.'" Three-and-a-half years later, in 1993, after a stint as Newsweek's Washington correspondent, Mabry was sent to France as the assistant bureau chief in Paris. He was 25 years old and the first African-American foreign correspondent for Newsweek since the Vietnam War. Again, that notable Mabry persistence had paid off.

"I always say this to young journalists: make everyone around you see you in the position you want to be in next," Mabry says. "In my case, I was always speaking French. When I was a young business writer, we'd go out to dinners in the department. If we went to a French restaurant I'd speak to the waiter in French. I'd order in French. They got so tired of hearing me speak French…I had this abiding interest in France and made sure that everyone at the magazine knew it."

Once he'd gotten a grip on the golden ring, Mabry enjoyed the ride, spending three years as Newsweek's eyes and ears in France. In 1996, he and a colleague earned the Overseas Press Club's Morton Frank Award for Best Business Reporting. He also reconnected with the French family he'd known as a foreign exchange student and traveled extensively. In 1992, he took his first trip to Africa. "The continent was nothing like I could have imagined," says Mabry of the pivotal visit. "As an African-American, until you go to Africa you cannot imagine it. You cannot imagine Africa. You have to go there. Having gone there, I'd been bitten by the bug and I wanted to go back."

Mabry also wanted to head his own bureau, so, after three years in the Paris bureau, he decamped to Johannesburg, where, in 1996, he was named bureau chief. Mabry reported on the biggest news throughout sub-Saharan Africa: the market for mercenary soldiers in West Africa, revolution in Zaire, and the complexities of postwar Rwanda.

Then, in 2000, after seven years abroad, Mabry returned to the states and to the unique challenges that foreign correspondents face upon "re-entry." A nine-month Edward R. Murrow Fellowship at the Council on Foreign Relations in New York seemed like a good transition vehicle. He had time to write and study and, perhaps most importantly, was surrounded by Americans who cared about international news. "The stories are legend of foreign correspondents who come back to the U.S. and can't stand it," Mabry explains. "The longer you've been overseas, the worse it is…I'd been covering stories on revolution in Zaire and my colleagues were covering Monica Lewinsky and a stain on a dress."

From all appearances, Mabry transitioned smoothly and, in 2001 was named senior editor for Newsweek International. He's been chief of correspondents since 2002, managing all of the magazine's bureaus and reporters in the U.S. and overseas. Needless to say, the past two years have been demanding. He's been responsible for coordinating and monitoring the reporters covering the war in Iraq, and before the war began making sure correspondents were trained in chemical and biological self-defense. Mabry also weighs in with his perspectives on how to cover the news of the week as well as long-term projects. It's a demanding position, but Mabry relishes the challenge and the responsibility. "It's very rare for an African-American to be in this kind of position, and I'm also an openly gay African-American," he says. "The magazine category is far less diverse than any other part of the news business…It's a real great privilege to be a poor kid from Trenton in my position, doing what I do here."

Yes, Mabry does take "representing" seriously, and doesn't downplay what he sees as his responsibility as a gay person of color. "We have the obligation to bring our perspective to bear on our jobs and what we do," Mabry insists. "We bring something extra to the table as people of color and if we don't make that clear then I don't see the point in us having a diverse work force."

Outside of Newsweek and the world of embedded journalists, Mabry lives in New York City's Hell's Kitchen with his partner of three-and-a-half years, Chris Hubis, a software engineer, and the couple's English bulldog, Simon. It's been nearly a decade since his memoir on race and class in America, White Bucks and Blackeyed Peas (Scribner's, 1995), was released and Mabry's agent is eager to get him working on the next book. No doubt it'll get written once Mabry sets that legendary persistence in motion.

As chief of correspondents for Newsweek, you're responsible for all of the magazine's national and foreign correspondents, and had to prepare the Iraq correspondents for entering the war zone. How would you assess the effectiveness of your pre-war preparations for Newsweek's correspondents? What has been successful? What would you do differently?

Our pre-war preparations were very successful. We had a few reporters in difficult spots once the war began and I think there hazardous environment training was really useful. They learned how to react to incoming fire, kidnappers, a biological or chemical attack. That training was very successful. Knowing what I know now of course-–which none of us knew then-–obviously I wouldn't have bought all those biochem suits, masks and antidotes.

Of all the issues swirling around during this election cycle, what, in your opinion, should concern Americans most?

I think Americans should be most concerned about the fact that their leaders in Congress and state governments have so blatantly failed to repair a broken election system, even after the national trauma that was the 2000 election count. It is an abysmal dereliction of duty, and it amazes me that no one will pay the price for the failure to fix this mess. It undermines American democracy and makes us an international laughing stock. Worst of all, it makes American citizens doubt the legitimacy of the system and that eventually leads to a very dark place.

When you returned to Newsweek's New York offices in 2001, you'd been a foreign correspondent for seven years. How does your background in international journalism inform your perspective on the current political climate in this country––particularly the election?

In two ways I think: it makes me very aware of the limits of the American political system, we have a very narrow array of parties here, compared to European democracies. Secondly, it also gives me some much-needed perspectives. Many Americans feel like all that there is to this world is what happens here––politically and socially. Because I know the world, I know that there are many more ways to tackle challenges––be it gay marriage or poverty––than the ones the two parties employ here. That is, often, a very reassuring thought.

In your experience, in terms of political awareness––or a lack thereof––are Americans drastically different from citizens of other nations?

Yes and no. Yes, compared to places like France, where I lived for many years, Americans are less politically aware. We don't have the same facility and knowledge of issues and political personalities––or history or international affairs––as the richest Western European countries. No, because politics, almost everywhere, almost always comes down to a set of narrow self interests. Prejudice, fear of "the other," ignorance of other people's circumstances and perspectives, influence elections from the U.S. to Bosnia to South Africa to Uganda to Sudan.

Aside from Newsweek, obviously, what other media outlets do you look to stay on top of national and international news?

I read and watch everything I can. I look to the U.S. cable channels to keep abreast of what they're covering and arguing; for better or worse, they do dictate much of the political discourse in America. I read the New York Times religiously, as well as the Washington Post and the Wall Street Journal. I read other magazines when I can, like Atlantic Monthly or the New Yorker, and Time of course to know what the competition is writing. I read the BBC online all the time; it's my web browser home page on my cell phone. And occasionally, I read Le Monde or the British papers on line.

As an openly gay, African-American man, what grade would you give current diversity efforts in American journalism?

A "D." We are not diverse. We say we are trying to become diverse, but we are in a failing race with a country that is more multi-hued every day. I always say we have done much better on welcoming sexual minorities than people of color. When I came back from overseas, Newsweek had five senior editors who were openly gay or lesbian. I was the only senior editor of color. Those numbers are a lot closer today. And the fact that Newsweek's editor is black man is truly historic. But we have so much farther to go.

What's happening in journalism and media right now that makes you most optimistic?


The fact that we are covering the world again gives me some hope. Sadly, we are only covering terrorism for the most part, but TV networks and print outlets are actually hiring foreign correspondents. Back in the 90s, before the tragedy of September 11, we were all closing foreign bureaus. I hope the change will make Americans at least somewhat more aware of the world outside our borders.

What's the single best piece of advice you have for young journalists?

Be persistent and don't be snooty. Do any job, any assignment that anyone will give you--ever.

For those in college or not yet in college, I would say: Get clips! And use them to get internships. The best way into this business by far––it's how I got here, how Newsweek's editor Mark Whitaker got here––is through internships. That's where we get the majority of our young hires.

What does a typical day look like for you?

There is no such thing. As chief of correspondents, my main job is troubleshooting, so every day is usually wildly different. In general, I get in by 9:30, having read all the papers I could before. I meet with the managing editor and the national and international affairs editor to talk about the "front of the book," the hard news sections. Then we have a full editorial morning meeting, with the Editor and all the other senior editors to discuss/argue about what should go in the magazine and on the cover that week. Then it's a day of answering calls from domestic and foreign bureaus, signing mountains of expense reports, making decisions about coverage, "casting" reporting assignments for breaking news stories, meetings with lawyers or the HR department on anything you can think of, lots of communication with the chief accountant for editorial, lots of talking with other senior editors about correspondents' needs/feelings/reporting, talking with the Editor when there is some issue I think he needs to know about, etc. etc. Oh, and I also run the Newsweek poll, our summer internship program and our research department. So those all require time usually in a given day.


Tell us one thing people might be surprised to know about you.

My mom raised my brother and me by herself and we grew up on and off welfare. I went to prep school on a full scholarship and now I am president of the board of a non-profit in New York City that does the same for other poor Black and Latino kids like me: the Albert G. Oliver program.

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

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

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

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Tech Sessions #21

Sound Advice
First off, thanks to this column, I was recently cited as an authority on sampling for someone's college law paper which tripped me out. I guess dude was getting his Google on and came across the article and voila,

Sound Advice
First off, thanks to this column, I was recently cited as an authority on sampling for someone's college law paper which tripped me out. I guess dude was getting his Google on and came across the article and voila, I'm having a discussion with a complete stranger about how certain court decisions could change how we make music forever. So all of us who make this site go, especially Ray, should look at something like that and say 'damn that's pretty hot.'

Now,on with this show. This Tech Sessions is a mixture of a lot of things. I want to pass along something first and foremost that another producer recently passed along to me during a vibe session the other night that was passed along to him by a true legend. I figure advice coming from this man can help just about anybody.

I was working on a part, nothing major just a little something, but it was feeling a little stiff. This producer has worked on a few platinum records so I of course am trying to write an on the spot "hit."

Anyway, dude stops me and goes 'you know what Stevie Wonder told me? Music is something that you have to feel. You can't try to make it something that it's not.. It was around long before us when cave men used to beat on walls for sound. It's the essence of man."

Now on paper it may sound a bit corny but for myself I got to thinking a bit. Now, we've talked about in the past how this has played with a creator's psyche when it comes to having writer's block but what about overall output?

Yes, it is very possible to get caught in the grind of what I call the delivery zone where you're so concerned with getting whoever shops/pitches your tracks for you the kind of shit that they are asking for that you forget to do you. Not always but… if you have x amount of time to do x amount of fast food tracks that doesn't leave much time to sit in the kitchen and cook up some real soul food if you know what I'm saying.

There is an argument that states it could be worse, we could not have any shots at all. This is true but let me ask you this. When you love something so much would you rather be like Stevie or would you rather be around for a second and then be back at mama's in two years?

All of this rambling is all about to come together. And this is real talk for the new beatmakers, producers and songwriters who read this space.

If you don't have a have a manager or rep and you don't have placements yet don't get one. Spend all of your time either developing your sound our grinding.

For real, real talk. PM Me through the site and I'll turn you on to some books. Find a lawyer and grind yourself. Once you have work then you have something to manage. But if you feel like you have to have somebody to give you a direction upon which way to go. Make sure you find somebody that meets every single one of these needs and a few more.

1) They love what you already do. Anybody that wants you to change to be like the next cat is somebody you will end up hating. I'm not saying you can't be open to compromise nobody likes a diva or a dick, especially not in a producer, but if you are coming with a West Coast flavor and your manager keeps bugging you on some I need some dirty south beats ya'll will have issues son.

2) They respect your business and creative vision. Now more than ever we as producers aspire to brand ourselves as much as artists do. Anyone who is unwilling to laughs at or scoffs at most of your ideas from day one is not the right cat.

3) They are young and hungry with a rock solid plan and their only focus is you and only you or the situation is such to where you will literally be getting paid to be in the studio tomorrow because they simply got it like that.

There's a few more but I only have so much space. Everything about you is different so bring that to your tracks and when the time is right get that rep who will bring that to the negotiating table.

Message Glover and tell him what you think

AAPRC Weekly: Gwen Ifill

Gwen Ifill
"Washington Week"/"The NewsHour with Jim Lehrer"

Presidential election season makes Gwen Ifill nostalgic. Watching the footage of cheering crowds

Gwen Ifill
Managing Editor/Moderator, "Washington Week"
Senior Correspondent, "The NewsHour with Jim Lehrer"
Washington DC


Presidential election season makes Gwen Ifill nostalgic. Watching the footage of cheering crowds, stump speeches and throngs of reporters sends her back to her days on the campaign trail. She doesn't miss the twenty-hour workdays or the poor diet, just the adrenaline. "This is the one time all year that I look longingly at some of these rallies and wished I was there," says Ifill. "There's so much energy, there's so much excitement in an election like this. You don't get that anywhere else."

Ifill did her time on the campaign trail in 1988 and again in 1992, reporting on the candidates from the seat of a campaign plane and getting very little sleep. This time around, though, she's viewed the race from a very different seat. As moderator and managing editor of "Washington Week," the longest-running public affairs show on television, Ifill holds court with Washington's star journalists on the week's top stories. Plus, as senior correspondent for "The NewsHour with Jim Lehrer," Ifill does the sort of in-depth reporting about which journalists on traditional half-hour shows only dream. In addition, Ifill moderated this year's debate between Vice-President Cheney and Senator Edwards. So, while she's not on the campaign trail, Ifill is still in the thick of things. It's where she's always wanted to be.

Ifill's family––her parents and then five siblings––immigrated from Barbados and her father, an African Methodist Episcopal (A.M.E.) minister, was active in the Civil Rights Movement. They were a household of news junkies. "We read afternoon papers in our house everyday," says Ifill, who was raised in New York City. "We sat down and watched the evening news together every night and I lived, in my childhood, through amazing times with the assassinations of President Kennedy, Robert Kennedy and Martin Luther King as well as the Vietnam War. When you live through times like that you pay close attention in the way so many young people paid close attention to this election this year."

In addition to her predilection for current events, Ifill also enjoyed writing, and found that she wrote best when there was a deadline. From a young age she decided working for a newspaper would be a good fit and pursued a career in the field with an enviable, clear-eyed focus. "Everything I did, every internship I had as an undergraduate, was geared toward that goal," says Ifill, who attended Boston's Simmons College. "I briefly did an internship in television when I was an undergraduate, to see if I wanted to do that, and I hated it. No one is more shocked than me that I turned up in television in the end."

By the summer of 1976, just before her senior year, Ifill was working for the Boston Herald American (now the Boston Herald). She remembers the place as an old-line newsroom where she ran around ripping wire copy and her co-workers, crusty newsmen from South Boston, said things like: "honey, get me a re-write." Ifill was an anomaly. "They'd never been exposed to an educated Black person, let alone a young Black woman," Ifill recalls. "They didn't quite know how to cope with me although they were all pretty friendly-–with one exception and that's what got me my job."

Ifill came to work one day to find a note that said: "Nigger go home." She was 20 years old and green enough to wonder for a moment who the note was for. She passed it on to her boss, who sent it up the chain of command. "Everyone, for the record, was so horrified that they offered me a job anytime I wanted it when I graduated," says Ifill.

Given her experience there, Ifill told herself she'd never return to the Herald American. Post-graduation, however, when there were no other job offers, she reconsidered. Starting out in Boston meant politics were a large part of Ifill's journalistic diet from the very beginning. "Everything was through a political veil, and I began to appreciate…how the decision that's made by two squabbling lawmakers can affect whether your kid gets to go to the right school or not," says Ifill. "There was always a direct connection to me between political maneuvering and people's lives and I tried never to lose sight of that."

As Ifill developed as a journalist, she found herself moving, geographically and professionally, toward the nation's political heart, Washington, DC. Three years in Boston were followed by three years at The Baltimore Evening Sun, where she covered City Hall and her first election campaigns. Then, in 1984, the Washington Post brought Ifill inside the Beltway. For seven years she covered local mayoral races, the U.S. Senate and, finally, in 1988, her first Presidential campaign. The little girl who'd grown up a news junkie was fast becoming one of the country's top political journalists and she was enjoying the ride. "I was always conscious of the fact that I was fortunate, unlike a lot of people I knew, to have settled on the thing I wanted to do early," says Ifill. "It's always been the thing I loved and I've always continually had the opportunity to do it. A lot of people love it but can't make a career of it."

In the late eighties, while Ifill was still with The Washington Post, The New York Times approached her with a job offer. She turned it down because she felt the position wasn't a good fit or a step-up. A year later The Times returned with a better offer and Ifill accepted. She covered Congress and eventually became the paper's White House correspondent. In 1992, she was given her pick of Presidential candidates. Ifill chose the campaign of a little-known but charismatic outsider from the South––Arkansas governor Bill Clinton.

"I had learned from previous campaigns, that if you're going to spend a lot of time on the road with somebody, it's got to be somebody who looks like they might be interesting," says Ifill of the choice. "I'd spent a lot of time in [1988] with Jesse Jackson who exhausted me and was so stressful to cover. I had no idea that Bill Clinton would be even more stressful…I was just looking for a good story."

In spite of the grueling schedule, life on the campaign trail was an important learning experience for Ifill the journalist and for Ifill the person. Campaigns have brought her to all 48 contiguous states and as far afield as the world of far right Christian fundamentalists–-the latter during Pat Robertson's run for President in 1988. "Turns out they were just nice, good Christian people who were very happy to talk to me and who were very pleasant and welcoming," says Ifill of her interaction with Robertson's supporters. "The more you go out on campaigns with different kinds of candidates who attract different kinds of people, the more your presumptions about what people of a certain state think and what people of a certain age think. They're all stripped away and it gives you a better sense of America."

In the years since she'd moved to Washington, Ifill had been making appearances on programs like "Meet the Press" and PBS' "Washington Week," a groundbreaking show that was the first to use a panel of journalists to review the key news events of the week gone by––a format that's been replicated ad infinitum. She'd done a bit of television in Baltimore as well and, in spite of her aversion to the medium in college, now found it interesting. Through the occasional appearances, Ifill had become friends with "Meet the Press" moderator Tim Russert, who suggested she make the leap to television for good. "I scoffed at him," she says. But the word got out that Gwen Ifill was thinking about television and suddenly her phone was ringing with offers from the networks. "When that happened I began to think maybe God's hand is in this. When this many people come at you with the same kind of pitch, who am I to be such a coward that I don't try it?"

Taking great care not to burn any bridges with The Times, Gwen left the paper for NBC News, and for five years was the network's chief congressional and political correspondent. "It was learning how to write for broadcast and look for broadcast and talk for broadcast," she says of her first days in television. "I fortunately had a great producer who taught me all of these things with infinite patience."

In 1999, another opportunity presented itself. The producers of "Washington Week" and the producers of "The NewsHour with Jim Lehrer" combined forces to bring Ifill to PBS. "If it had only been 'The NewsHour' or if it had only been 'Washington Week,' neither would have felt, by itself, good enough reason to leave [NBC]," says Ifill. "But when they said you can have your own show and be part of 'The NewsHour,' it seemed like way too much candy in the jar. How could I say no?" Yet another can't-refuse opportunity presented itself this year when the Commission on Presidential Debates chose Ifill as moderator of the Vice-Presidential debate. "It was a fabulous opportunity to do something that put everything I've trained to do into one place..." says Ifill. "The hardest part was the weeks leading up to it as I prepared, cause the one thing you don't want to do is embarrass yourself in front of 45 million people."

In the end, though, she didn't need to worry. Once she took her seat on stage she realized, one, that she knew what she was doing, and, two, that Cheney and Edwards were much more nervous than she. Ifill commanded the stage with cool professionalism while the two candidates snapped at each other. "Fortunately, they were so mad at each other they ignored me," Ifill laughs. "I was prepared to vacate the stage if need be." Instead she managed to keep Cheney and Edwards in check. At one point she responded to the Vice-President's insistence that his answer would take longer than 30 seconds with: "Well, that's all you've got."

"I think a lot of people were getting exasperated by the non-answers," says Ifill of that memorable moment. "When I called him on the time I think I spoke for people who were going 'what?!'"

So what's next for the news junkie who's climbed nearly every mountain in American journalism? "I never know and I never want to know," says Ifill of her future. "That's the one thing I've loved about this election––honestly not knowing how it's going to turn out. I live a life which is guided by God and he hasn't let me down so far so why would I start worrying now?"

What, in your opinion, is the most significant question the Presidential candidates haven't been asked?

The Presidential candidates were asked a wide array of questions during the Presidential campaigns. They participated in dozens of town hall meetings, gave many more briefings for the press and participated in four debates altogether. The questions were asked--many were unanswered, including questions about the health of the inner city and the future of the Supreme Court.

During the Vice-Presidential debates, you asked Cheney and Edwards to comment on the alarming rates of HIV/AIDS among African-American women in the U.S., and neither had enough knowledge to fill even 30 seconds. Were you completely surprised by their responses (or lack thereof)?

I was very surprised. I have since learned that both men were prepared to get a question about the U.S. commitment to global AIDS spending, but were not expecting a question about the domestic side of the equation. This was especially surprising since Senator Edwards represents a state (North Carolina) that has a high incidence of HIV infection among young Black women.

As we delve further into the information age, it seems each set of political leaders is more adept than the last when it comes to manipulating media images and information. How does this impact the way you interact with both the public and the politicians you cover?

On one hand, it is important that we all learn to use the technology at hand to communicate more efficiently and widely. My concern is that the efficiency can lead to a more narrow discussion. As reporters, we have to be aware that the people we are covering are often communicating on several levels at once. It used to be television advertising and direct mail. Now it is also radio, the Internet, automatic mass phone calling and many other targeted methods that use everything from Palm Pilots to church bulletins to reach specific audiences. We have to be as up-todate as the people we cover.

You've covered the White House for nearly two decades. Have there been any significant changes that you've observed in the relationship between the administration and the White House press corps?

I have lived in Washington for two decades, but only covered the White House--in the strictest sense--for a few years. That distinction is important, because many of the most telling things that happen in Washington do not happen in the White House. In fact, I think many full-time White House reporters would tell you that it can be very confining to rely on White House stage management for news. So, rather than focusing on the sometimes dysfunctional relationship between the White House and the press, the smartest reporters look elsewhere in Washington to tell the story.

Aside from your own news organization, what other media outlets do you depend upon to stay on top of national and international news?

I usually read or skim about five newspapers a day, including the New York Times, The Washington Post, The Washington Times, USA Today and the Los Angeles Times. I watch the morning network shows in the morning, keep CNN or MSNBC on in the office all day (usually with the sound turned low), keep track of the AP wire on my desktop, and skip around to four or five news web sites during the day.

As an observer of this country's cultural and political landscape, about what are you most optimistic?

I am optimistic that people really got engaged in this election this year. Although half the country is apparently disappointed in the outcome, half are energized. I would like to think this is the beginning, not the end, of a robust national dialogue about government's role and responsibility in our lives.

If you had to give diversity efforts in print and broadcast journalism a grade, what would it be?

Sadly, I believe we are close to a failing grade, especially on the national stage. There are few of us on the air, but fewer people of color in the places where the camera does not go--making the editorial decisions in newsrooms and producing the stories on the evening newscasts. We still have a long way to go.

What does a typical day look like for you?

I usually begin my day with an editorial meeting of some kind, where we map out the program for the night--either the "NewsHour" or "Washington Week." After that, there is no "typical." It is a mix of commitments, research, writing and reporting that prepare me to get on the air.

What's the single best piece of advice you have for young journalists?

Write and stay curious. Write about everything you know. And research everything you don't. Understand that this is the foundation of journalism.

Tell us one thing people would be surprised to know about you.

I'm a pretty good dancer.

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 Gwen Ifill and the AAPRC and tell them what you think

The Ru Report #150

In This Weeks Report
James Earl Jones and Leslie Uggams Return To Broadway, American Idol Latoya London Peaks, Time Square To Experience Hard Rock and More

Return Of The Golden Era
"Good Black don't crack!” That's what my grandmother used to tell me. And she was right.

By hook or by crook, the Great White Way will see a bona fide Black production in the coming months with the recent announcement of Tony Award winners James Earl Jones and Leslie Uggams starring in the acclaimed new production of "On Golden Pond.”

The Verizon pitchman and "Star Wars” star will join the "Roots” alum in the latest incarnation of Academy Award winner Ernest Thompson's beloved play. Opening on April 7 at Broadway's Cort Theater, the show will be helmed by "Master Class” director Leonard Foglia.

"I am honored to bring the legendary James Earl Jones back to Broadway, paired with Leslie Uggams," said producer Jeffrey Finn. "Our recent engagement at The Kennedy Center was a great success and we're looking forward to New York seeing our new production of this family classic.” Mr. Finn produced the premiere at The Kennedy Center and is joined by Stuart Thompson Productions in New York. This acclaimed new production premiered at The Kennedy Center on September 28, and originally co-starred Diahann Carroll (who withdrew from the play during rehearsals because of a back injury), and ran through October 17, followed by an engagement at The DuPont Theatre in Wilmington, DE.

Ironically, this path follows the original 1979 production's pre-Broadway journey from The Kennedy Center to The DuPont (then named The Playhouse) before opening on The Great White Way starring Tom Aldredge and Frances Sternhagen.

Rounding out the cast are Linda Powell, Peter Francis James, Craig Bockhorn and Alexander Mitchell. All four appeared with Mr. Jones and Ms. Uggams in D.C. and Wilmington. The production features set design by three-time Emmy Award winner Ray Klausen, costume design by 13-time Tony Award nominee Jane Greenwood, lighting design by Tony Award nominee Brian Nason and sound design and original music by Dan Moses Schreier.

In "On Golden Pond,” which starred Henry Fonda and Katharine Hepburn in the 1981 cinematic classic, a retired New England professor Norman Thayer and his spirited wife Ethel decides to spend one final summer at their family's lakeside cottage in Maine. But en route to Europe, the couple's estranged daughter Chelsea arrives to leave behind her fiancé's troubled young son. Colliding generations soon forge common ground, but when Chelsea returns to discover Norman playing the father she never had, years of bitter memories and resentment rise to the surface. It's an intimate family drama laced with humor and heart, exploring growing up, growing old and growing closer.

Peaking Idol
Fantasia Barrino Beware. The other fierce Black chick that almost captured the title of the 2004 American Idol just signed a record deal.

It was announced yesterday that Latoya London, my fave of the final three finalists on last season's wildly successful "American Idol,” just inked a contract with indie label Peak Records, in a partnership with the Universal Music-distributed Concord Records. The 25-year-old Oakland native is the third act of the season to announce a record deal, following George Huff--who released his inspirational Christmas disc last week, and Diana DeGarmo and Ms. Barrino, both singed to BMG imprints.

"Latoya will follow in the footsteps of Whitney Houston and the other great female R&B singers that shaped the genre,” said Peak Records President Andi Howard. "She's smart, beautiful, witty and incredibly talented. When I saw her perform on 'American Idol,' I was simply blown away. I am absolutely delighted that she has now joined our family.”

The Beverly Hills-based Peak is partnered with Concord Record, which recently scored multi-platinum hit with Genius Loves Company, the final recording from music legend Ray Charles. The company's roster has included R&B and contemporary jazz artists such as Regina Belle, Glenn Jones, Phil Perry, David Benoit, The Rippingtons, and Paul Taylor.

Ms. London is currently working with the Peak team on material for her debut release, which will primarily feature R&B originals. The CD is expected in summer of 2005 with recording to begin in January. Stay tuned.

Music Notes
As the Oscar race heats up, many media buffs are wondering whether or not acclaimed thespian Jamie Foxx botched his chances at the golden statue by hipping and a hopping his way on Dick Clark's stage during last Monday night's telecast of the "American Music Award.” But if all of the Academy Award buzz doesn't translate into the coveted honor for "Best Actor,” the versatile funnyman has a deal with Clive Davis' J Records and plans to release his sophomore album in 2005. True music aficionados will remember that ten years ago, before all of the movie success, the "In Living Color” alum released a smooth R&B record via Scotti Bros. Records titled "Peep This.” Since then, he's collaborated with soulful sexpot Adina Howard for the track "T-shirt and Panties” for the "Woo” soundtrack. And of course, we all know he sings the refrain to Twista's monster hit "Overnight Celebrity,” featuring Kanye West. And if the Hollywood machine ever hangs him out to dry, his friends in hip-hop and R&B will be there for him. Earlier this week, at the L.A. outpost of the pricey Chinese watering hole, Mr. Chow, Mr. Foxx kept good musical company with Brian McKnight, David Banner, Akon and Universal/Motown president Sylvia Rhone.

Rap veteran Sir Mix-A-Lot is getting back in the mix. The Grammy Award winning Seattle based lyricist signed an agreement with Versaly Entertainment, a leading mobile brand management company, to create and produce ringtones for branded products. Called 'Mixtones,' the products--including master ringtones, original voice ringtones and ringback tones--will soon be available through most US and Canadian carriers. "Versaly absolutely gets it--the need for funny, creative mobile products for the youth market," said the "Baby Got Back” rapper. "There are a lot of mobile ringtones that just don't entertain, due to a lack of originality and sound quality. I chose Versaly because we have a shared goal of creating high quality products that deliver the true Hip-Hop experience. Their Mobile Brand Management approach and global distribution network will bring the best mobile products to my fans."

R&R is a brand new "inspirational” jazz phenomenon comprised of Howard Riley, Jr., on soprano, alto & tenor sax, and Terrence Richburg, on 7-string bass, keyboards, and a virtual inventory of other instruments. With their debut release Ascension, the duo brings to the forefront a commanding sound of jazz innovation and gospel soul, breaking down walls of musical classification. Both natives of the Washington DC area, Mr. Riley and Mr. Richburg display fine artistry and delivers sincere commitment in their goal of creating music that uplifts the masses.

Etc
Hard rocking will come to New York's Times Square next year when the world's famous Hard Rock Café relocates to 1501 Broadway from its 20 year old residence on 57th street. Making a mad dash for the Disney-fied Tourist cash, the Hard Rock International organization announced the new location for their famous outpost yesterday. Scheduled to open in fall 2005, the new Hard Rock Cafe New York will feature a 583-seat restaurant, a 1,500 square-foot retail shop with authentic Hard Rock merchandise and a live music area for concerts and special events. Furthermore, the Cafe will have a unique outdoor space above the building's historic marquee, where guests can host private parties amid the lights and excitement of Times Square. In addition to being in the center of bustling Times Square, the property is strategically located blocks from the new Hard Rock Hotel New York, which is also scheduled to open in late 2005 on 46th Street between Broadway and 8th Avenue… A one-of-a-kind 3-disc DVD showcasing the inspiring Tiger Woods story arrived on store shelves this week. "Tiger: The Authorized DVD Collection” is narrated by Laurence Fishburne and features the gold legend giving an exclusive account of his quest for golf's highest honors, and offering fascinating insights on his life story. The set is available at a suggested retail price of $49.99.

©2004 The Ru Report™. All Rights Reserved~~P.O. Box #25 Bushkill PA 18324

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

The Herbert Hollar

Word To Herbert
First, a moment of silence for Ol' Dirty Bastard...Now. I have to voice my deep digust and embarassment regarding Thursday's NY Post headline: "Arafat Dead ... And He Won't Be Missed." It gave me the

Word To Herbert
First, a moment of silence for Ol' Dirty Bastard.

Now. I have to voice my deep digust and embarassment regarding Thursday's NY Post headline: "Arafat Dead ... And He Won't Be Missed." It gave me the same sick feeling I got when I saw footage of anti-Americans in the Middle East jumping for joy when they heard of the World Trade Center's destruction. Except I got more nauseous, because this time it was me. Us. You and I. A voice of America. And WE call those people oversees "animals." "Bastards," the "terrorists" that warrant (and rightfully so) total hatred and unabashed animosity from the world community.

What's the difference, then?

We watch Channel 1 news and sip our freshly squeezed orange juice, squirming in our seats, cringing at the sight of these ... Muslim fundamentalist barbarians who party till dawn at the first drop of American blood, like a pack of Great Whites that swim for miles towards one of your open wounds. And then, on our way to work, or after school, or on a simple leisurely walk enjoying the freedoms we are lucky to own, we pick up a copy of a newspaper, read its headline, and continue on. We watch horrendous behaviour and say nothing. It is horrendous indeed.

I'm not anti-America. You've seen me say time and time again how I love this dang country. How I do not take for granted my freedoms. I'm not anti-Israel. I have first cousins who live there, who've fought in the army (and who would tell you an ENTIRELY different story about the crisis than what our media corporations lead us to believe). I am Jewish, I'm proud of it (except the ignoramuses that give my people a bad name), and not only that, my grandmother ... my "bubby" ... was the Vice President of Hadassah, a huge charity benefiting Israel and Jews worldwide. And, of couse, I do not condone terrorism. Intentionally murdering innocent people is ... so ... messed up beyond belief. What I do condone is understanding and knowledge. I believe that "terrorism" is the army of the underpriviledged. What would we do if we were attacked and didn't have fighter jets and nukes and armies and powerful media companies? How would we defend ourselves? How would we get the attention of other nations when our mothers, sisters and daughters were being blown away from their homes on a weekly basis?

I believe the folks at the Post wrongfully represented what will be understood as New York City sentiment. I am not "happy" about the death of Yassir Arafat. He may have been the "Father of Modern Terrorism." He may have been an idiot, a piece of cow dung that put money in his own pocket instead of helping build a strong nation for the Palestinian people, the people he loved. He may have been a murder, a devil, complete scum, but I don't know for SURE what he didn't or didn't do, because I don't trust the media at all. I am, however, absolutely convinced and very sure about my emotions at the present time. I am DISGUSTED and PISSED OFF that this headline was published. If you feel the same way, feel free to send in your comments: letters@nypost.com. Now, I realize I may lose some of you who staunchly oppose, or who simply don't wanna be bothered with political crap cramming up your inboxes. This is why I basically never talk about elections, politics and the like. But you know me. If it moves me, you'll read about it. I apologize and hope you understand its purpose.

Now. Onto more important things like PARTIES and BEER.

Freedom's been rocking hard as expected. And Social Club, of course, is bananas. Umbrella is working it's way up there, as far as numbers are concerned. What started as 1/4 of a fresh, old school-like warehouse club has now grown and takes up the whole dang thing. I properly smashed it last week, and last night the same. 'Nuff reggae-ton and hip-hop to go 'round, yah mean? Not-to-mention a little dance competition when I dropped some old school house. I also gotta thank the "Fuel for Truth" boys, Craig Dershowitz and Joe Richards, for the enlightening function I spun at last night, an Israel-awareness event at the UJA. Thank you very much. (What other deejay do you know rocks a Jewish thing and then shoot straight uptown to Washington Heights and rock a Dominican thing? I mean, I'm not tryin' a blow myself up, but ... but ... I got 105.9 asking what my schedule looks like???)

Oh yeah! Big shout out to Dantana, Troy Kristoff, Carey, Paulette, DMK Ent. And Club Show for hiring me once again for "Carnival," this ill "Choreographer's Ball" where all the biggest names in hip-hop videos from all over North America get together to showcase new work. There were some serious dancers in there, fo sho. Of course, New York is a little stuck on themselves, so leave it up to Toronto to really bring the down the house. Canada gave us a little slap on the tuchis with some seriously tight work. Except the Amount Boyz. The Amount Boyz are ridiculous. They win first place.

Also, big shout out to Funk Flex for allowing people to air him out. That was very entertaining, whether or not he really took it like a man. But whatever. Respect. You should've seen Herbert stomping around the house when he heard that one girl call up, pissed off because Flex didn't give her boyfriend and his "rap group" time to play their demo. AHHHH! Yo! For real? This is how it is. If a deejay is spinning at a party, he's focused, concentrating, always caught up in the mix, trying to figure out what to play next, trying to avoid disaster--losing the crowd. He can't talk! That's Number 1! No time for conversation. I'm busy. Make your request, then BEAT IT! Number 2: DJ cannot take the time to listen to your CD or your demo or whatever song you'd like to play, unless it's at the end of the night and the dancefloor has dwindled and security is kicking people out. Otherwise, BEAT IT! Furthermore, DJ will not play your song in between Fat Joe and Snoop Dogg and whatever other song is #1 on the charts, because DJ doesn't wanna lose his crowd to some song that may not be good, that nobody ever heard before. BEAT IT! Even furthermore, what kind of reaction are you looking for? What kind of feedback are you gonna get from people singing "Snooooop" if I slip your unsigned, unheard, unedited song in? Use your head! BEAT IT!!

(Unless you got money. And even then, it's at least $100. And it should be more. It should be the cost of the gig, because if I play your track and lose my dance floor, I might get a call from the promoters saying "We're going to rotate some other talent in next week because you dun fu*ked up and played some stupid sh*t and ruined our party.")

I heard two more Nas songs off his latest album. CRAZEEEE. I've never been a huge Nas fan, or really got into the Jay-Z/Nas beef--my favorite rapper is still Thirstin' Howl III. But Nas? He's hip-hop. Plain and simple. It's not business, it's not money, it's not fame, fortune, fashion, shiny suits. Nah. It's music. It's hip-hop. That's it. I can't f-ing wait to get his album. It'll be the first WHOLE album I've listened to since ... since ... "God's Son."

(And Jay-Z's "The Black Album.")

Now how about that Destiny's Child song? It grew on me, for sure. But the video? It's funny. Really funny. You got this dance competition, except it's really only between the Destiny ladies. Problem is, they aren't really good dancers. It's kind of like ... kind of like ... it reminded me of my Bar Mitzvah, when my boys for some reason or other thought they should form a circle and have a dance battle but none of them could keep a beat and they ended up doing weird spastic moves and humping the floor and stuff. Or the last wedding I deejayed when the mom and dad formed a soul train line and they came through doing ... I can't even tell you. It looked like they were swatting flies around their head or something.

Peace, love, light, knowledge, understanding and good health,

DJ Herbert

Herbert's Hot Picks
wed(17): umbrella - herbert - hiphop/r&b/reggae/80s/reggae-ton
wed(17): apt - rich medina - old school/soul/funk/afrobeat/80s
wed(17): table 50 - cucumber slice/op one/servi - soul/hiphop - 7:30 to 9:30
wed(17): the door - g brown - hiphop/r&b/reggae - mazel tov, ra the rugged man!!!!
wed(17): green room - the legendary d nice - old school/classics/soul
wed(17): bOb - rholi rho/5th platoon - hiphop/r&b/reggae/80s
wed(17): madame x - jon oliver - soul/rock/rare grooves/hiphop - 8pm to 1am
wed(17): cielo - kevin hedge/louie vega/kenny dope gonzalez - soulful house
wed(17): cherry lounge - camillo/sussone/black moon live - hiphop/r&b/reggae
wed(17): lotus - ani quinn/soul (rotate) - hiphop/r&b/80s/rock
wed(17): belmont lounge - obah - funk/soul/80s/good hiphop/r&b/afrobeat/brazilian
wed(17): duke + duchess - omi/wolf - hiphop/r&b/reggae/house - happy b-day, omi!
wed(17): suede - degree/noble - hiphop/r&b/reggae/80s/rock - HAPPY B-DAY, DAMON!!
wed(17): blvd - dub gabriel/zakhm/ray velasquez - brazilian - gilberto afterparty
wed(17): remote lounge - absuloot live - 8pm - new hiphop for your tired toosh
wed(17): baraza - eric rodriguez/steve martin - classics
wed(17): joe's pub - lord have mercy/wordsworth/pumpkinhead/guests - indie rap
wed(17): afterwork/rumor - snatch 1/kaos/self - hiphop/r&b/reggae/classics

thu(18): guernica - blessed productive/selly/qool marv - house/old school/soul
thu(18): table 50 - q tip/mark ronson/guests - hiphop/rock/soul/funk/classics
thu(18): tribe - red rokk - hiphop/rock/80s/reggae
thu(18): 6s + 8s - grandmaster caz/guests - 70s + 80s rock, funk, electro + reggae
thu(18): ruby falls - soul/stretch armstrong/am (rotate) - hiphop/r&b/rock/80s
thu(18): black betty/bk - monk one/emskee - soul/funk/classics
thu(18): cielo - osunlade/henrik schwarz/yoruba soul - soulful, deep house
thu(18): discotheque - tony humphries/kevin hedge/guests - house/classics
thu(18): social club - self/will - hiphop/r&b/reggae/classics
thu(18): apt - language/lindsey/duane - classics/80s/old school breaks/funk
thu(18): 9 1/2 - big ben - hiphop/rock/reggae/classics
thu(18): crobar - larry t/jon jon battles/guests - disco/punk/new wave/electro/pop
thu(18): cherry lounge - dj wreck (97.9) - hiphop/r&b/reggae/house/freestyle/latin
thu(18): quo - crooked/fuse entertainment - house/hiphop/reggae/rock/80s
thu(18): gallery - snatch one - hiphop/r&b/reggae/classics
thu(18): CUNY/149th st - papo vazquez' pirates - brilliant latin jazz - 7185184455
thu(18): happy ending - rok one/jdh/miss jaclyn - hiphop/soul/rock/funk
thu(18): na - stretch armstrong/mateo/exacta/jus ske - hiphop/soul/rock/80s/house
thu(18): afterwork/viscaya - dj cosi - neosoul/classics/hiphop/house - 6 to 10
thu(18): afterwork/kanvas - dj sweets - hiphop/70s/80s - 6PM
thu(18): afterwork/suede - k.o./rahlo - hiphop/r&b/reggae - 6pm - free buffet

fri(19): starfoods - thank god it's freedom - the illest - see gigs above!
fri(19): lot 61 - dj soul/guests - hiphop/r&b/reggae/classics
fri(19): table 50 - qool marv - house/soul/international/classics/funk/olskool
fri(19): triple crown/bk - emskee - soul/rare groove/hiphop/good ish
fri(19): sin sin - red rokk - hiphop/r&b/reggae/80s
fri(19): hiro - van jee - house/80s/rock
fri(19): social club - jimmy ponzio/guests - old school/house/hiphop/reggae
fri(19): joe's pub - kaos - hiphop/r&b/reggae/classics/olskool
fri(19): delancey - small change/guests - rare records/funked up sh*t/rock/soul
fri(19): cellar bar - paolo mojo/dirtyhertz/jason jollins - house
fri(19): blvd - dj true/miller cruz/special guest - neo brasilian fuse/live drums
fri(19): supper club - kulcha/dj will - hiphop/r&b/reggae/classics
fri(19): na - stretch armstrong/jus-ske/lee kalt - hiphop/r&b/rock/80s/house
fri(19): mission - stimulus/gant - hiphop/r&b/reggae/classics
fri(19): coral room - mada/finesse - hiphop/rock/house/classics
fri(19): union square ballroom - marlon d/jellybean benitez/mr. v - house/classics
fri(19): canal room - big ben/danny o - hiphop/r&b/reggae/80s/rock/house
fri(19): crobar - doc martin/donald glaude - house
fri(19): moe's/bk - obah/guess- funk/soul/80s/good hiphop/r&b/afrobeat/reggae
fri(19): livre lounge/bk - dj desire/guests - hiphop/r&b/reggae/classics/soul
fri(19): etoile - snatch one - hiphop/r&b/reggae/classics
fri(19): the city - camillo - hiphop/r&b/reggae/classics/latin/reggae-ton
fri(19): eugene - kulcha - hiphop/r&b/reggae/classics
fri(19): blvd - rholi rho/dj eleven/guests - hiphop/r&b/reggae/80s/house
fri(19): jazz gallery - claudia acuna quartet - http://jazzgallery.org
fri(19): select - ettienne/fabrizio brienza - house/sexy stuff/fashion funk
fri(19): spirit - ivano bellini - house
fri(19): quo - disciple/dove (rotation)/guests - house/live percussion/hiphop
fri(19): laila lounge/bk - daddy dog/synapse/icue/jedi/dope unsigned hype - hiphop
fri(19): ikon - big ben/lucho + shadee/jcny - hiphop/r&b/reggae/house/oldskool
fri(19): luahn - guest djs - hiphop/r&b/reggae/house/soul/classics
fri(19): afterwork/vue - tijeras/jinx/RUPEE LIVE - hiphop/reggae/late night latin!
fri(19): afterwork/room 123 - supa e-kim/guests - hiphop/r&b/reggae/classics - 6pm
fri(19): afterwork/the city - guest djs - reggae/soca/r&b/hiphop/salsa - 6pm till

sat(20): social club - herbert/slinkee/cel - hiphop/r&b/reggae/80s/rock/old school
sat(20): eugene's - jcny - hiphop/r&b/reggae/80s/rock - HAPPY BIRTHDAY, DAMON!!!
sat(20): mission - stormin normin - hiphop/r&b/reggae/classics
sat(20): hammerstein - charlie cassanova/merrit/big ben - palladium reunion!
sat(20): etoile - goldfinger/precise - hiphop/r&b/reggae/classics
sat(20): shelter - timmy regisford - soulful soulful soulful soulful (deep) house
sat(20): sullivan room - francis harris/david hollands/guests - house
sat(20): starfoods - osiris/guests - soul/afrobeat/funk
sat(20): viscaya - ani quinn/aphrodita - hiphop/r&b/reggae/80s/rock
sat(20): spirit - ski hi/jonathan peters - house/hiphop/r&b/reggae/reggae-ton
sat(20): route 85a - redlox/fuddy knight - soul/funk/r&b/hiphop/reggae/80s/rare
sat(20): joe's pub - dj eleven/guests - hiphop/r&b/reggae/soul/80s/old school
sat(20): octagon - dj self - hiphop/r&b/reggae/classics
sat(20): na - mark ronson/q tip/vanjee/massi voto - hiphop/classics/house/olskool
sat(20): crobar - david waxman - house
sat(20): southside lounge/bk - jon oliver/peter gnn - 70s funk/soul/disco
sat(20): underbar/w hotel union square - jvc - mix of everything (ill deejay!!!)
sat(20): nublu - mkl - soul/breaks/future jazz/afro
sat(20): satalla - guest djs - world music dance party - www.satalla.com
sat(20): copacabana - dj chris love - old school/classics/r&b/reggae/grown+sexy
sat(20): arshile - mano/liftkid/hiro - hiphop/r&b/reggae/house/live percussion
sat(20): m1-5 - live okay player unsigned talent - guest djs - hiphop/soul
sat(20): strata - big ben - hiphop/r&b/reggae/house/latin/rock/80s

sun(21): fez uptown - marc smooth/dallas green/dan.ce - classics/hiphop/r&b/reggae
sun(21): 1073 atlantic b/w franklin + classon/bk - ruben toro - house + classics
sun(21): flow - big ben/guests - hiphop/r&b/reggae/80s/rock/house
sun(21): piano's - scratch famous/selector JD/guests - reggae/reggae
sun(21): lq - envy/self - hiphop/r&b/reggae/classics/reggae-ton
sun(21): pravda - obah - old school/soul/funk/afrobeat/80s
sun(21): cielo - rekha - bollywood disco/live visuals
sun(21): deep - danny krivit - house - 7pm till ... (till the party below?)
sun(21): deep - camillo/guests - hiphop/r&b/reggae/latin
sun(21): 203 lounge - smooth c - roots-rockers-dub-dancehall/(reggae)

mon(22): cielo - francois k/guests - future dub/space vibes/house/anything soul
mon(22): apt - eli escobar/bobbitto/spinna (rotation) - soul/funk/disco/olskool
mon(22): sway - soul/guests - hiphop/rock/soul - some real nyc ish/starts around 1
mon(22): 46 grand - dj o - old school sh*t/bboy battles/bamboo earrings?
mon(22): 9 1/2 - sussone/mos/guests - hiphop/r&b/reggae/classics
mon(22): le souk - guest djs - house/trendy shmendy
mon(22): afterwork/justin's - sussone - hiphop/r&b/soul/reggae - football - 6pm

tue(23): joe's pub - djs/live soul performances - soul/classic/hiphop
tue(23): union square lounge/coffee shop - emskee skittles - soul/funk/old school
tue(23): hudson hotel - dj obah - funk/soul/rock/hiphop/brazilian/afrobeat/house
tue(23): sapphire - eman/lola - deep house - happy b-day, miss boogie!
tue(23): lobby - self/will from da bronx - hiphop/r&b/reggae/classics
tue(23): spirit - rupee live!/nina sky live!/cipha sounds/tony touch/dj e.m.
tue(23): vela - crooked - old school hiphop/new school hiphop/reggae/rock/80s
tue(23): afterwork/aubette - snatch 1 - hiphop/r&b/reggae/soul/classics

Herbert's Heard! (Now in order of hotness!)
1. "Drop It Like It's Hot (Hurricane Remix)" -- Kardinall Offishall
2. "No Bligh" -- Sean Paul
3. "Kopa Dance" -- Beenie Man
4. "Safety Dance" -- Men Without Hats
5. "1,2 Step" -- Ciara (We almost there, people.)
6. "Only U" -- Ashanti (Barely. An amazing instrumental.)

Herbert's Gigs
every wednesday - umbrella new york - 440 w. 202nd (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!
free!!!!! - new hot venue!!! - 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 - party people from all walks!
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

tuesday - november 17 - jury duty (60 centre street/room 452)
the party's just begun! it's gonna be live! the roof is on fire!
delinquents/criminals/civilians losing money to report for duty
8:45am till they say - free - rsvp: djherbert@earthlink.net

AAPRC Weekly: Carmen Davenporte-McNeal

Carmen Davenporte-McNeal
UPN

"Most college students don't know what they want to major in but I knew right away when I went to school

Carmen Davenporte-McNeal
Publicity Manager
UPN
Los Angeles CA


"Most college students don't know what they want to major in but I knew right away when I went to school that I wanted to be in public relations," says Carmen Davenporte-McNeal. "I loved writing and I loved the whole aspect of media but I didn't want to be on the camera so I was trying to think of a way I could still be a part of it."

For Davenporte-McNeal, her career path has always been clear. She entered the mass communications department at Virginia's Hampton University with her eye on the ball and she's been hitting them over the fence ever since. As part of a project during her senior year, Davenporte-McNeal developed a PR plan for a local hip hop clothing store and the experience solidified her commitment to her chosen career. "It's a very creative process, trying to figure out how you're going to promote and publicize something," Davenporte-McNeal recalls. "There are so many different angles you can use. The process of just sitting down and building a strategy, it's really exciting to me."

After graduation, with a yen for the entertainment industry, the eager young professional moved to Virginia Beach to work for producer Teddy Riley and the R&B group Blackstreet. During her year-and-a-half with Riley, Davenporte-McNeal developed a college publicity program for Blackstreet. Because the group's major label distributor, Interscope, handled the bulk of publicity, Davenporte-McNeal felt she wouldn't get the experience she needed.

Returning to her hometown, Columbus, Ohio, she found a position as director of marketing and cultural diversity with the Central Ohio Breathing Association. The nonprofit agency worked on issues surrounding air quality, and victims of chronic asthma and breathing problems. For Davenporte-McNeal it was a significant learning process. "I learned that a lot of times you do have to educate the media on who you are and what you do," she recalls." It was a lot of grunt work. No one was calling my phone wanting to do stories on the breathing association."

In 1998, after a year in Columbus, Davenporte-McNeal decided she missed the entertainment industry. When her mother reminded her she wasn't likely to find any entertainment work in Ohio, Davenporte-McNeal packed up her things, emptied her bank account of all $700 and headed to Los Angeles. A temp position placed her at the publicity firm, Bragman Nyman Cafarelli. The vice-president's assistant was on vacation and Davenporte-McNeal was only supposed to be there for two weeks. At the end of the two weeks, though, another assistant's position opened up and she was hired. "I stayed at Bragman and every year I was there I got promoted," says Davenporte-McNeal. "I started as an assistant and went to a junior account executive and then I was senior account executive."

During her tenure at Bragman, her biggest accounts included producer Tracey Edmonds and Edmonds Entertainment and the producer Debra Martin-Chase. Davenporte-McNeal developed a plan to help Edmonds establish a media profile separate from her husband, R&B and pop singer Babyface, and to launch the former Showtime series "Soul Food." When Edmonds' friend, producer Debra Martin-Chase, commented on the success of Edmonds' PR efforts Edmonds referred her to Davenporte-McNeal. "Debra called me and we did her publicity for the launch of "The Princess Diaries" for Disney. The movie went on to do $100 million…" says Davenporte-McNeal. "I had stories that I'd done [as a student] on African-American female producers and there were only three major ones at that time––I had two of them."

In addition to Edmonds and Martin-Chase, Davenporte-McNeal also handled corporate entertainment accounts for clients such as Sony Playstation, Hollywood Video, the Costume Designers Guild and the Producers Guild of America.

In late 2001, Davenporte-McNeal saw big changes in both her personal and professional lives. She married and her new husband, who was from her hometown in Ohio, balked at moving to Los Angeles. Davenporte-McNeal returned to Columbus and went to work for an advertising and public relations company called Media Solutions. There, as a public relations manager, she handled clients such as DSW Shoe Warehouse, Bravo restaurants and Columbus' NHL team, the Columbus Blue Jackets. "The reason I think I got hired there is predominately for DSW…," says Davenporte-McNeal. "Their client wanted to get in these fashion publications and since I had dealt with these fashion publications for the costume designers guild and also did some fashion stuff with Tracy and Debra…it was just a perfect fit for them."

Davenporte-McNeal might have been a perfect fit for the agency, but the return to Columbus was hardly a perfect fit for her. It wasn't long before she was felled by both culture and weather shock. She missed Los Angeles and her husband agreed to the move to the West Coast.

Davenporte-McNeal had known veteran PR guru Marcy DeVeaux during her previous stay in Los Angeles. When DeVeaux heard Davenporte-McNeal was returning, she invited her to interview for a position at DeVeaux's agency, DVG Communications. Davenporte-McNeal was hired as the agency's executive director, where she helped with new business proposals and supervised the staff of publicists and assistants. "This was my first time really managing other publicists plus assistants," says Davenporte-McNeal. "In this business…the hours are long. So it's just about motivating your staff and letting them know they're an asset to the company and trying to get them to do the best job they possibly can do."

At DVG, Davenporte-McNeal worked with clients like CBS and Lifetime television, doing mostly diversity PR, developing campaigns for people of color cast on those networks' shows. "I had never done television publicity until I got to Marcy's, and I really just fell in love with it. I'm like a TV junkie," says Davenporte-McNeal. "Working in television publicity was fascinating to me."

Earlier this year, when a friend told Davenporte-McNeal about an opportunity at UPN, she went for it. She was hired in July as a publicity manager. "Right now I'm just trying to enjoy each day," says Davenporte-McNeal of her new position. "I'll be 31 next month. When I was younger in my career I was always thinking: 'in two years I'll be here and in six years I'll be here.' But lately I've just been thinking…you know what, let me just enjoy what happens each day."

Those days, though, are long. UPN is a small operation. There are only three publicists and no assistants, so when it comes to promoting the network's programs Davenporte-McNeal and her colleagues do it all––from faxing to Airborne Express. For Davenporte-McNeal, in particular, her workday centers on the popular reality series "America's Next Top Model," on which she shares publicity duties with a counterpart in New York; the new series "Second Time Around" with Boris Kodjoe and Nicole Parker; and the series "Half and Half." "I have a very long day," she points out. "For example, on Monday [late September, 2004] I did a press junket for 'Top Model.' I was there at 4:00 a.m.; I didn't get home until 10:00 p.m. Then I had to get up the next morning to do a radio tour for one of the judges for 'Top Model' so I was up again at 4:30."

Fortunately, Davenporte-McNeal has a supportive partner in her husband Lawrence. "I've only been married two years and I spend a lot of time with my husband," Davenporte-McNeal gushes. "He's literally my best friend. I just love spending every single second I can with him."

The newlyweds workout together on weekends–-he's a marathon runner––and Davenporte-McNeal is a faithful church-goer, attending Faithful Central Bible Church every week. An only child, she's also very close to her mother and the two talk everyday.

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 Carmen Davenporte-McNeal and the AAPRC and tell them what you think

The Ru Report #149

In This Weeks Report
Daniel Sunjata: One Hell Of A Brother, Loew's Turns 100, Roseanne Barr Comes For Star Jones, Don King Has Music and More

Brother Man
The old adage tells us that 'good things come to those who wait.'

And getting some talk time with Tony Award nominated actor Daniel Sunjata was a living testament that the saying rings true.

I've been in hot pursuit of the actor since I first saw him bare his all on the Broadway transfer of the critically acclaimed play, "Take Me Out." But because of some unsavory tactics from a flak working the controversial Richard Greenberg-directed show, nothing materialized.

A year later, the 32-year Mr., Sunjata has morphed into a TV star and has a much lauded movie project hitting theaters across the nation.

So I couldn't have had better timing. (I'm sticking my tongue out to that evil doer.)

In the Rodney Evans-helmed cinematic gem, "Brother To Brother," the Champaign-Urbana, Il-reared Mr. Sunjata plays the legendary literary great Langston Hughes. For several flashback sequences in the impassioned film, Mr. Sunjata is at one with the lens in a dynamic performance that can make any thespian take notice.

"I love it and I think it's a really, really important film," Mr. Sunjata told "The RU Report." "I think Rodney did a great job writing it and then directing it and it was obviously a labor of love for him and continues to be. He's got a great group of people together and it was a great experience."

"Brother…" is a feature-length drama channeling the glory days of the Harlem Renaissance through the memories of Bruce Nugent, who co-founded the revolutionary literary journal "Fire!!" with Langston Hughes, Zora Neale Hurston and Wallace Thurman. As an elderly man, Mr. Nugent meets a young Black gay artist, played by the impeccable Anthony Mackie, struggling to find his voice and together they embark on a dreamlike narrative expedition through his inspiring past. It's many things. While screening the film, I had to walk away from it because it was too intense.

With flashes of genius, the movie has been garnering high marks from the critics and winning a string of coveted awards and honors, including the 2004 Sundance Film Festival Special Jury Prize. "The feedback … has been nice to hear," offered Mr. Sunjata. "I think the movie as a whole was very, very tight."

Many TV fans first took notice of the dashing Florida A&M alum when he played a randy sailor trying to sweep Carrie Bradshaw off of her feet a couple of years ago on HBO's hit series "Sex & The City." But the Tisch School of the Arts graduate has an impressive body of work including the television adaptation of Anne Rice's "Feast Of All Saints," and more "smart" TV fare such as "Law & Order" and "Ed."

"I've had to do some fluff," Mr. Sunjata admitted, "but I've been very fortunate to do some pieces that I feel that are important to people today."

He's referring to work like "Take Me Out," in which he starred as Darren Lemming, a multi-racial baseball superstar who reveals to the world that he's gay. For his critically acclaim turn –in which he appeared full-frontal nude in a few homoerotic scenes (leaving hundreds of theater goers hot and bothered), he garnered a Tony nod, and a handful of theater awards including the Lucielle Lortel Award.

Socially relevancy, he said, draws him to the roles he goes after.

And about the nudity, which was bandied about in the New York media for weeks, he said: "You know it's not an easy thing to be either physically or emotionally naked in front of people but with the physical nudity, I felt was more supported by the thematic underpinnings of the piece."

Indeed.

I guess it helps when you look good doing it, too.

So with "Take Me Out" and "Brother To Brother," the heterosexual bachelor has somewhat of a penchant for playing "gay" quite convincingly. And he's earned his stripes a gay icon, to some degree. He takes it all in stride. "As an actor, I don't have any trepidation about representing 360 degrees of humanity, and various sexual orientations are a part of that and I think that's great, and wonderful and beautiful and it should be celebrated and not shunned away from."

And as secure as he is, he's cautious about typecasting. He admitted that he and his management team had to "pump the breaks slightly" with the gay roles; too many too soon. "Very often the casting community sees you as the last thing that you've done…and I think its important for me, if I want to be able to show my range as an actor, I don't want it to be every time they need a gay guy, they want to call Sunjata. I think I'd rather much show other aspects to my ability and maybe return to that later on."

Mr. Sunjata is of German, Irish and African American lineage. He revealed to us that he was adopted when he was two-months old after his biological mother abandoned him. His adoptive mother, a world history professor who died in 1996, gave him the middle name Sunjata, which he uses as his professional surname. "It literally means 'hungry lion' and it's Malian for named for the king who founded the empire of Mali in about 1100 A.D."

Named one of People Magazine's "50 Most Beautiful People" last year, Mr. Sunjata.has two other films due out this year; Woody Allen's "Melinda and Melinda" and "Noel," starring Robin Williams, Penelope Cruz and Paul Walker. He can also be seen weekly as Franco Rivera on FX's "Rescue Me" centering on New York City firefighters who are dealing with post-traumatic stress post- 9/11. The second season of the show, starring Denis Leary as the lead, has been picked up and filming resumes in New York in February.

And then he's in final negotiations to star as the lead in the forthcoming biopic on late, great soul music maestro Marvin Gaye.

"What can I say? The man was such a fixture for both the sacred and the profane but at the same time, he made such a significant contribution to music in general, to music period. He's just a really important musical personality whose life has yet to be depicted cinematically. I think it's a wonderful opportunity and I hope I can do him justice," he concluded.

Considering all of the other great work Daniel Sunjata has done, there's not a doubt in our mind that he can pull of this one.

No Holds Barred
Multiple Emmy Award winning funnywoman Roseanne Barr really knows how to pack a punch. And the multiple-married (and divorced) millionairess knows how to really pack a house too. The former TV star made her first ever New York stand-up debut on Tuesday night as the opening night headline performer of the inaugural New York Comedy Festival at Town Hall. And it was non-stop belly aching for the sold out crowd. The Queen of White Trash Middle America performed a near one and a half hour set and didn't mince many words. While wearing a peculiar-fitting black pants suit adorned with bling-ing rhinestone earring and matching necklace, the ex-wife to Tom "Ka Ching!" Arnold touched on topics such as her three failed TV show projects, her life problems and hang-ups, her "inner-Oprah," the end of the world, President Bush and Dr. Phil. Before ripping her clothes off and tap-dancing her way off the stage as the final act, the Queen of White Trash America professed her love for all things homosexual: "I love The Gays! All fat women love gay men… because who else would we have to dance with." And just like clock-work a very candid image of once-plus-sized TV personality Star Jones and her fiancé Al Scales Reynolds flashed in the backdrop. It was, indeed, the show-stopper.

Good Works
With Christmas just around the corner, folks are a gathering for worthy humanitarian efforts. Here's a quick glance of do-gooders:

On November 12, the Black AIDS Institute will hold the 2004 Heroes In The Struggle Gala Reception and Awards Ceremony at Hollywood's Director's Guild of America, where human rights activist Coretta Scott King, former US Surgeon General Dr. M. Jocelyn Elders, Congresswoman Juanita Milender-McDonald and stage and screen actress , Jenifer Lewis will be honored, amongst other community dignitaries. "AIDS is a human crisis, no matter where you live," said Mrs. King in a statement. "Anyone who sincerely cares about the future of Black America had better be speaking out about AIDS, calling for preventive measures and increased funding for research and treatment." According to a spokesperson for the event, a laundry list of celebrity notables are confirmed to donate their time for the cause with special presentations of the awards. Sheryl Lee Ralph, Hill Harper, Matthew St., Common, Rockmond Dunbar, Malik Yoba, Rae Dawn Chong, Malinda Williams, Tichina Arnold and "Essence" magazine front-woman Susan L. Taylor are slated to partake in the festivities. The organization will also unveil the portraits of the 2004 Heroes in the Struggle at the event. Seven of the most celebrated Black photographers in America, including Kwaku Alston, Barron Claiborne and Matthew Jordan Smith, have been commissioned to shoot the exhibit. For more information, log onto: Blackaids.org.

And on November 13, the 4th Annual Power of Oneness Awards are scheduled at the Conga Room in Hollywood, honoring awardees whose work reflects the Oneness mission to eliminate racism and promote racial unity through music, the arts and education. Past honorees include Edward James Olmos, Ed Begley Jr., Nile Rodgers and the Jim Henson Company. The 2004 honorees include legendary jazz artist & producer Herbie Hancock, Universal Music Publishing president David Renzer, lecturer, author, actress and activist Yolanda King, Writers Guild of America Executive Administrator for Employment Diversity Zara Buggs Taylor, ABC Vice President of Talent Development Carmen J. Smith and Kawin Interactive CEO Kaushal Chokshi. "We are elated over the outstanding group of nominees," said Oneness co-founder KC Porter, who's a producer for such hit-makers as Santana and Ricky Martin. The event will be hosted by award winning actor Obba Babatunde and will feature multi-media presentations, theatrical performances and live music. For more information, log onto: Oneness.org.

And in the Grand Apple next week, the likes of Minnie Driver and William H. Macy will play a part in "A Magical Evening," the 14th Annual Christopher Reeve Paralysis Foundation (CRPF) gala being held on November 18 at the New York Marriott Marquis. The New Jersey-based Foundation is expected to raise $2 million for CRPF's research and Quality of Life programs. The funds will be used to develop treatments and cures for paralysis caused by spinal cord injury and other central nervous system disorders; as well as to improve the quality of life for people living with disabilities. Serving on the Gala Committee are Francine LeFrak and Rick Freidberg and Maria Cuomo Cole and Kenneth Cole, Jonathan and Somers Farkas, Dennis Basso and Michael Cominatto, Denise Rich, Caroline Hirsch and Andrew Fox, Eaddo and Peter Kiernan III, Elaine Sargent, Denise and Larry Wohl, Joycelyn Wildenstein, Noreen and Peter Thomas Roth, and Gloria Wolosoff. Dr. John W. Rowe, chairman and CEO of Aetna, will receive the CRPF Visionary Leadership Award in recognition of his professional achievements, civic contributions and leadership support of the Christopher Reeve Paralysis Foundation. Actress Glenn Close will receive the Human Spirit Award in recognition of her generosity of spirit with which she has shared her fame and good will.

And how about that Gary Sinise? The acclaimed actor, director and producer is embarking on his eighth USO tour to provide a morale boost to troops stationed at Camp Lejeune, N.C. Best known for his Oscar-nominated performance as Lt. Dan in "Forrest Gump," Mr. Sinise is a strong advocate for the troops and has appeared at numerous events around the globe supporting U.S. service men and women. Over the past year, the "CSI: NY" star has visited troops in Diego Garcia, Singapore, Korea, Iraq, Kuwait, Qatar, Germany, Italy and Fort Stewart, Ga. He also traveled to both Walter Reed Army Medical Center in Washington, D.C., and the National Naval Medical Center in Bethesda, Md., to visit troops wounded in Operation Iraqi Freedom. Mr. Sinise, together with the Lt. Dan Band, will perform a free show for troops and their families Nov. 20. And the Golden Globe Award winner's latest movie, "The Forgotten," starring Julienne Moore has legs at the box office.

Lastly, music to my ears is the fact that hip-hop artists such as Lil' Kim, Fat Joe, Fabulous, T.I., Trick Daddy and Twista have heart too, this season. According to Atlantic Records publicist Sydney Margetson all six of the platinum-plus selling acts will participate in the "Joint Chiefs" concert, being held at the world's famous Apollo on November 23. Presented by Champs Sports and the Black Leopards Football Club of South Africa, proceeds from the ticket sales will be donated to two charities: one selected by the Black Leopards from the various causes which they support in their native region of Vhembe, one of South Africa's poorest areas, and Hope Leadership Academy in Harlem, which will also receive tickets to the show. On the afternoon of the concert, a special autograph-signing event will take place with the "Joint Chiefs" artists as well as Black Leopards team representatives at the Champs Sports store on 125th Street in Harlem. All tickets for the concert are only $25 and are now on sale.

Down With The King
Is the hip-hop industry ready for a knock-out? Well brace yourselves. Legendary boxing promoter Don King is stepping into the ring. It was just announced that the infamously-coiffed ringmaster has assembled a few hard-core, hip-hop notables for this weekend's heavyweight card at Madison Square Garden. Just before a hefty fight card that will include World Boxing Association heavyweight champion John "The Quietman" Ruiz facing off against Andrew "Powerful Pole" Golota, and Evander "The Real Deal" Holyfield going toe to toe with Larry "The Legend" Donald, a 30-minute preview show will take place featuring music from Wu Tang Clan member U-God, Cuban Link and Mr. Holyfield's very own find Tomeka, a New Orleans-reared artist. "Music has been a part of boxing since the "Rumble in the Jungle" over 30 years ago when I brought BB King, Sister Sledge, James Brown, Miriam Makeba, Hugh Masekela, Lloyd Price to Zaire on a specially chartered plane to be part of that promotion," Mr. King said. "Now I'm doing it again with the rappers who are today's bards of the ghetto." The event will be broadcast domestically on HBO Pay-Per-View. "I love to see talent, promote it and watch it blossom," Mr. King continued. "A wise Chineseman once said 'to see things in the seed, that is genius.' This is great promotion for the artists and good marketing for the fighters and I'm pleased and proud that Don King Productions is now producing these shows and taking more active control of how our fighters are promoted and building a fan base for these tremendously talented warriors, athletes and musicians all of whom are fighters from the womb to the tomb." Spoken like a true … well, spoken like Don King.

Etc
Congratulations are in order for the Loews Theater empire, my preferred chain of movie theaters to see first run box-office fare. This week, the mega chain celebrated 100 years of filmed entertainment with a centennial celebration that included a retrospective at New York's American Museum of the Moving Image, and a panel discussion held at Manhattan's Jewish Museum is underway for November 18. Popcorn was scaled down to $1 at theaters across the country too. Marcus Loew, born to poor Jewish immigrants on Manhattan's Lower East Side, co-founded the company that opened the first theaters in Cincinnati and New York after converting penny arcades. Born in 1870, the visual visionary started hawking oranges and newspapers at the age of 6, sleeping in the streets to be first when customers awoke. Nearly 200 theaters and 2200 screens across the world later, and candid tales of Elvis Presley, Matt Damon and Barbra Streisand getting their cinematic starts courtesy of the company, Loews is the premier film-going experience with venues throughout the United States, Mexico, Spain and South Korea. …

©2004 The Ru Report™. All Rights Reserved~~P.O. Box #25 Bushkill PA 18324

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

AAPRC Weekly: Tiffany Smith

Tiffany Smith
CBS Television

As a teenager, Tiffany Smith was certain she'd grow up to be the next Jane Kennedy. Smith was a big

Tiffany Smith
Publicity Manager
CBS Television
Los Angeles CA


As a teenager, Tiffany Smith was certain she'd grow up to be the next Jane Kennedy. Smith was a big sports fan and when the Los Angeles native entered Howard University as a broadcast journalism major, her path was clear. Then, in her junior year, she got her first internship and her first taste of newsroom life at Washington, DC's CBS affiliate. The path came suddenly to a crossroads and the way was anything but clear. Smith hated newsroom culture. "What I didn't like is that it was less and less about the sports and more and more about the athletes' personal lives or trying to find a scoop…It wasn't about the game, per se," Smith recalls.

After graduation, armed with a degree in a field she had no interest in, Smith did a brief stint as an assignment editor at that CBS affiliate in Washington (WUSA), and then moved to Atlanta where she took a job as a cashier at Niketown. At Nike, she advanced quickly and was soon training cashiers and other employees of the Niketowns the company was opening across the country. Smith was named a public relations manager in 1995 and helped open Niketowns in Beverly Hills, San Francisco and New York City. "That was my first taste of publicity, where we would bring in our Nike athletes to open up the stores," says Smith. "I really enjoyed doing promotions and big events. After a while, though, when I had opened up all of those Niketowns the next step would have been to move to Beaverton, Oregon [the company's headquarters] and it just wasn't going to happen."

Instead, acting on a tip from a friend, Smith applied for a position as a junior publicist with Image Public Relations, a small family-run firm started by the entertainer Sinbad. "That's where I say I got to really understand publicity the most," Smith says of her tenure at Image. "This was at a time when he was doing the "Vibe" television show, the music festivals in the Caribbean and he was finishing up a movie."

Smith cut her publicity teeth learning the differences among television, film and international public relations, and advanced to senior publicist in the process. "I stayed there for a while and really honed my PR skills and learned who the people are, who the players are," says Smith. "That was when I realized this is what I want to do."

Smith admits it was a terrific position and she could have stayed with Image indefinitely, but believed she needed to work on the one skill she didn't have to use much while working for the popular comedian. "When you're dealing with a celebrity you never have to pick up the phone and pitch, they came to me," Smith points out. "The only reason I went over to Huff Communications is because I wanted to practice the art of pitching."

In 1999, after two years at Image, Smith joined Agnes Huff Communications Group, LLC as a vice president. There was, she admits, some culture shock. "I went from the world of entertainment to the world of corporate PR. They are so different," Smith recalls. "I was representing the Los Angeles airport, book authors…believe me, when I called people to say there was a new wing at LAX, I got hung up on…I had been like this is so easy I need a challenge and boy did I get it."

In addition to Los Angeles International Airport (LAX), Smith's clients at Huff included book authors, an orthopedist, and a short-lived perfume company that promised the human pheromones in their product would attract people to the wearer. "The clients were very different and they were all trying to raise the level of awareness of themselves or their product," says Smith. "After working there I felt more comfortable on the phone and being able to pitch anything."

In 2000, after another job tip from a friend, Smith made another big leap. Following a rigorous interview process––the first of the three interviews lasted an hour and forty-five minutes and left her shirt soaked in sweat––Smith was hired as a senior publicist at CBS Television. She was the first person of color hired in that capacity in more than ten years. "My question was: no one came through in 10 years that was qualified? That kind of shocked me a little bit," Smith admits, but believes the reasons are varied. "Most of the people at CBS have been there for 10, 12, 13 years, so it's not as if there's a plethora of jobs that people just leave."

Smith has recently been promoted to publicity manager, and oversees PR efforts for "CSI: New York;" "Cold Case;" special events like the Grammys, the Latin Grammys, and the People's Choice Awards; some made-for-television movies; and an upcoming reality show. "What I like most about it is there is something different every single day," says Smith. "I'm not confined to an office. I'm going on sets, I'm meeting different actors, actresses, producers and directors."

Smith also oversees CBS' internship program, mentoring young people in her department and going out to speak to students, especially students of color, about careers in public relations. As the diversity consultant in her department, Smith coordinates the network's showcases. "Actors and actresses from across the country put on this showcase for casting directors and executives at CBS, in hopes of securing job placement. We have an African-American showcase, a Native American showcase, a Pacific Islander showcase…We just did a disability showcase…," says Smith. "One of the actors who did that disability showcase about four months ago actually got hired on "CSI: New York."

After five years at the vaunted network, Smith is still excited about her work and her workplace. "I definitely admire everyone's hard work that they put in it. It takes a lot to run a show. It takes a lot to have a dream," she points out. "The person who created all of the 'CSIs,' Anthony Zuiker...36-year-old guy, former tram driver from Las Vegas. When I'm around him, it really makes me admire someone's accomplishments…That he had the dream to make a television show. And I get the opportunity to talk about it and to have people write about it."

Of all her many projects for CBS, though, Smith is most proud of the work she did coordinating "Muhammad Ali's 60th Birthday Celebration," which aired on CBS in 2002. "I'm a big sports fanatic…and how could you not be thrilled to be around Muhammad Ali? My eyes were as wide as silver dollars," Smith recalls. "And everyone was very forthcoming in working on that project. Sometimes people don't want to do certain things––I've come on set and actors have run from me before, literally. Working on the Muhammad Ali special, everyone wanted to do it. They were like, I'll stay here all night if you want me to. That was one of my proudest moments."

But even "The Greatest of All Time" takes a backseat to Smith's most recent project, her two-week-old (at this writing) daughter, Vaughan Ryan Anoa'i. "It's the best thing I ever did," says Smith, counting the blessings of her domestic bliss. "I have a wonderful husband and this wonderful, precious little girl."

Though motherhood has been a joy, Smith, who tries to squeeze in reading, letter writing and bike riding whenever she can, has no plans to turn in her cell phone and rolodex for a full-time housewife gig. "I want to continue to be a hardworking woman and show my daughter it can be done with a career as well as a mother," Smith insists. "I want to move up…I want to be promoted to director next year and I know that I will. I want to continue to further my career in this particular arena and let others know about it as well. That's one of the things I learned from my mother and I'm going to pass it on to my daughter as well––a hard day's work is invaluable."

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 Tiffany Smith and the AAPRC and tell them what you think

The Herbert Hollar

Word To Herbert
Yeah yeah you know it. I went back to the gym yesterday. Ran for 20 minutes, till I almost passed out on the treadmill, and then lifted. I told my boy "I'm going to get cock diesel," to which he replied, "What's

Word To Herbert
Yeah yeah you know it. I went back to the gym yesterday. Ran for 20 minutes, till I almost passed out on the treadmill, and then lifted. I told my boy "I'm going to get cock diesel," to which he replied, "What's that? A new candy bar??" Ha, ha, ha motherfuc*er. Laugh it up. You'll see. YOU'LL ALL SEE!!!!! I'm about to call up my old sifu again (sifu is Chinese for master, like sensei) and start kung-fooing all you fools and then it'll be on. And you know all I need is a lil' more speed out there on the b-ball court, too. I'll be greased lightning. The Great White Flash.

Speaking of speed, my lady saw a 3 inch cockroach zip across the floor the other day. That's really not gangsta. The building manager called it a "waterbug," but don't let them say that sh*t. A waterbug is also known as an American cockroach, and it gets really, really big and fat (like Americans). They come out of the pipes and are fond of water, as opposed to German cockroaches, a smaller breed of bug that hangs out around your open box of cereal in the kitchen. Anyways, somehow wifey "caught" the wooly mammoth. I don't know how she did it, but she did it, and when I came home, there was this box in the middle of the room with a shoe and an umbrella. I'm surprised she wasn't sitting on the damn thing to keep it cornered, it was that big! Anyways, WHY she didn't kill it is way beyond me, but of course, I sentenced the murdering bastid to capital puhishment, executed fair judgement (according to the law) and jumped on top of the box. You could hear a "craaack" and then a "splooosh" and the Mrs. cringed and it was all over.

Society is that much safer.

Freedom last week was off the meat-racks, with a very nice mix of people, and a healthy amount of lovely ladies as well. Big shout out to DJ Center, Dred Preda, Rich Nice, Damon from Fader Magazine, Sethdawg from Shady Entertainment, Gram from 3A Chemicals (hehehehe), and especially DALLAS, the man the myth the legend, whose people are hitting me up as we speak. THANKS, DALLAS! And big shout to Forrest, Charles Anthony (C Black) and the Joe's Pub family for welcoming me back with open arms last night at the Ride. It was ill. This live rock group called Game was ill, too. It was like ... like ... Bad Brains meets Rage Against the Machine meets Living Colour meets ... Chicago?? And what's up with dude from "A Different World" (or was it that sitcom with Queen Latifah and Tutti from "Facts of Life?" I forget) asking me for Patrice Rushen but not getting up and dancing to it? This is the law: If you make a request, and I play it, you best get up off your arse and shake it like a salt shaker or else no more requests EVER for you. Period!

I don't know if my new cursing plan is working or not, because I'm still getting these emails back saying "Sensitive Material," so we'll just have to see. I might have to fall back on the "ish" and "freaking" and "motherflower" and stuff so you can still get your emails. Oh, and if you are looking for addresses to the venue, your best bet is to hit newyork.citysearch.com, where you'll find the addresses and maybe a brief write-up of the spot (though usually outdated), or superpages.com website, where you'll get addresses and phone numbers and even directions. And big apology for all those that didn't get the word about Puffy's birthday party last week. Somehow, dude forgot to invite me. He's still mad I got the hot girl that danced at his show, I guess. Whatever, homie. It's always "bro's before h...." Just kidding. I'm sorry. (I'll make dinner.)

Peace, love, light, excellent health and deephouse.com

DJ Herbert

P.S. -- For a good email, hit william_h_sunday@hotmail.com P.P.S. -- This is weird. veritas.thinkbsd.com/movies/gijoeice.mov

Herbert's Gigs
tuesday - nov 16 - the carnival - show (135 w. 41 b/w 6th + broad)
choreographer's ball -- all the video moves -- la + nyc's best dancers!
hiphop/reggae/80s/classic house/old school/bboy sh*t by herbert!
9 to 3 - live dance performances - $20 - rsvp djherbert@earthlink.net

every wednesday - umbrella new york - 440 w. 202nd (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!
free!!!!! - new hot venue!!! - 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 - party people from all walks!
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

every saturday - social club (14 e. 27th st b/w 5th + madison)
the HOT HOT HOT new saturday weekly - party people from all walks!
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

Herbert's Hot Picks
wed(10): umbrella - herbert - hiphop/r&b/reggae/80s/reggae-ton
wed(10): apt - rich medina - old school/soul/funk/afrobeat/80s
wed(10): bOb - rholi rho/5th platoon - hiphop/r&b/reggae/80s
wed(10): madame x - jon oliver - soul/rock/rare grooves/hiphop - 8pm to 1am
wed(10): cielo - kevin hedge/louie vega/guests - soulful house
wed(10): cherry lounge - sussone/special ed live - hiphop/r&b/reggae
wed(10): lotus - ani quinn/soul (rotate) - hiphop/r&b/80s/rock
wed(10): negril village - scram jones - hiphop/r&b/reggae
wed(10): belmont lounge - obah - funk/soul/80s/good hiphop/r&b/afrobeat/brazilian
wed(10): joe's pub - jean grae live/qool marv - hiphop/r&b/soul
wed(10): avalon - clipse/alchemist/jean grae - real hiphop!!!
wed(10): afterwork/rumor - snatch 1/kaos - hiphop/r&b/reggae/classics

thu(11): guernica - cosi/blessed productive/selly/guests - house/old ol/soul
thu(11): table 50 - q tip/mark ronson/guests - hiphop/rock & soul/funk/classics
thu(11): ruby falls - soul/stretch armstrong/am (rotate) - hiphop/r&b/rock/80s
thu(11): black betty/bk - monk one/emskee - soul/funk/classics
thu(11): discotheque - tony humphries/afrika bambaata!!!! - "zanzibar classics"
thu(11): avalon - lovebug starski/guests - hiphop/r&b/reggae/80s
thu(11): na - stretch armstrong/mateo/exacta - hiphop/soul/rock/80s/house
thu(11): suede - ani quinn - hiphop/r&b/reggae/80s/rock
thu(11): crobar - junior vasquez/glimmer twins/larry t - rock/house/electro/80s
thu(11): cherry lounge - guest djs/bimbo live - latin/reggae-ton
thu(11): gallery - lucho/fabio soul - r&b/reggae/classics/brazilian/international
thu(11): eugene's - camillo/guest djs - hiphop/r&b/reggae/latin
thu(11): quo - crooked/fuse entertainment - house/hiphop/reggae/rock/80s
thu(11): apt - darshan (metro area) - disco/italo/cool house
thu(11): aquous project/wooster st - massive attack + morcheeba listening party
thu(11): afterwork/canal room - deepa/soul creation+masters/boyd jarvis - house
thu(11): afterwork/kanvas - dj sweets - hiphop/70s/80s - 6PM

fri(12): starfoods - thank god it's freedom - the illest - see gigs above!
fri(12): lot 61 - dj soul/guests - hiphop/r&b/reggae/classics
fri(12): table 50 - qool marv - house/soul/international/classics/funk/olskool
fri(12): copa - camillo/enuff/guests/HUGE performances - HAPPY B-DAY, CAMILLO!

fri(12): roxy - kid capri/brinka/eddie batiz - hiphop/r&b/reggae/latin/house
fri(12): spirit - robbie rivera - house
fri(12): na - stretch armstrong/jus-ske/lee kalt - hiphop/r&b/rock/80s/house
fri(12): canal room - big ben - hiphop/r&b/reggae/80s/rock/house
fri(12): triple crown/bk - emskee - soul/rare groove/hiphop/good ish
fri(12): hiro - van jee - house/80s/rock
fri(12): social club - jimmy ponzio/ryan morales - old school/house/hiphop/reggae
fri(12): ikon - big ben/gonzo/jay penedos/jcny - hiphop/r&b/reggae/house/oldskool
fri(12): quo - disciple/dove (rotation)/live dance - house/live percussion
fri(12): joe's pub - snatch one/kaos (rotate) - hiphop/r&b/reggae/classics/olskool
fri(12): crobar - sander kleinenberg - house
fri(12): moe's/bk - obah/greg caz - funk/soul/80s/good hiphop/r&b/afrobeat/reggae
fri(12): show - crooked - hiphop/reggae/rock/80s/house
fri(12): delancey - small change/guests - rare records/funked up sh*t/rock/soul
fri(12): cellar bar - good house djs - house music - hot crowd
fri(12): afterwork/vue - tijeras/jinx paul - hiphop/r&b/reggae - late night latin!
fri(12): afterwork/room 123 - kaos/supa e-kim - hiphop/r&b/reggae/classics - 6pm

sat(13): social club - herbert/slinkee/cel - hiphop/r&b/reggae/80s/rock/old school
sat(13): drive-in studios - fat boy slim/kenny summit - big beat/house
sat(13): mission - stormin normin - hiphop/r&b/reggae/classics
sat(13): 40/40 - rahlo/k.o. - hiphop/r&b/reggae/classics/80s
sat(13): etoile - goldfinger/precise - hiphop/r&b/reggae/classics
sat(13): shelter - timmy regisford - soulful soulful soulful soulful (deep) house
sat(13): sullivan room - francis harris/david hollands/guests - house
sat(13): starfoods - osiris/guests - soul/afrobeat/funk

sat(13): viscaya - ani quinn/aphrodita - hiphop/r&b/reggae/80s/rock
sat(13): na - mark ronson/q tip/vanjee/massi voto - hiphop/classics/house/olskool
sat(13): supreme trading/bk - edwin stats/dj dinesh - bhangra/dancehall/hiphop/uk
sat(13): spirit - ski hi/jonathan peters - house/hiphop/r&b/reggae/reggae-ton
sat(13): route 85a - redlox/fuddy knight - soul/funk/r&b/hiphop/reggae/80s/rare
sat(13): joe's pub - eleven/guests - hiphop/r&b/reggae/soul/80s/old school
sat(13): crobar - dj boris - house
sat(13): madame x - jon oliver - soul/funk/good hiphop/rare grooves/80s/dope sh*t
sat(13): pm - crooked - hiphop/reggae/rock/80s/house/disco/classics
sat(13): room 143 - soulfinger sam/jinx paul - hiphop/latin/freestyle/house/soul
sat(13): buttacup lounge/bk - dj boo - hiphop/r&b/reggae/old school/80s
sat(13): strata - big ben - hiphop/r&b/reggae/house/latin/rock/80s
sat(13): route 85a - redlox/center - hiphop/soul/classics/funk/old school/reggae

sun(14): fez uptown - marc smooth/dallas green/dan.ce - classics/hiphop/r&b/reggae
sun(14): veteran's coliseum - bunny wailer/jimmy cliff/luciano/half pint/i wayne!
sun(14): 1073 atlantic b/w franklin + classon/bk - ruben toro - house + classics
sun(14): flow - big ben/guests - hiphop/r&b/reggae/80s/rock/house
sun(14): piano's - scratch famous/selector JD/guests - reggae/reggae
sun(14): pravda - obah - old school/soul/funk/afrobeat/80s
sun(14): deep - camillo/guests - hiphop/r&b/reggae/latin
sun(14): room 203 - smooth c - hiphop/roots-rockers-dub-reggae/r&b/soul/classics
sun(14): southpaw/bk - qool marv/chris love - r&b/soul/old school/house

mon(15): cielo - francois k/guests - future dub/space vibes/house/anything soul
mon(15): apt - eli escobar/bobbitto/spinna (rotation) - soul/funk/disco/olskool
mon(15): sway - soul/guests - hiphop/rock/soul - some real nyc ish/starts around 1
mon(15): 46 grand - dj o - old school sh*t/bboy battles/bamboo earrings?
mon(15): le souk - guest djs - house/trendy shmendy
mon(15): 9 1/2 - sussone/mos/guests - hiphop/r&b/reggae/classics
mon(15): afterwork/justin's - sussone - hiphop/r&b/soul/reggae - football - 6pm

tue(16): joe's pub - ed-og!/djs/live soul performances - soul/classics/hiphop
tue(16): cielo - qool marv - soul/funk/old school/neo soul - trace mag launch
tue(16): union square lounge/coffee shop - emskee skittles - soul/funk/old school
tue(16): suite 16 - big ben - hiphop/r&b/reggae/classics/80s/house/latin/rock
tue(16): sapphire - eman/lola - deep house/future grooves
tue(16): lobby - self/will from da bronx - hiphop/r&b/reggae/classics
tue(16): vela - crooked - old school hiphop/new school hiphop/reggae/rock/80s
tue(16): afterwork/aubette - snatch 1 - hiphop/r&b/reggae/soul/classics

Herbert's Heard!!! (Now in order of hotness!)
1. "Time (Clock of the Heart)" -- Culture Club
2. "Safety Dance" -- Men Without Hats
3. "Breathe" -- Fabolous (Thanks, Face!)
4. "1,2 Step" -- Ciara (I know, I know. Not till it's Top 8 at 8!)

Word On The Street: Lalah Hathaway

What'z Up Wit Cha? - Lalah Hathaway
At a time when most female singers base the quality of their voices on how loudly they can scream, Ms. Lalah Hathaway knocks out opponents with her Lush vocal style. This Sista is no stranger to music. Having

What'z Up Wit Cha? - Lalah Hathaway
At a time when most female singers base the quality of their voices on how loudly they can scream, Ms. Lalah Hathaway knocks out opponents with her Lush vocal style. This Sista is no stranger to music. Having been exposed to this art at an early age, she not only had the influence of her famous father, Donnie Hathaway, she was able to meet and work along side of other established artists.

Lalah dropped her third solo project titled Outrun the Sky, last month and it was definitely worth the 10 year wait. She clarified for me that there was no grass growing under her feet during that timeframe. "I was working on projects with other people." She explained. "Gerald Albright, Marcus Miller, Joe Sample & Me'Shell NdegéOcello just to name a few." In fact, Lalah has worked in some capacity every year since her 1994 Sophomore project.

My introduction to her came around 1990. I was working in a small office that allowed us to play music. My station of choice was KBLX out of the Bay Area and one day this song came on with a lady saying "Ooh, it's somethin'. You and I, have somethin'. How I long to be around when (when you can see that), you and I have somethin', in common." I was like "Who is that?" I really loved the song so I ran out and purchased the cassette (telling my age cause CD's hadn't been invented yet…well, not in my budget) and I played it to death from that point on.

Outrun the Sky meets and exceeds that same thrill I got in 1990. It's a feel good project that takes the listener on a journey. Aside from the title track (which is my favorite), Lalah treats us to a remake of Luther's Forever, for Always, for Love and she kills it big time. "What made you chose that song?" I asked. "I was invited to be part of the tribute album for Luther Vandross earlier this year along with a host of other incredible people. I sang that song and just decided to add it to my project as well." An All-Star tribute concert followed up last month with Patti LaBelle, Will Downing, Dave Koz, Kirk Whalum, Ledesi, Maysa, Gerald Albright, Richard Elliot, Lalah Hathaway, Brian Culbertson, Mindi Abair, & Paul Jackson Jr. as performers. The concert was held at Madison Square Garden.

Although my focus was primarily on the present, I couldn't help but to ask Lalah if she ever considered doing a Natalie Cole / Nat King Cole type ballad with her father. "You are about the 1 millionth person to ask me that" she answered. "Natalie put it down when she did that and although I've given it some thought, I'm not sure that I would do that exactly. I definitely plan to do something to memorialize my father and honor the contributions that he's made. I just haven't decided what that will entail."

Lalah is a very pleasant, down to earth Sista. At the beginning of our conversation, I informed her that another celebrity friend of mine (whom I informed that I'd be interviewing Lalah) wanted me to pass on the message that she loved her. When I told Lalah who it was, she began to sing that singers song and said that she loved her as well. For me, this was Sisterly love at its finest. I witnessed two females of different genres who admire each other's work and are not above admitting it. That spoke in volumes to me and showed me that Lalah is an artist not only secure with her talent and style but also with her love for all types of music as well as those who contribute to it.

Pick up Lalah's Outrun the Sky or get more info at lalahhathaway.

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Message Lalah Hathaway and Sheila Chadwick and tell them what you think

AAPRC Weekly: Roslyn Bibby

Roslyn Bibby
FX Networks

When cable's FX Networks launched in 1994, unless you had a yen for NASCAR or reruns of the "The X

Roslyn Bibby
Public Relations Director
FX Networks
Los Angeles CA

When cable's FX Networks launched in 1994, unless you had a yen for NASCAR or reruns of the "The X Files," chances are you didn't know much about the upstart channel. The launch of highquality original programming such as "The Shield," "Nip/Tuck" and the brand new "Rescue Me" changed all that, and FX is now a network whose star is ascending. Public relations director Roslyn Bibby is proud to say she played a significant role in that success. "FX has a commitment and has proven to provide a slate of standout original programming for which I am proud," says Bibby. "We are building a brand of intrepid and sophisticated dramas that demand more from viewers than most television shows out there, in addition to developing the same quality comedies."

For those who know her, Bibby's part in the building at FX Networks should come as no surprise. The publicist has applied that same focus and enthusiasm to her own 11-year career. Starting out as a broadcast journalism major at Howard University, Bibby, after an internship, quickly realized news wasn't for her. She headed back to Los Angeles intent on not getting work in television news. She did, however, manage to find a job as an assistant in the public relations department at 20th Century Fox Film. "I had the desire to venture into entertainment, but was not exactly sure what discipline I wanted to move forth in," she recalls. "As it turned out, starting in film was a great beginning. I had a terrific boss who was a mentor and allowed me to go beyond the duties of an assistant."

After three years at the legendary studio, Bibby made the leap to radio and to Atlanta. There she worked as a marketing manager for WVEE/WAOK Radio. "I wanted to explore promotions," she says of her move to radio. "But publicity just pulled me back in once again."

After a year in radio and a brief stint as a field producer for Georgia Public Television, Bibby returned to Los Angeles and to 20th Century Fox. "They [20th Century Fox] knew I was back in the area and was available for work. They wanted me back and I wanted to be back." she says.

Now a junior publicist in the studio's national feature publicity department, Bibby dug in and tested her skills on campaigns for "Big Mama's House," "Bedazzled," "Moulin Rouge," "Bulworth," "How Stella Got Her Groove Back," and the mega-hit "There's Something About Mary." "Coming back to Los Angeles and being able to work on exciting projects with my mentor again was refreshing." Bibby remembers.

Her most important lesson? "Cultivating relationships, not only with the press but with your peers as well," says Bibby of her early learning experiences. "Having great work ethics is also rewarding."

It was that relationship cultivation, in fact, that enabled her to jump back into film after her detour in Atlanta. "Fostering trusting relationships is key," Bibby points out. "I stayed in contact with them and when I moved back [from Atlanta] was able to land a job immediately."

In 2000, after three years at 20th Century Fox, Bibby came across an exciting, but risky opportunity––an invitation to get in on the ground floor of an upstart cable network. "Back then, FX was a cable network widely known for NASCAR and its repeats of acquired programming," Bibby recalls. "But I learned they had hired a very savvy executive, Peter Liguori, as the new president, who prior to joining FOX, was vicepresident for consumer marketing at HBO."

Bibby talked to a friend who was an executive at FX and learned about the network's plans for growth and new programming and decided to take a chance.

Her early days were…well, a challenge. "When I first came to FX, we had shows which weren't...let's say…too thought-provoking," Bibby recalls. "We received some good press but it was difficult, especially when you're pitching shows that were neither too popular nor interesting. But then again, with the new president on the rise and all that was coming, I knew FX would be a place where I could definitely grow with the company and to help build and to brand it."

Her persistence and foresight paid off. According to AdAge.com, for the 2002-2003 season, FX had the number one and number two original drama series among the 18-49 demographic. FX's "The Shield" made history when series star Michael Chiklis earned the first major Emmy and Golden Globe Award for a basic cable original with a win in the Best Actor category. Additionally, "Nip/Tuck" was the only first-year drama to receive a Golden Globe Award nomination. Series star Joely Richardson of "Nip/Tuck" also received a Golden Globe nomination for best actress in a drama series, which was the first nomination of its kind for a basic cable series. The network's original movie, "Redemption," starred Jamie Foxx in a critically acclaimed performance. Needless to say, the stellar product makes Bibby's job a lot easier. "It really is an enjoyable experience working on our shows because it's simply good programming," she says. "I am such an enthusiast of all our shows that I'm constantly knocking on development's door begging for the next rough-cut episodes."

Part of a small, five-person department, Bibby is able to get her hands on just about everything that comes out of FX, from providing input on campaigns for "The Shield," "Nip/Tuck," and "Rescue Me" to overseeing campaigns for the network's original movies.

After 11 years, Bibby says she's still excited about her work, but, in all honesty, there is a significantly bigger project in her life outside the studio––her son, 1-year-old Lheyton. "I can't really say that I'd prefer being a stay-home mom because in my opinion, that job is more difficult than my office job. My baby son is my pride and joy, but he's a ball full of energy all day and all night and works us to no end!" Bibby says of motherhood. "But my earnest desire is to be able to do what I love to do work-wise, but to also be able to spend much more time with my son, which I love most, so I am trusting in the Lord to work that out for me."

The Los Angeles native admits that the needs of her young family consume most of her time outside of FX. When it comes to a discussion of hobbies and other activities, this daughter of a USC basketball coach and sister of a Sacramento Kings basketball player confesses to a decidedly spectator only approach to sports and hobbies. "Because my son is so young and full of zip, everything we do is about him," she muses. "Lheyton is my extracurricular activity and I love every minute of it."

Bibby lives in Los Angeles with Lheyton and her fiancé Dennis.


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 Roslyn Bibby and the AAPRC and tell them what you think

The Ru Report #148

In This Weeks Report
Nia Long Returns, Jude Law Overdose, Ashanti Arrives Again, Thea Vidale Gets Nasty & More

Long Overdue
Sexy screen siren Nia Long is on a roll.

The caramel complexioned star of such Black cinematic favorites as "Love Jones" "Boyz N the Hood" and "Soul Food" is back on the big screen this week in the glossy remake of the 1966 classic "Alfie."

Although she's done some indie projects (most notably Melvin Van Peeble's telling biopic "Baadasssss!," which is now available on home video via Columbia Tri Star) and a handful of noteworthy TV projects including "Judging Amy" and "ER," "Alfie" marks the Brooklyn native's return to the silver screen.

So what was the hold up?

Well for one, she just wasn't feeling the cinematic fare that was being doled out by the Big Hollywood Machine. "I think the quality has gone down, personally," she recently admitted in an interview. "I go to the movies all the time but I just think that filmmakers and studios need to invest more financing behind urban films and there are so many stories that can be told that are on a higher intellectual level."

Now, haven't we've heard this story a million times over?

But "Alfie" presented a great opportunity for the actress who just celebrated her 34th birthday last week. She had some real fat to chew on in the role of Lonette, the one woman in the career philandering lead character's life whom he has always considered out of his league. The bosomy bar owner is also off-limits since his best friend, Marlon, portrayed by Omar Epps, wants to marry her.

"No one sees through Alfie more than Lonette does, yet even she succumbs to his charms," observed Ms. Long, who rocks a more mature and sexier look in the film than her previous work. "I was very excited to read her storyline in the script because it follows a very different curve than the other women. In fact, I think what happens between her and Alfie really opens his eyes a little… actually a lot."

I won't dare give away the story line and updated twist to this film, but let's just stay Lonette has somewhat of a staying effect on Alfie that will be perfect for a sequel.

And one of the most memorable scenes of the sexy movie involves Ms. Long, a form fitting dress, a pool table and the soul stirring of Teddy Pendergrass. Woo-wee! Nia Long epitomized the term "Love T.K.O."

The Trinidadian thespian, now seen weekly on NBC's "Third Watch," really enjoyed working with "Alfie" director Charles Shyer. "As an actor, he really just gave me the forum to just be," she explained. "I never felt stifled, I never felt like he was judging me. Each take was different and he was able to appreciate whatever I brought in the moment."

"A lot of times the directors get caught up in the authority of it all, that they forget to tell the actors what they need to hear to tweak the performance," she confided. "We have the talent. I think actors are sort of born with this talent but you need a good director to help with your work and to grow. We'll always go for what's natural. We're creatures of habit."

The "Big Momma's House" star admittedly knows that "Aflie" is the vehicle to put her back in the spotlight that she let dim for a few years to raise her 4-year-old son Massai Zhivago Dorsey II. But she doesn't regret the hiatus. "I think it was the best thing I could've ever done for myself," she revealed. "In life, your spirit sort of shakes you to do certain things and you don't always understand why and if you're faithful enough you follow that usually at the end of the day it always reveals itself to you."

Ms. Long--who was recently romantically linked to soul singer Ricky Fante and was also one of "People" magazine's 50 Most Beautiful People a few years back--will be revealing more of her self to us in the near future. In late January, the 2004 NAACP Image Award winner for Outstanding Actress in a Drama Series re-unites with her "Friday" and "Boyz N' The Hood" co-star Ice Cube for the feel-good family comedy, "Are We There Yet?"

A Whole Lotta Law
Are American movie fans having a Jude Law Overload?

Let's analyze.

I can't remember in recent history of any one actor boasting five high profile movie projects, all arriving in theaters within a four month time period. In September, the computer-generated fantasy flick "Sky Captain And The World Of Tomorrow" bowed to mixed reviews and delivered paltry box-office receipts. October saw the release of the quirky "I Heart Huckabees," which also garnered mixed reviews from the mainstream media who the big Hollywood Studio Machine covets. And this weekend, the blonde British bloke stars in the hugely hyped remake of the 1960s classic "Alfie," alongside Susan Sarandon, Marisa Tomei and Nia Long.

Next month, Mr. Law stars in "Closer" opposite the pout-lipped Oscar darling Julia Roberts, and the adorable Natalie Portman. And he also stars as Errol Flynn in the soon to be hyped Martin Scorsese epic, "The Aviator," which is scheduled to open on December 17, just 12 days before his 32nd birthday.

What's with the inundation of Jude Law? Is it great "agent-ing" (Ka' Ching!) or just bad timing? "I could let myself get weighed down with a cynical view that these films that took me two years to make have come out or will come out in a period of about five months, but that seems to be the reality of the situation and I have to look at that positively rather than negatively because I have no say in the matter," he commented while doing media chores at New York City's Essex House hotel. "I chose them because to me, they all offered something differently, they've all come out as very different types of film, driven by very different types of director, very different parts, and I hope that people recognize and enjoy the variety rather than the bombardment."

Looking ahead, it was just announced that the South East London native will star in "Dexterity." And already green-lit is the period movie "All The King's Men" co-starring Sean Penn and Meryl Streep.

"What can I say? I have to live with it," he quipped. "I'm trying to be positive."

Positive is the route to go--especially considering the bona fide actors who can't even rent a movie nowadays.

For Adults Only
Is comedy veteran Thea Vidale giving best-selling sex goddess Jenna Jamison a run for her money?

Perhaps.

It was just announced that the plus-sized funny-woman has been named co-host of the 2005 AVN Awards Show, which will be held on January 8 at the Venetian Hotel and Casino in Las Vegas. Miss Vidale is both the first female comic and the first Black comic to host the awards show, which pays homage to porn's biggest and best.

For those of you who don't know, the near 50-year-old Washington, DC native has appeared on a number of television shows, including a 1993 stint on ABC as the star of her own series, "Thea." Now, she is also known as one of the "bluest" headliners on the circuit.

"I like porn; it's very interesting to me," she said. "I've yet to see a whole movie...but who ever does?" quipped Ms. Vidale. "You never hear anyone ask, 'What happened at the end of the movie?' when talking about a porn movie. That's because we all know what happened. Somebody came, motherf@#%er, somebody came."

And while the woman many considered the 'Black Roseanne Barr' doesn't have a particular favorite among porn stars, she does admit that multiple AVN Award-winning performer Lexington Steele has caught her attention.

"I haven't seen all [the porn stars] yet, but I think Lexington Steel is…interesting. His @#$% is big, but…my friend interviewed him once and he was talking about anal sex. I'm not saying that he was hitting on me, but I started to think that he was looking at me during the interview and was thinking about it," she revealed.

"And I was scared," she continued. "If you think you're going to put a 12-inch @#$% in my ass, I'm calling the police because I know that's gotta hurt. I have so much respect for women who can take something like that. Not that I haven't f@#%ed in the ass, but I haven't worked with what they have."

A spokesperson for the show assures us that Ms. Vidale has plenty more to say to men-- both those who are well-endowed and those who aren't--and women, those who can take a 12-inch d@#% up their ass and those who can't. But she's going to save it for the stage. This will surely be a naughty good time.

Endless Ashanti
Platinum-plated hip-hop soul singer Ashanti called me from the Vancouver set of her latest movie project, "The Muppets' Wizard Of Oz," late last week. She turned 24 just two weeks ago and she's excited about all the new happenings that are underway. The latest Muppets TV film, which is directed by Kirk R. Thatcher ("It's A Very Muppet Christmas"), also stars Queen Latifah, David Alan Grier, Jeffrey Tambor and Quentin Tarantino and will air on ABC next May. But before then, the Glen Cove, New York native will make her official big picture debut in Paramount's "Coach Carter" with Samuel L. Jackson due to open on January 13. The true to life flick will also star Debbie Morgan and "One On One" star Robert Ri'chard. And just before all of her motion picture motions, Ashanti will release her third album, "Concrete Rose" in early December. Ashanti also revealed the news to me that she has garnered a major endorsement deal--as a spokesperson for Clairol Herbal Essences hair products line. Go Ashanti!

Video View
The Great White Way finally comes home for theater lovers with the recently released DVD package of "Broadway: The American Musical." Hosted by Emmy and Academy Award-winning actress Julie Andrews, the six-part series chronicles the history of American musical theater through the eyes of the writers, the directors and the stars of Broadway. Originally premiering on PBS October 19-21, the expansive program takes a look at the way American musical theater has evolved from its humble beginnings before the invention of electricity to the extravagant productions seen presently. Adolph Green, Frances Gershwin Godowsky, Al Hirshfeld, Kristin Chenoweth, Idina Menzel, Ben Vereen, Nathan Lane, Mel Brooks, Carol Channing, Harvey Fierstein, Jerry Orbach and many more theater stars offer first person accounts throughout the series, which also incorporates archival footage, newsreels, private home movies, original cast recordings, still photos and diaries among other extensive sources reliving the history of Broadway. The 3-disc box set features over five hours of exclusive bonus features including additional performances, interviews and a special featurette entitled: "Wicked: The Road to Broadway." The DVD release is part of an extensive campaign which also includes release of a companion book by series creator/director Michael Kantor and theater scholar professor Laurence Maslon from Bulfinch Press, and a 5-CD boxed set that features more than 100 of the most memorable songs ever performed on the Broadway stage. A single "best-of-the-best" CD that features 21 tracks, from Columbia Broadway Masterworks and Decca Broadway, is also available.

And just in time for the sequel ("The Edge Of Reason") which arrives in theaters on November 19, "Bridget Jones's Diary" is getting the Collector's Edition treatment with the release of a new DVD package now in stores. Starring Oscar winner Renee Zellweger in the lead role, with Hugh Grant and Colin Firth, "Bridget Jones…" served as the ultimate voice for frustrated, single woman everywhere. And it was a huge blockbuster success. The new edition features all new bonus materials such as: reviews, columns, behind the scenes footage for the sequel and hilarious featurettes such as "Portrait of the Makeup Artist," "A Guide to Bridget Britishisms," and "The Young And The Mateless--Experts Guide To Being Single."

"God bless America... "

AAPRC Weekly: Cecile Cross-Plummer

Cecile Cross-Plummer
HBO

In the beginning, Cecile Cross-Plummer simply wanted to go home to Jamaica. Her family, her

Cecile Cross-Plummer
Senior Publicist
HBO
NYC


In the beginning, Cecile Cross-Plummer simply wanted to go home to Jamaica. Her family, her parents and three sisters, relocated to New York City from Kingston when Cross-Plummer was just 16. Because the new Caribbean transplant had already finished high school (in Jamaica students finish sooner), she got a worker's permit and went to work at Citibank. Her plan was to go on to college, get training in restaurant and hotel management and go back to Jamaica to work in the tourism industry.

Sometimes, though, the plans we make at 16 don't always work out.

Cross-Plummer did indeed major in hotel and restaurant management when she started classes at New York City Tech in Brooklyn. "Then the weirdest thing happened. I realized that those people [hotel and restaurant workers] kind of work everyday, Saturdays, Sundays and holidays," Cross-Plummer says, recalling the moment her plans changed. "I was like, no, that's not going to be me."

She was almost finished with the degree that she would never use when she read an article in Essence––called "Women Who Wear the Pants"––and one of the women profiled was a publicist for the NBA. Cross-Plummer decided she "wanted to do something like that."

She went back to school, this time to Manhattan's Hunter College, majored in media studies and planned for a career in sports (she's a big sports fan). But, once again, there was a change of plans. "During my senior year I had to choose between two internships, one at the Garden and one at HBO, and I chose the one at HBO," says Cross-Plummer.

In 1995, about six months after she started that internship in HBO's media relations department, Cross-Plummer was offered a full-time position as an assistant. She accepted. That was nine years ago, and Cross-Plummer has been ensconced at the cable entertainment powerhouse ever since.

In the beginning, she admits, she just wanted a job and was relieved when the vice-president of the department made her an offer. In the early years, though, there were some speed bumps. In 1997, after the vice-president who hired her left, Cross-Plummer ended up working for a man she describes as "not really a nice guy." She moved over to work for someone else, but that person, who reported to not-really-nice guy, got themselves fired. That meant Cross-Plummer was without duties. She still had a job at HBO, but nothing to do. "I was going there everyday. They were paying me, but I didn't have a specific gig," Cross- Plummer recalls. "I would just sit at my desk."

Obviously, she was concerned. "Miraculously, this woman who was director of corporate affairs and over advertising for HBO saved me," says Cross-Plummer. "She came over to me one day and she said, 'Look, after the Thanksgiving holiday I want you to come and start working for me.'"

Under her new boss, Cross-Plummer learned about advertising and marketing and got promoted to coordinator. Then, when there was an opening for a listings editor in the media relations department, Cross-Plummer took a test and got the position. For about six months she made sure that TV channels and guides throughout the country had HBO's program schedule, then she was promoted to publicist. "I started working on all the family programs. Anything on the HBO Family Channel, I was responsible for," says Cross-Plummer."

Today, as a senior publicist, Cross-Plummer directs campaigns for "Russell Simmons' Def Poetry Jam" and all HBO comedy specials. A few years ago, she and a colleague were assigned to cover the acclaimed series "The Wire" (the show's huge cast of 25 regulars requires two publicists), and Cross-Plummer also assists her boss with HBO's mega-hit "The Sopranos."

In an industry where it's not uncommon for publicists to make frequent jumps from one company to another, Cross-Plummer is a bit of an anomaly. She has never left HBO and it's hard to imagine what could lure her away. Cross-Plummer loves her job and her company, and that company love, apparently, is the norm at HBO. "The woman that I work for now is the same woman I interned for," Cross-Plummer points out. "People rarely leave."

Why? Perhaps because life at HBO is not the buttoned-down-clock-punching scene so often found in corporate culture. "Especially in the media relations department that I work for, there's not one person who will look at you and say: 'You know what? It's 10:00 and you were supposed to be here at 9:30.' There's not one person who would say that. There's not one person who will say: 'Keep your lunch hours to an hour,'" Cross-Plummer says. "We are a good group of people. Some of us actually tend to hang out together…They're very supportive of everything…They totally give back to their people."

Cross-Plummer also points to the wide range of people she gets to interact with during her professional life––from comedian Chris Rock to the busboy working at Chris Rock's party––as another big plus. Once again, she says, corporate culture at HBO encourages respect and recognition for people on every level, from the CEO––whom you may spot with his tray in line at the company cafeteria––to the guy cleaning the windows.

As much as she enjoys going to work everyday, Cross-Plummer foresees a time when she'll strike out on her own. "It's not like my 10-year plan is to be vice president of my department," says Cross-Plummer frankly. "A lot of my bosses would have to leave for that to happen. I love HBO so much, but I've learned so much that I think I could do it on my own."

Because she's not yet developed a plan for the future agency, though, and because she certainly is in no rush to leave HBO, Cross-Plummer imagines another decade or more at television's most acclaimed cable network.

Outside of HBO, Cross-Plummer's other love is her husband of seven-and-a-half years. "I just have to be grateful that I have a supportive husband," she admits. "When I say to him 'Oh, honey, it's Wednesday. I'm going to Baltimore on Friday and coming back on Monday.' He's like: 'Okay.'"

The couple travels extensively, lately to the Caribbean, and for the first four years of their marriage, to Europe. Cross-Plummer also plans what she calls "girl trips" with her closest friends. When not traveling and spending time with her spouse, Cross-Plummer treasures her family, which, in addition to her mother, father and sisters, now includes a host of nephews and her stepmother.

Not surprisingly, there are no regrets about not returning to Jamaica.


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 Cecile Cross-Plummer and the AAPRC and tell them what you think

The Herbert Hollar

Word To Herbert
I did a good job of scaring the cr*p out of myself this Halloween with enough horror flicks to last the year. Even my little shorty had some problems sleeping. She woke me up the other night and told me I was

Word To Herbert
I did a good job of scaring the cr*p out of myself this Halloween with enough horror flicks to last the year. Even my little shorty had some problems sleeping. She woke me up the other night and told me I was snoring so loud, it sounded like a chainsaw and reminded her of Leatherface and she couldn't sleep. And then seeing "Amityville Horror" didn't help, espcially since we're about to move into a new pre-War home in a historic section of Brooklyn (here I go). There's gotta be some haunted places around there, too. Maybe I can put in a "Paranormal Inspection Clause" which will allow me to get the place checked out by professionals. Should it be haunted, the owner will have to pay for the exorcism.

Can you imagine, sitting on the toilet in your new aparmtent, and some freaky voice yells "get out!!!!"? How freaked would you be? Would you wipe or just run?)

Friday at Freedom was dope ... of course. Big shout to Neil Nice from Ecko and Joe Eleven from the Rub (this Saturday at Southpaw), and all the fine fun-ready folks that piled in. Bigger and better things are on the way, so stay tuned. And a big pat on the back to Mickey Dread, Paul Diamond, Troy Kristoff and the rest of the team at Social Club for hosting what might have been one of the best parties in the last 5 years for the crew. It was packed, it was crazy, I got to play Marvin Gaye, and it didn't stop till 4 in the am, which was really 5 cuz the clocks got set back. And of course, I got my dose of "Thriller" when some mummies and transvestites got up on the vip booth and did the video dances. Big shout to SNATCH ONE from Da Union for coming through and listening to the kid and prolly running home and practicing my mixes he just heard! BASTID!

Now ... how about Jay-Z and R. Kelly, huh? Is Mr. Carter cursed or what? This is the second time around their album and world tour are gonna be all messed up cuz of the "Are-a." The first time, R.'s home-made videos got out. And now he's got some personal, hissy-fit problems? Do I have this right? Somebody lemme know. (Hey miss pilgrim -- holler at me now. I gotta tell you something.)

Speaking of curses, I'm going to settle on my official way for writing curses in this email. I'm going to use the "*" to blot out some letters so technically it's not a curse, but you get the point. That way, I avoid problems with companies blocking correspondence due to "sensitive text," and I avoid insulting those that do not want to read my filthy mouth. But what kind of a**hole motherf**ker piece of dogsh*t has a problem these days with hearing some good ol' f**king American street slang? They're just adjectives and adverbs after all ... d**kheads!

Peace, love, light, good health,

DJ Herbert

Herbert's Hot Picks
wed(03): umbrella - herbert - hiphop/r&b/reggae/80s/reggae-ton
wed(03): apt - rich medina - old school/soul/funk/afrobeat/80s
wed(03): nuyorican cafe - hiphop + poetry + jazz open mic - LEGENDARY!
wed(03): bOb - rholi rho/5th platoon - hiphop/r&b/reggae/80s
wed(03): madame x - jon oliver - soul/rock/rare grooves/hiphop - 8pm to 1am
wed(03): cielo - kevin hedge/louie vega/guests - soulful house
wed(03): cherry lounge - sussone/dres (black sheep) live - hiphop/r&b/reggae
wed(03): lotus - ani quinn/soul/big ben - hiphop/r&b/80s/rock
wed(03): joe's pub - big brooklyn red/maya azacuna/dj prolific - live soul
wed(03): baraza - eric rodriguez - classic salsa + merengue/soul/afrobeat/fusion
wed(03): afterwork/rumor - snatch 1/kaos - hiphop/r&b/reggae/classics

thu(04): guernica - blessed productive/selly/guests - house/old school/soul
thu(04): table 50 - q tip/mark ronson/guests - hiphop/rock/soul/funk/classics
thu(04): ruby falls - guest djs - hiphop/r&b/rock/80s
thu(04): black betty/bk - monk one/emskee - soul/funk/classics
thu(04): discotheque - tony humphries - "zanzibar classics" - HAPPY B-DAY!!!
thu(04): negril village - dj m.o.s. - hiphop/r&b/reggae/classics - ja rule listen!
thu(04): crobar - larry t/josh wood/gbh - rock/house/electro/80s/whatever
thu(04): pressure - grandmaster flash/tony touch/eleven! - hiphop/free food/liquor
thu(04): avalon - lovebug starski/max glazer/guests - hiphop/r&b/reggae/80s
thu(04): na - stretch armstrong/mateo/exacta - hiphop/soul/rock/80s/house
thu(04): sob's - rekha/eddie stats/live visuals by fictive - bhangra/bhangra/boom
thu(04): suede - ani quinn - hiphop/r&b/reggae/80s/rock
thu(04): apt - roy dank/brennen green - future funk
thu(04): afterwork/kanvas - dj sweets - hiphop/70s/80s - 6PM
thu(04): afterwork/cherry lounge - dee whiz - soul/hiphop/r&b/classics/old school

fri(05): starfoods - thank god it's freedom - the illest - see gigs below!
fri(05): frying pan - nickodemus/mariano/small change - soufloul house/world beat
fri(05): lot 61 - dj soul/guests - hiphop/r&b/reggae/classics
fri(05): table 50 - qool marv - house/soul/international/classics/funk/olskool
fri(05): bembe/bk - miller cruz/dj true - neo brazilian fusion
fri(05): roxy - kid capri/brinka/eddie batiz - hiphop/r&b/reggae/latin/house
fri(05): spirit - big ben/shadee/rotating trance djs - trance/hiphop/r&b/reggae
fri(05): crobar - jimmy van m/junkie xl - house
fri(05): strata - snatch 1/self/soundproof - hiphop/r&b/reggae/classics
fri(05): na - stretch armstrong/jus ske/lee kalt - hiphop/r&b/rock/80s/house
fri(05): cherry lounge - dj ivan/frank swift/c lo - all things latino/freestyle
fri(05): canal room - big ben - hiphop/r&b/reggae/80s/rock/house
fri(05): vue - guest djs - hiphop/r&b/reggae/classics - first fridays, y'all!
fri(05): triple crown/bk - emskee - soul/rare groove/hiphop/good ish
fri(05): hiro - van jee - house/80s/rock
fri(05): blue note - jahi/meshell n'degeocello/live band - www.bluenotejazz.com
fri(05): bb king's - raphael saadiq/amp fiddler - r&b - http://www.giantstep.net/
fri(05): hammerstein - kanye west/common/xecutioners/musiq - 212.307.7171
fri(05): cbgb's downstairs - kristin + the kromozones - www.c-n-b-cn.com
fri(05): quo - disciple/dove (rotation)/live dance - house/live percussion
fri(05): janella - stimulous - soul/hiphop/classics/rock/80s
fri(05): afterwork/vue - big ben - hiphop/classics/reggae-ton - late night latin!

sat(06): social club - herbert/slinkee/cel - hiphop/r&b/reggae/80s/rock/old school
sat(06): mission - stormin normin - hiphop/r&b/reggae/classics
sat(06): 40/40 - rahlo/k.o. - hiphop/r&b/reggae/classics/80s
sat(06): etoile - goldfinger/precise - hiphop/r&b/reggae/classics
sat(06): shelter - timmy regisford - soulful soulful soulful soulful (deep) house
sat(06): sullivan room - francis harris/david hollands/guests - house
sat(06): starfoods - osiris/spinna - soul/afrobeat/funk
sat(06): crobar - david waxman - house
sat(06): viscaya - ani quinn/aphrodita - hiphop/r&b/reggae/80s/rock
sat(06): cherry lounge - sussone - hiphop/r&b/reggae/classics
sat(06): oceo - dj wonder/big guests - hiphop/soul/reggae - HAPPY B-DAY, WONDER!
sat(06): na - mark ronson/q tip/vanjee/massi voto - hiphop/classics/house/olskool
sat(06): spirit - ski hi/jonathan peters - house/hiphop/r&b/reggae/reggae-ton
sat(06): brooklyn museum/3rd floor - emskee - hiphop/soul/classics/funk - 9 to 11
sat(06): satalla - bonga/vodou drums of haiti - live drums/singing/dancing
sat(06): louis - jd allen trio - live funky jazz - 212.673.1190
sat(06): route 85a - redlox/fuddy knight - soul/funk/r&b/hiphop/reggae/80s/rare
sat(06): southpaw - eleven/ayres/cosmo baker - soul/funk/old school/reggae/80s
sat(06): joe's pub - eleven/guests - hiphop/r&b/reggae/soul/80s/old school

sun(07): fez uptown - marc smooth/dallas green/dan.ce - classics/hiphop/r&b/reggae
sun(07): 1073 atlantic b/w franklin + classon/bk - ruben toro - house + classics
sun(07): flow - big ben/guests - hiphop/r&b/reggae/80s/rock/house
sun(07): piano's - scratch famous/selector JD/guests - reggae/reggae
sun(07): room 203 - smooth c - hiphop/roots-rockers-dub-reggae/r&b/soul/classics
sun(07): pravda - obah - old school/soul/funk/afrobeat/80s
sun(07): nv - sussone - hiphop/r&b/reggae/classics - b-day for zeb judah!
sun(07): table 50 - rich medina/cucumber slice - soul/funk/afrobeat/old school

mon(08): cielo - francois k/carl craig - future dub/space vibes/house
mon(08): apt - eli escobar/bobbitto/spinna (rotation) - soul/funk/disco/olskool
mon(08): sway - guest djs - hiphop/rock/soul - some real nyc ish/starts around 1
mon(08): spyder room/avalon - dj boy george/rob dinero/live comedy - 8pm open bar
mon(08): 9 1/2 - sussone/mos/guests - hiphop/r&b/reggae/classics
mon(08): afterwork/justin's - sussone - hiphop/r&b/soul/reggae - football

tue(09): canal room - giles peterson - jazz-oriented dance music!!!
tue(09): soho 323 - stretch armstrong/mark ronson - hiphop/r&b/80s/classics/rock
tue(09): joe's pub - guest djs/live soul performances - soul/classics/hiphop
tue(09): londel's - live jazz/coleman hawkins' 100th - www.londelrestaurant.com
tue(09): union square lounge/coffee shop - emskee skittles - soul/funk/old school
tue(09): suite 16 - big ben - hiphop/r&b/reggae/classics/80s/house/latin/rock
tue(09): sapphire - eman/lola - deep house/future grooves
tue(09): afterwork/aubette - snatch 1 - hiphop/r&b/reggae/soul/classics

Herbert's Heard (Now in order of hotness!)
1. "Funky Dividends" -- Three Times Dope
2. "Thriller" -- Michael Jackson
3. "Yo Voy" -- Daddy Yankee
4. "1, 2 Step" -- Ciara feat. Missy Elliot
5. "You Got the Love" -- Source feat. Candi Stanton (I don't trust the internet.)
6. "Dammit Man" -- Pitbull (This dude's gonna wreak havoc.)

Herbert's Gigs
every wednesday - umbrella new york - 440 w. 202nd (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!
free!!!!! - new hot venue!!! - 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 - party people from all walks!
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 - djherbert@earthlink.net

Message DJ Herbert and tell him what you think

Tech Sessions #20

The Ear
Sometimes you might hear somebody say 'that brother has an ear for music' or his mixes are hot because he has great ears.'

The Ear
Sometimes you might hear somebody say 'that brother has an ear for music' or his mixes are hot because he has great ears.'

That doesn't necessarily mean that dude was born with aural tubes that are any better than mine or yours, that just means that this particular person has a predisposed ability to hone in on music and make it shine.

Some of the best in the business pick this up naturally while others struggle to develop it. Regardless of where you sit within this area, know that this is among the five most important things that you can develop as a producer.

When creating a track, the knack for having a good ear can help you key in on when something is right, needs a little more seasoning, or is just not worth dealing with. Again, some people are just pre-disposed to just 'know' and this all comes easily to them.

Others have to fight with it a little and even still some have to really get their center of gravity tight mentally to make it happen. Speaking solely for myself, I've always felt music from the crib on up into the world, however I had to take time to develop my ear so that I could make music that I could love and simply not just like.

Focus and concentration were the two main things that brought it home for me. They sound like they would be the same thing but nope… they are not. It took much focus to sit in front of a keyboard for hours and play all seven notes in a variety of octaves while I repeated the name of the note as I played it.

The concentration came in to apply the shit to a new track as I wrote melodies. The ability to sing to a melody without words just by rattling off notes mentally has helped me to enter that space where you can just get lost in the music. And there for me at least was a major closing point in leaving stuff I like behind and bumping tracks out that I love.

Of course, all of this helps too if you're doing vocal production as well but for today let's keep it musically speaking.

Think about that new Snoop track that The Neptunes produced "Drop It Like It's Hot." It's simplicity tends to make you want to think it's not that musical. But the reality is that the joint is so creative that you can hear their respective ears for the rhythm of the beat, the little vocal nuisances that became part of the instrumental and the left field chords that set up each transition. You can hear how they got lost in it.

So if your tracks are not coming out just the way you want them to, then work on really checking your ears. This way what you hear on the inside has the best possible chance to make it outside.

Message Glover having "ears" for music or what you've done to develop this skill. Or just hip him to songs that you think are sonically different.

Raquel's Corner: Tim "Timbaland" Mosley

Tim "Timbaland" Mosley
Acclaimed hip-hop producer Tim "Timbaland" Mosely began honing his craft at age 19 under the tutelage of Jodeci soundman DeVante Swing. Eventually he hooked up with Missy "Misdemeanor" Elliott, Playa

Tim "Timbaland" Mosley
Acclaimed hip-hop producer Tim "Timbaland" Mosely began honing his craft at age 19 under the tutelage of Jodeci soundman DeVante Swing. Eventually he hooked up with Missy "Misdemeanor" Elliott, Playa, Ginuwine and Magoo. His productions have sold more than 10 million copies. I had a chance to speak with him about his recent projects, including the opening of Cherry Lounge, his second night club.

Exactly how long have you been in the industry?

About 11-12 years.

What motivates you?

Music. I love Music but nothing musically is motivating me right now. The world is changing and I'm getting older, I knew it was something when I started looking at B2K funny. As I think about it, I'm sure it's like how when we were young, people looked at Rakim. We're like those people now, the older generation. We're getting older.

I like doing music but I don't like what's being said on top of the music. It's like all the images are the same old, same old. There's really no creativity, it's just a repeat, a cycle, it's all a bunch of bull crap.

What's in your CD player now?

Cold Play, Maroon 5… stuff like that.

What inspires you to keep going with your productions?

Ummm…. Old school music. I might hear some old school music and that might inspire me to go forward.

What is it about your music that makes people come back for more from you and Missy?

I don't know, maybe it's just that VA sound that me, Missy, and Pharrell all got.

Do you think that style of music comes from you all being brought up in VA?

It could be cause we were all limited. We didn't have like a lot of things. We had to create our own little sound.

What was it like growing up in VA?

Growing up in VA was cool, just more like laid back, country, really nothing to do, just regular old everyday stuff that people do, You know. Following the trends of New York.

What was it that made you say to yourself 'I want to be a producer'?

I never wanted to become a producer. What happened was, I wanted to be a DJ and when I met Missy and them, I was doing beats on this little Casio keyboard. That made me say, okay. Missy kind of made me become a producer because she said I could produce. I was just doing stuff cause people weren't making the kind of music I wanted to hear.

What was Missy doing at that time?

She was singing and doing her thing with her group Phase 2.

When you first entered the industry was it all you expected?

When I first entered the industry it was more like, whatever! It was a job and I was glad to have a job. That was all.

If you could be doing anything else as a career what would it be?

If I could do anything it would probably be the same thing, nothing spectacular cause I don't really like nothing else. I'm starting to get into other things now, I'm starting to branch out. By being in music, it makes you explore other avenues and other things in life that you might not normally do like maybe… play tennis or something.

(giggling) Do you play tennis?

Yup I be out there, I started to. Now that's something I wouldn't normally do but, me being exposed to different thing in life makes you do things you normally won't.

You opened up a new club right?

Yeah.. The Cherry Lounge.

Ha (laughing) What, do you just like cherries?

It just sounded sexy. (DJ) Clue and I, everybody who was involved thought that sounded sexy.

So it's a part ownership between you and Clue?

Yeah me, Clue and this other guy H.I. Sugarman. Me and H.I. own club Suede downtown.

Is there any particular reason why you chose to open a club in Harlem?

Just because it's untapped for right now so they needed something. There's nothing wrong with Harlem. It's just untapped.

What's the general feel of the club, what's the vibe?

I mean I thought it would be more ghetto and hood but, it's actually okay, it's not that bad. It's kind'a cool!

What artist haven't you worked with that you would like to before you pull a Michael Jordon on us?

None. I'm satisfied.

Is there any particular artist that you really enjoyed working with. Someone you just can't get enough of working with them.

No, not really. It's all the same thing, it's just making great music. It's not so much the music, it's more about the time spent with the artist you know.

Peace and Quiet or Party Hardy?

Oh peace and quiet.

Is there a special place that you go for peace of mind?

Hawaii.

What is it about Hawaii?

There ain't nothing there. I mean it's nice, the water's nice. It's just nice. It's so relaxing and it's so peaceful.

Pardon me for saying but you don't seem to be interested or excited about much.

Nope. I'm cool. I enjoy buying property, buying houses, stuff like that. Enjoying life.

What's your sign?

(laughs) Pisces.

What are some of the Pisces characteristics you would say stand out about you?

People draw to me. Different kinds of women draw to me.

What type of women do you like?

At one point in time I used to be real judgmental about females and about their characteristics. I'm not like that no more. As far as women, it varies. I mean I could like a person's eyes or her mouth. I don't know.

So basically you don't discriminate anymore?

No I don't really discriminate but I want a woman who has some kind of morals as a woman. I mean, if I have a child with her, how would they raise our child.

Do you have any children?

No.

So you're not married and you don't have children.

Nope.

What gives you a sense of security. What's makes you feel secure in life?

I don't. I just live life as it goes.

What would you say are some of your flaws?

I'm kind of inconsiderate.

Ha!

I am. I've been told that by different woman I fooled with. They say I'm inconsiderate. My timing is messed up. I don't know. I'm a strange person. I'm real strange. A lot of women that I do get close to fall in love and I wouldn't know until the last 7 or 8 months. But hey…. I'm nonchalant. I can care less. Like if you say you going somewhere, you going out, hey… whatever.

What would be a turn off about a woman to you?

A woman who smokes. Just one that does things unladylike because I'm trying to go back to the old school. I don't want a woman who got a foul mouth, like she's on a ship. I can't clean up a woman. It takes God to do that. They got to have God in their life. That's how I made it this far, you know, always keeping God first. If a woman doesn't have the same morals, it will probably never work.

What's your religion?

I'm Pentecostal. Church of God and Christ.

Do you think your religion plays apart in how you feel about the industry and somewhat going astray from it all?

It could or it could just be a change of lifestyle. Everybody got different callings. I don't know. Maybe I got a calling.

What would be your ultimate goal in life or have you already achieved it?

I really don't have an ultimate goal. You just live life and then you die. That's all.

What's one word to describe you best?

(a) Loner.

Do you have any reoccurring dreams/nightmares?

No.

Do you have any fears?

The fear of God.

Chuuuch! What projects are you working on now?

Missy, J-lo, Luda, Fat Joe, and Busta Rhymes

Where is Ms. Jade?

Jade was here for the opening. She's chilling.

I think Ms. Jade is tight. There were a lot of people waiting on her album. They still are, myself included.

Yeah?

Will she be out soon?

I don't know. The record business took a hold of her. So right now, she's just marinating.

If you could have dinner with anyone, whether they are still here on earth or not, who would it be?

If I could dinner with somebody, I'd want to have dinner with Aaliyah and just hug her. That's about it.

Wow! I don't know why, but I wasn't expecting that. I'm such a mush when it comes to Aaliyah, I'm such a fan of hers. She was so beautiful. Now look, you almost made me cry.

Hey you asked me the question.

Ummmm…how would you say that you've rebuilt yourself from the loss of Aaliyah?

I don't think I have. I think we just go on.

With your newer artist or other artist that you've worked with, have you tried in anyway to recreate or package them as Aaliyah, the artist?

No. Never! But I think Ciara is like Aaliyah.

And none of it is intentional?

No.

If you see an artist following the same patterns as Aaliyah would you try to change it.

No, just go with the flow.

What is it about Ciara that you like?

I like her energy, her attitude.

What other artist do you admire.

It's all about groups. Maroon 5, Cold Play, a lot of European groups.

What's your favorite Cold Play song?

Every last one of them.

Yeah, I noticed Brandy, on her last album Aphrodisiac, mentioned Cold Play. Was that inspired by you?

Probably. The guy who wrote her songs liked Cold Play too.

Do you ever see yourself going in that direction, maybe alternative?

I don't know. I could. I could not.

Where do you see yourself in five years.

I hope I could see myself in five years.

(knocking on wood) You will!

We don't know. I don't think ahead that far, just take it one day at a time.

If you could be anywhere in the world right now, where would that be?

Right here.

Doing this interview?

I guess so. That's were time permits me to be.

If you could change the music industry how would you?

I did!

If you could change what the newcomers are doing in the industry, how would you?

I would tell them to go back and listen to real music, 70's and 80's music, something that ya'll young people don't know nothing about. Notice I said ya'll young people. Ya'll don't know nothing about it. Go back and study the art of where real music comes from. Feel me?

What advice would you give the newcomers to the industry, whether they're artists, producers, etc.?

Ahhh everything is fleeting. At first you're hot then someone new comes and knocks you off. I don't know. There's no advice to give. This game is corrupt.

The game is corrupt? Do you care to elaborate?

I can't really elaborate, you just have to be in it to see. There are so many things. So many things happening everyday that I just block my mind from it. I just know that it's corrupt.

Any last words for the readers?

The last word for the readers is just read it and get your own opinion of it all.

Message Tim "Timbaland" Mosley and Raquel De Jesus and tell them what you think

Raquel De Jesus is a freelance journalist and video/DVD show host living in New York. Catch her program on a DVD near you.

What's In Your Deck #8

Your Top 5 Music Picks
1. Snoop Dogg f. Pharrell Williams-"Drop It Like It's Hot" (Star Trak)
My favorite part is the drawn out "Snnooooooooop" yodel. Reminds me of Sir Mix-A-Lot's "Square Dance

Your Top 5 Music Picks
1. Snoop Dogg f. Pharrell Williams-"Drop It Like It's Hot" (Star Trak)
My favorite part is the drawn out "Snnooooooooop" yodel. Reminds me of Sir Mix-A-Lot's "Square Dance Rap."

2. Keyshia Cole's-"I Changed My Mind" (Interscope)
The lastest "I'm feed up with your BS" anthem.

3. Masta Ace-"Bklyn Masala" (Yosumi/M3)
Great storytelling. Got hipped to this from one of DJ Oh So Kool's many great Suga Treats mixes.

4. N.O.R.E. f. Daddy Yankee, Nina Sky, Gem Star & Big Mato-"Oye Mi Canto" (Roc-a-fella/Def Jam)
Boriqua, Morena, Dominicano, Colombiano!

5. Ja Rule f. Fat Joe and Jadakiss-"New York" (Inc./Def Jam)
Caught me ear when I heard it at a beach party in Miami. Catchy hooks get me every time.

Message The Crusade.net and tell us what's currently in your CD deck

AAPRC Weekly: Lauren Tobin

Lauren Tobin
ABC Television

As a teenager, Lauren Tobin knew she was interested in some aspect of media as a career, and knew for

Lauren Tobin
Publicity Director
ABC Television
Los Angeles CA

As a teenager, Lauren Tobin knew she was interested in some aspect of media as a career, and knew for sure that it wasn't going to be publicity. This was the rebel that lives in all adolescents.

Tobin grew up the only child of veteran PR guru, Pat Tobin, and the publicist's daughter was tired of hearing about publicity. When Pat Tobin founded her agency, Tobin and Associates, during her daughter's senior year in high school, it was the last straw. "All I ever heard of was publicity, publicity, publicity," Tobin remembers. "I thought what is this that takes up all of her time? Then, as I was going into college, she decided to open up her own business. Sad to say, I was less than supportive because I thought, 'Okay, she's starting a business. I'm going to college. We're going to be homeless!'"

The younger Tobin's predictions didn't come true, not about her mother's entrepreneurial gamble––Tobin and Associates has been around for twenty years–-and certainly not about her own career path. Tobin went off to the University of Southern California and majored in broadcast journalism, fully intending to become a news reporter. When the time came for her to set out on that journey, though, she gave pause. "It wasn't like it is now where you can just be on a reality show for two weeks and suddenly parlay that into a television job," says Tobin. "Back when I graduated you had to send your tape out and chances are you started in a very small market and if you were any good you worked your way up and maybe in five or ten years you made it to a major market."

Problem with that was Tobin was already living in a major market, Los Angeles, and enjoying a very cool life. Instead of making the trip to the middle of nowhere to be a fledgling reporter, Tobin took a job at CBS Entertainment, first as a page and then as an assistant. While at CBS she heard that producer Steven Bochco had signed a multiseries deal with ABC and that Bochco's vice-president of publicity needed an assistant. She figured her background in journalism in combination with her early exposure to publicity made her up to the task.

Tobin joined Steven Bochco Productions in 1989, providing support to the company that produced some of television's biggest shows at that time, including "Doogie Howser, M.D." and "NYPD Blue." "That basically opened up a new career path for me," she says of the opportunity. "I found that it blended all the skills I'd been gathering…I was there for five years, and because we were just two people, it was the best training."

Tobin found herself with a boss who bounced ideas off of her, listened to her ideas and welcomed her input. "There were a couple of occasions when he would be away and something had to get done, publicity wise," she remembers. "A photo shoot had to be arranged or something had to get done that day and there was nobody else to do it. Either I was going to do it or it wasn't going to get done. That was really good training."

The young girl who'd grown up wanting to do anything but publicity, found herself loving it. "The thing I liked best was when you take an idea or a concept or a show or an actor that is unheard of one minute and then in a very short order of time they're a household name," Tobin explains. "You know that you were the channel through which they went from being anonymous to being well-known."

In 1994, Tobin moved to Fox Network as a coordinator in the publicity department. By 1995, she had been promoted to junior publicist. Shortly after, Tobin was handed an opportunity she couldn't pass up. "ABC had completely revamped their publicity department and decided to hire a bunch of people with varying degrees of experience," says Tobin. "I was fortunate enough to be considered, mostly because of the relationship I'd developed with them during the Bochco years."

She joined ABC as a junior publicist and has been there for nearly 10 years. "Someone asked me once how can you stay in the same job doing the same thing for such a long period of time?" Tobin says. "The thing is it's never the same job day in and day out. There's always a new set of challenges. There's always a new producer or a new actor or a new situation that you have to deal with."

In her first days at the network, Tobin and the other new publicists were allowed to choose the shows they wanted to work on. Tobin chose "Family Matters" and "Hanging with Mr. Cooper," two shows with African-American casts. "I felt like those shows had been underserved and maybe they could use a shot of fresh energy," Tobin explains. "Maybe not everybody else reads Jet magazine but I do and I wanted to ensure that those people [the cast members] got their fair share of publicity, not just in the Black media but in mainstream media as well...Those projects were close to my heart because I knew all about the Black media from my mother. I know how important and valuable it is and I wanted to be able to interact professionally with these people I'd grown up hearing about for so long."

During her long association with ABC, Tobin, now a publicity director, has coordinated campaigns for some of the network's most successful outings. She launched "The Drew Carey Show" in 1995 and, in 2002, the hit reality series, "The Bachelor." She is particularly proud of her association with the 1997 musical, "Rodgers & Hammerstein's Cinderella," which starred Whitney Houston and Brandy. "At the time, the movie's multicultural cast was an unheard of concept," says Tobin of the experience. "It was a fairytale literally and figuratively. We just never imagined an experience could be so fulfilling. The cast was terrific. It was everything you hope a project could be––good music, beautiful costumes, big stars, multiethnic…"

Her work has earned Tobin the respect of her co-workers and colleagues in communications nationwide. As a member of the Publicists Guild of America, she has won once and was nominated four times for The Maxwell Weinberg Showmanship Award, the organization's top honor, which recognizes the year's best television publicity campaign. On two occasions, she has been recognized by the Television Publicity Executives Committee for outstanding television campaigns. In short, Tobin is having a terrific ride and, in the years to come, looks forward to riding in the driver's seat. "Sometimes I look at myself and say, 'Wow you still have so far to go,'" she muses. "I think that I would like to explore opportunities in management…I already know I can launch a show. I already know I can run a campaign. I think there are other skills, like helping other people break into the business, that I'd like to capitalize upon."

Naturally, when discussing her career growth over the years, Tobin can't help but reflect on the role her mother has played. "I think my mother did a very good job in including me as much as possible in everything she was doing and exposing me to the business world," says Tobin. "I met a lot of really neat people and that inspired me and helped show me a career path. I wasn't out trying to get into trouble during my teenage years because she had exposed me to people who had fabulous jobs and great lives…I knew all the things that could possibly await me if I stayed on track."

Tobin also points out that her mother's support went beyond inspiration and guidance. Tobin was a single mother for 11 years while trying to build her career (she married in 2003), and reveals that her mother's sacrifices when her son was young saved the day and perhaps her career. "Even though she had her own business, there were days that she would not go to her office," Tobin recalls. "Occasionally, she would stay home with my toddler son so that I could go to work and be an assistant and not be perceived as the woman with the childcare problems. I think that was an incredible sacrifice."

Tobin's life outside of ABC is filled with family activities and managing the schedules of her pre-teen son and new husband (a bass guitar player). Then there are her pop culture weaknesses––magazines, fashion, music, make-up and HGTV. "I'm addicted to HGTV home decorating shows…hours and hours on the weekends," she laughs. "I know I have errands to do but a really great episode of 'Designer's Challenge' will come on…I've been late for more things than I care to admit."


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 Lauren Tobin and the AAPRC and tell them what you think