New York, NY - September 29,
2011 -
The Society of the
Educational Arts
(SEA), celebrating its 25
years, under the artistic
direction of the Dr. Manuel
A. Morán, announces the
sixth edition of the
Festival BORIMIX 2011:
Puerto Rico Fest during the
next month of November,
celebrating the month of Puertorican
heritage. This festival
collaborates with several
cultural institutions and
presents more than 25 events
in New York City by
Puertorican artists
in visual arts, theater,
dance, symposiums, poetry,
music and film. This year,
SEA dedicates BORIMIX
2011: Puerto Rico Fest to
the exceptional baseball
player and committed
humanitarian ROBERTO
CLEMENTE.
Among the activities to
commemorate its 25 years,
SEAwill present the musical,
DC-7, The Roberto Clemente
Story, by Luis Caballero.
The production will present
the history of the legendary
ballplayer, first
Puertorican and Latin
American inducted in the
Baseball Hall of Fame, the
11th player to reach 3,000
hits and who passed away
December 31, 1972 in an
airplane accident on his way
to Nicaragua with relief
supplies for the survivors
of a catastrophic
earthquake. "I feel happy,
motivated and enthusiastic.
I believe that is the right
moment to tell such an
amazing story." indicated
Luis Caballero, who began
writing the piece 6 years
ago. This marks his return
to theater, after various
years of writing and
directing movies.
The musical will have its
WORLD PREMIERE in the new
theater of TEATRO SEA (107
Suffolk Street, Manhattan)
November 11, 2011 with
performances throughout the
month of November.
Already confirmed is Puertorican star Modesto
Lacén who will play the role
of the Roberto Clemente. "I
am happy and grateful to God
and life by this
opportunity. I will give my
100% to portray with pride
and dignity, one of the most
important Puertoricans of
our history." expressed
Modesto Lacén on his
participation.
"We have united a group of
talented designers and
creators to present a
marvelous production."
commented producer Manuel
Morán. The creative team is
compound by: Luis Caballero
(Direction) Luis Salgado
(Choreography), José López (Scenography
and Projections), Manuel
Morán (Lighting) Miguel
Trelles
(Art-Silkscreen), Harry
Nadal (Wardrobe) and Harold
Gutiérrez ( Musical
Direction).
BORIMIX 2011: Puerto Rico
Fest assures an exciting
celebration of Puertorican
heritage! For more
information call
212.529.1545 or visit our
websites www.teatrosea.org
or
www.borimix.com
On Teatro SEA:
Founded in Puerto Rico in
the year 1985, SEA, The
Society of Educational Arts,
Inc. has been a pioneer in
educational theater. With
headquarters in Puerto Rico,
New York and now also in
Florida, SEA has been
dedicated for 25 years to
the task of diffusing and
preserving our Hispanic
inheritance through theater,
especially for children and
young audiences. Through
arts programs, SEA provides
the necessary opportunity
for children, youngsters and
adults to examine and create
possible solutions for their
respective social and
educational problems of
their communities. Teatro
SEA, is the only Latino
Children's
theater company in New
York. This year SEA
celebrates its 25th
Anniversary with a new
theater in Lower Manhattan.
www.teatrosea.org.
James W. Lewis
James W. Lewis
was born on an Army base in Wurzburg, Germany in
1971, but grew up in a small city called Hopewell,
Virginia. As a shy kid, he shared a strong love for
sports and reading. He spent a lot of time in the
summer either riding his BMX bike imitating Evil
Knevil on the dirt hills of local parks or holed up
in the Hopewell library, lost in the wondrous world
of books. It was hours in the library that developed
James's love for reading and writing short stories.
His
mother Phyllis noticed James's love for the written
word and created a unique method to cultivate his
talent. One day, James got into some mess he had no
business being in (as with most young boys). Instead
of restriction or butt whippings, Phyllis made him
write a short story a day for a week. She would read
each story, critique it, and force young James to
explain why he was writing stories that showed bad
things happening to his mother (another form of
venting for a twelve-year-old). Her creative
approach worked because his hobby became his
passion.
In
the late-80's, James became delusional, believing
his skills as a rapper would propel him to the ranks
of rap greats like Rakim, KRS-ONE, and Slick Rick.
That nonsense ended early, but his love for writing
rap lyrics with rhyming story lines flourished his
creativity in short stories and planted a new dream:
book publication.
In Dec 07, James acquired a literary agent to
represent his book A Hard Man is Good to Find!.
With book publication odds stacked against him
(less than 1 percent acceptance rate), will his
dream of book publication ever come true?
Hmmm...
Well, sometimes you have to take matters into your
own hands. With the head honchos at Random House
passing him by like an old school Pharcyde jam, it's
time to do for self. On that note, watch out for the
debut novel Selloutin July 2010!
THE
INTERVIEW
Jessica Tilles, editor-in-chief of e-lit Magazine,
tracked down James W. Lewis to discuss his debut
novel, SELLOUT, and his passion for writing.
EM:
James, tell us about your debut novel.
SELLOUT
is a comprehensive look at interracial dating from
the perspectives of a black man, black woman and
white woman.
SELLOUT
follows three individuals and the consequences of
interracial dating. In the quest to find what they
think is missing in their lives, they encounter
guilt, fear, and troubles they never
anticipated…including murder.
SELLOUT
also offers an inside look on how racial stereotypes
and prejudice impact relationships within and
outside the race. Sometimes, stereotypes influence
people to “jump the fence.”
EM: What
led you to create this book now?
While in the Navy, I was at a duty station in San
Diego and noticed how many fellow black sailors were
dating white women almost exclusively. I was married
to a black woman at the time. One black sailor was
in the process of a divorce and he promised to never
date another black woman again. I questioned why
these black men were “boycotting” black women. I
think this happens too often.
EM: What
issues in today's society do you address in the
book?
Although
we live in the age of Obama and a multiethnic
society like never before, we are still not
color-blind. Remnants of the Jim Crow past creep up
daily and some people just cannot stand the sight of
racial mixing, especially between blacks and whites.
Still, there’s been an increase in marriages between
black men and white women. And even though
statistics show black women as least likely to date
interracially, that trend is changing as well.
EM: What
was your primary quest in publishing this book?
To open a dialogue about interracial dating and
uncover why some people are so quick to abandon
their own race. I wanted to understand the
difference between personal preference (for another
race) and flat-out refusal to date within the
race. I’ve learned these refusals mostly stem from
negative stereotypes.
EM:
Define SUCCESS. What part does GRATITUDE play in
achieving success, in your opinion?
Success
to me is following ALL your dreams, never letting
any obstacle derail your quest for greatness.
Watching a dream come to fruition brings the
greatest sense of pride and accomplishment. There’s
nothing like seeing a passion materialize before
your eyes, especially on days when you may have
thought you just couldn’t do it.
I always
try to show gratitude to those who’ve helped me
reach my goals. No one can do it alone, and I
believe it’s important to honor those people who
devoted their time and knowledge to you. Someone
may give thanks to you one day and that always feels
good.
To learn
more about James W. Lewis and his debut novel,
SELLOUT, visit him online at
www.jameswlewis.com.
Jessica Tilles is the editor-in-chief of e-lit
Magazine, the award-winning, best-selling author of
8 books and the award-winning publisher and CEO of
Xpress Yourself Publishing
Before The Color Purple: The Musical
broke attendance records; before Jennifer
Holiday starred in the Broadway production of
Dream Girls, paving the way for Jennifer
Hudson’s Academy Award winning performance in
the film version a generation later; before
Phyllis Hyman, Gregory Hines and Judith Jamison
all graced the stage in the Tony Award winning
musical Sophisticated Ladies, there was a
little musical, that starred a little girl with
a real big voice.
This musical theatre icon, and Grammy Award
winning song stylist, took a bow to embrace
motherhood and found a way to reconnect back to
again share her incredible vocal talent. With
full artistic control, and not having to concern
herself with keeping up with trends, Mills
recorded her new album, BREATHLESS on her
own record label, CJ Entertainment. She was
able to schedule the much anticipated release
date, predicated on caring for her 9-year-old
son, Farad. She adds that “I’m doing my own
thing.”
“Being a mother is the most important role I’ve
ever had. My son takes priority over everything
in my life. I’m glad I made the choice to take
time out to be available to him during his
formative years,” Mills happily expresses. “For
so long I didn’t think like an entertainer, I
thought like a mom. Now I’m back to my other joy
– singing for my fans!”
“I’m so excited about the new album” is how
Stephanie Mills describes BREATHLESS.”
I wrote eight of the ten songs that are on my
album.” BREATHLESS is Mills’ first new
recording since 2004’s Born for This! With more
than a dozen albums on her resume, including a
holiday recording and a gospel disc, Mills has
little to prove at this point, but with the new
album, she wanted “to continue to grow with my
audience.”
BREATHLESS
is a reflection of Mills signature sound, full
of soulful R&B songs that describes both the
beauty and sadness in relationships. The title
track, is about a woman who sees a man she just
has to have because he’s hot. The up-tempo “I Love That” portrays the sweet
aroma of a man (his walk, his talk, his kiss…)
and how these characteristics can make a woman
weak. “Stop Playing With My Heart”
depicts a woman who is madly in love with a man
that whispers all the things she wants to hear,
but he doesn’t show it; she is faced with the
choice of remaining in the relationship or
simply walking away.
On BREATHLESS, Mills worked with producer
Josiah Martin (Dave Hollister, PJ Morton).
Mills says of Martin, “he’s extremely talented
and he’s a great producer. Where many
contemporary producers got their start as beat
makers, not enough are adept with getting the
best out of vocalists. Josiah could give me the
2010 sound and combine my signature sound…he
knew how to bridge the gap of both and make it
work.”
The lead single from BREATHLESS is a
version of the Lennon and McCartney standard “Yesterday” which Mills
recorded in memory of her old friend Michael
Jackson and for others like Gerald Levert, Teddy
Pendergrass, Luther Vandross and Robert Brookins.
Mills and Jackson shared a bond earlier in their
careers because they could relate to each other
as child stars; the duo in fact dated for awhile
in the mid-1970s. She admits that she was
“madly in love” with Jackson and signed with
Motown records at the time, in part, because she
felt like she was “getting closer and closer to
being Mrs. Jackson, because every little black
girl in America wanted to marry one of the
Jackson Five.”
Her decision to record the Beatles classic
recalls a similar decision to record the song “Home” in the late 1980s. The song
was the closing number of the seven-time Tony
Award winning musical “The Wiz” (1975).
The play was an adaptation of The Wizard of
Oz and featured an all black cast. The
Brooklyn-born actress and singer was only
seventeen-years-old when she was cast in the
lead role as Dorothy.With her version of
“Home” Mills had come full circle,
paying tribute to several members of the cast
that performed with her in the musical, but who
had since passed away. Specifically, to
playwright Charlie Smalls who wrote the majority
of the “The Wiz” and its music. Smalls
died in 1987. The loss of so many of her dear
friends prompted her to record the song on her
album (‘my friends are looking down on me,
saying, Stephanie please sing that song…’).
According to Mills, “it was so important to me
that people remember the show, remember how
talented Charlie was, and just the beauty of
what “The Wiz” was all about.” Years
later Mills recalls the period being such a
wonderful springboard for her stellar career as
a performer.
Though Mills had been performing on stage since
the age of nine and made her first Broadway
appearance in the 1968 musical Mary Flynn,
it was her big voice that was her claim to fame.
She was cast in her first Broadway play after
winning the legendary Amateur Night contest at
the world famous Apollo Theater six times. In
its heyday, the Apollo’s Amateur Night had all
the star-making power of American Idol.
Mills made her first album of show tunes,
Movin’ in the Right Direction in 1974 and
then signed with Motown. Her breakthrough
occurred though in 1979 on the 20th
Century label with the production duo of James
Mtume and Reggie Lucas. The lead single and
title track of “What Cha Gonna Do With My
Lovin’” became Mills’ first certified
hit and remains a club classic today. “Isn’t it
a perfect piece of black pop?” asks the
songstress, “and it’s so interesting that it did
not cross over and I felt it should have.” The
crossover success would have to wait a year
until Mills’ second project with the duo “Sweet
Sensation” which produced the top-ten
pop ballad “Never Knew Love Like This”
which earned the singer a Grammy Award.
“What Cha Gonna Do with My Lovin’”
and “Sweet Sensation” were very
much coming-of-age productions for the
twenty-something Mills, who was trying to break
from her image as a child star. It was during
this period that Mills made one of her most
sensuous recordings, doing a version of Peabo
Bryson’s “Feel the Fire.” Most
people though, remember her stirring duet of the
song with Teddy Pendergrass on the late singer’s
TP album. The performance was so
powerful, that it fueled speculation about the
relationship between the two. Mills is quick to
dispel the rumors (she was married to Shalimar’s
Jeffrey Daniels at the time). “Teddy was like my
big brother. I really loved him and he really
loved me and was very, very protective of me on
the road with him. And I was just like his
little sister, I was bratty.” Years later the
duo appeared in a stage production Your Arms
Too Short to Box with God.
Mills moved to Casablanca Records in 1983, in a
period that she recalls as a mixed bag. With
disco on the wane and new pressures for black
artists to crossover like Michael Jackson, Diana
Ross and Lionel Richie, Mills says “I don’t
think they understood me. It wasn’t until I
signed with MCA Records that I got back into my
thing and my realm of who I was.” Mills’
subsequent move to MCA in 1985 began what was
her most successful period in the music
industry, beginning with her recording of “I
Have Learned to Respect the Power of Love” which remains a fan favorite.
Mills topped the R&B charts with tracks like “IFeel Good All Over”
and “(You’re Puttin) A Rush On Me”
(both from 1987’s If I Were Your Women)
and “Something in the Way (You Make Me
Feel)” which appeared on Home(1988). Like many of her peers at the
time—the Anita Bakers, Deniece Williams’ and
Regina Belles of the world—Mills was a victim of
the youth movement in the industry and on black
radio. Mills moved on to other things. “I
wanted to start to do other things, that’s why I
recorded a Christmas album and I recorded the
Gospel album. I just wanted to branch out and
really kind of spread my wings,” Mills asserts.
To say Stephanie Mills is back is an
understatement. When you have a voice that
powerful, passionate and strong and then you add
great songs and a contemporary producer, you
have a recipe for success. This album will do
exactly what the title says...it will leave you
BREATHLESS.
Gospel Today with Teresa
Hairston
Teresa Hairston
You
may know her as the founder and publisher of Gospel Today
or as the host of the
Gospel Today TV
Show (which airs weekly on the Word TV network
via DirecTV); or, maybe you’ve heard her weekly
“Gospel Today Update” show on the ABC Radio Network
or “The Light” Radio Network. What you may not know
about Teresa Hairston, however, is that back
in 1989, as a divorced mother of three small
children, all she was able to scrape together to
invest in her “dream” of becoming a publisher was
$300. That’s it. She had $300, three
small children, no husband and a dream.
Today,
Gospel Today
Magazine is a reality, and is the most
respected Urban Christian lifestyle publication in
existence. GT’s covers have been graced by
Steve Harvey, Star Jones, Bishop T. D. Jakes, Rev.
Gardner Taylor, Denzel Washington and more.
GT is a fixture among progressive ministries and
Christians who want inspiring reading material.
In
step with her mission to inspire, educate and
inform, Hairston has maintained her strong
connection with her Gospel musical roots. In 1996,
she founded The Gospel Heritage Foundation, a
non-profit organization that plans to launch the
world’s first International Gospel Heritage Center,
a place that will house the Gospel legacy and teach
visitors about the Gospel Heritage.
In
2002, she launched the annual “Praise & Worship
Conference,” which has quickly gained momentum
as the top national Conference of its type. In
September of 2002, Hairston relocated the
headquarters of Gospel Today and GHF
to Atlanta.
She
says the move was divinely inspired. That same
year, Gospel Today co-ventured with Verity
Records to produce a nationally-distributed CD,
Praise & Worship ’02 featuring the Gospel Heritage
Mass Choir. The project garnered national airplay
and acclaim. The next CD, “Praise & Worship…Volume
2” was released in February, 2004 and featured
artists, Vickie Winans, Pastor Donnie
McClurkin, Pastor Marvin Sapp, Tonex, Elder William
Murphy and others. In 2005, Hairston
launched her own label, Gospel Today
Entertainment which has released two national CD
projects.
Hairston is a minister of the Gospel and has
presented at the National Convention of Choirs and
Choruses, Gospel Music Workshop of America, Woman!
Thou Art Loosed, and many other conference settings.
Her
motto is: “When God gives you a vision, He’ll
make the provision!”Her favorite scripture is Romans
8:28: “And we know that all things work together for
good, to those who love God, to those who the called
according to His purpose.” She says, “My
goal in life is to use everything that I’ve been
through, everything that I am and everything that I
endeavor to do to glorify God and build His
Kingdom. I want to help people understand that they
can achieve their God-inspired visions. Just step
out on faith, and watch God make the way.”
In late March 2010, Black
Men In America.com, Staff Reporter Janice Wilson
interviewed Dr. Hairston. Check out the
results of that interview below.
The Teresa Hairston Interview
by Janice Wilson
BMIA:
Hello, Dr. Hairston, how are you today?
Dr. Hairston: I am doing great, how are you?
BMIA: Wonderful, it’s a beautiful day in the
neighborhood!
BMIA: First of all, let me thank you Dr.
Hairston. I appreciate you agreeing to this
interview, I value your time.
Dr. Hairston: You are welcome
BMIA: I am somewhat aware of your background
and just listened to another interview you had so I
will get right into some questions I’d like to ask.
BMIA: What is your greatest joy in life?
Dr. Hairston: Building generational wealth.
I get great joy from educating people and being an
inspiration to them thru Gospel Today magazine,
Gospel Heritage, Gospel music and preaching the word
of God. These things are my greatest joys.
BMIA: You have a tremendous love of God and
strong faith in Him, my question is, have you always
been in this place or did life’s circumstances take
you here?
Dr. Hairston: I believe this is an
evolutionary process….I am evolving to get to where
God wants me to be. I just have to stay in the
process to fulfill the plan He has for me.
BMIA: How would you describe your current
ministry?
Dr. Hairston: It is multi-faceted, multi-media and
it is really amazing to me. I consider it a miracle
to be where I am. I could never have imagined this,
I am humbled to be used by God to do the work that I
do. He uses me to bring life and light to others.
BMIA: What would you say are the greatest
challenges for our young people today?
Dr. Hairston: Knowing who they are, knowing
their purpose in life. Our young people don’t know
who they are so I see them getting involved in
things they should not be involved in, in places
they should not be and all because they don’t know
who they are or what their purpose is in life. We
need parents and people to speak life into our
kids. Our young people have gifts and they need to
know that they are destined to be Kings and Queens
and leaders of nations. They are smarter than ever
and they can communicate across the world. They need
to know their power.
BMIA: What can parents or people do today to
help our young people find their way?
Dr. Hairston: The first thing is we need
parents to be more sensitive about how to
communicate with our young people. Parents need to
model behaviors that communicate what they want for
their kids, they need to tell young people that they
love them, and show them that they care. Also,
parents need to share positive words to young
people, have positive words for them and parents
should stay away from beating them down. Parents
should lovingly embrace our young people and stop
sending a dual message. We have to have decency in
our lives, order in our lives for young people to
follow. I think we sometimes compromise who were
are, we have to get it together and encourage our
young people. Mentors and role models play a vital
role in the lives of our young people and must
maintain a different level of maturity. In
addition, parents, role models and mentors can’t be
friends with your people, they can be friendly but
maintain a relationship based on respect and be a
teaching model for kids. We have experienced a
change in our society. The fact that we have begun
to value sex and material things has been our
downfall. We now celebrate the worst of what we have
to offer. We don’t value simple things like spending
time with our kids. Our kids are watching things on
TV they shouldn’t be exposed to like MTV cribs,
seeing people sleep with partners who are not
married, and too many TV shows displaying sex right
in front of our kids. It is no wonder we see our
kids looking at pornography on the internet…Society
has no boundaries.
BMIA: What is your greatest wish for young
people today?
Dr. Hairston: That they will find hope to
achieve their life’s purpose
BMIA: Who do you admire the most?
Dr. Hairston: Jesus Christ
BMIA: What are you the most proud of?
Dr. Hairston: The ability to see value in
others and cultivate that value
BMIA: What is your absolute favorite bible
quote?
Dr. Hairston: Undoubtedly, Romans 8:28 – “We know
that all things work for good for those who love the
Lord.”
BMIA: Talk about why this is your favorite
bible quote
Dr. Hairston: My life has gone through a lot
of ups and downs, I have had struggles and
challenges yet I know God has a plan for me and I
walk according to His plan for good. God can turn
any situation around. I know there is a purpose for
my life and my life is not aimless. I have a
specific purpose and God’s will is my will.
BMIA: When did you know you had the calling
to do what you are doing?
Dr. Hairston: My life is still evolving.
Every step I take moves me from point A to point B
towards God’s plan for my life. Every time I connect
a dot the picture gets clearer and clearer.
BMIA: Is there anything I have not asked you
that you would like to share?
Dr. Hairston: My book. God gave me this as
part of my purpose to write this book “How to Pursue
Your Purpose” The book helps people through life not
just in a financial sense but about all aspects of
their lives. The book is available through
GospelToday.com
BMIA: Thank you Dr. Hairston, it has been my
pleasure, I appreciate your time.
Dr. Hairston: Thank you.
Further information
about Teresa Hairston visit her web site at
www.gospeltoday.com.
Learn more about Deborah by reading her responses
to the following questions.
WHERE ARE YOU FROM?
Deborah Owens:
I was born and raised in Detroit, Michigan
and have lived in the Baltimore Washington DC
metropolitan area for the past 17 years. I have
spent more than twenty years in the financial
services industry and am a former vice president and
regional sales and marketing manager with a global
mutual fund company. My true passion is sharing
that you can build wealth on any income.
WHY WAS THIS BOOK SO IMPORTANT TO CREATE?
Deborah Owens:
This book is part of my larger vision which
is “The Power of the Purse Campaign” to engage,
enlighten and equip one million women to
become financially empowered. Although women have
made great strides and earning more income far too
many of us are not achieving financial independence.
We must change our mindset from earning income to
building wealth.
HOW WILL YOUR BOOK IMPACT RELATIONSHIPS?
Deborah Owens:
This book encourages women to make sure they
put aside funds for the long term. It will require
making their financial future a priority. This is a
distinct change in societal norms which encourages
women to sacrifice for others. This book implores
women to create a purse of their own.
WHAT WOULD YOU SAY HAS BEEN YOUR MOST
SIGNIFICANT ACHIEVEMENT WITH THIS BOOK?
Deborah Owens:
My most significant achievement has been the
reviews that the book has garnered and its’
reception by women who are embracing the concept of
forming Purse Groups to provide support and
accountability on the path to financial freedom.
SHARE WITH US YOUR LATEST NEWS OR AWARDS:
Deborah Owens:
We have had very favorable book reviews. The
first from Publishers Weekly which said, ““…sensible
advice…a plethora of resource listings and sound
suggestions make this a winner for women looking to
gain financial freedom. Book Page said, Owens turns
the purse metaphor into a wealth philosophy and
provides tips, action steps and “purseonality
profiles” for her seven must-have wealthy habits. It
starts with cleaning out that purse to cultivate a
Wealthy Outlook that allows you to dream big again.
Some of the best advice comes at the end as Owens
details how to start your own Purse Club and covers
nine “pursessentials. ” To that end, we have built a
community at
www.apurseofyourown.ning.com
where
women can obtain information on how to get started,
communicate with one another and get support.
About the Author
Deborah Owens is host and executive
producer of “Wealthy
Lifestyle Radio” a personal finance talk show
that airs on the NPR affiliate WEAA 88.9 FM in
Baltimore, MD.
She is a sought after speaker and has toured
nationally with
B.E.S.T. featuring Bishop T.D. Jakes and
Magic Johnson, God’s Leading Ladies,
Working Women Events and The NASD Office of
Individual Investors. Deborah is President of
Owens Media Group LLC, which creates financial
empowerment programs for companies and
organizations.
There are times in
life when so many things are going on, it can be
hard to see clearly. Career, relationships,
children, education, social life – as we try to
maintain a balance we often find ourselves just
going through the motions. But every once in a while
we take a step outside of ourselves and look at who
we’ve become, and we see that somehow things have
managed to fall into place.
Things have surely
fallen into place for Natalie Cook,
co-founder of a film production company, Three
Yard Mile. Natalie, along with her two
business partners, Kevin Carroll and Anthoni Stevens, found themselves together at
the right place and the right time discussing this
venture. “We’ve embarked on this new journey
together that is slowly revealing itself,” says
Kevin. And what an exciting journey it can be with
so many talented travelers.
Along with a master
of arts in African American studies and a bachelor
of science in Justice & Policy Studies, Natalie
brings an array of work experience to the table,
including real estate, public policy, education and
entertainment. “All of these things I’ve done have
been preparation for this point in my life,” says
Natalie. She originally enjoyed acting as a hobby
while working for Columbia University in New York.
Also, while participating in many public speaking
events, Natalie became famous for her creative
energy – she was known for bringing her
presentations to life. She eventually used these
skills to act in various films, TV shows, and
theatre, including Threshold, Law &
Order, and The Color Purple(the play).
The other team
members also bring a heavy load of knowledge and
experience with them. Natalie had an automatic
connection with Kevin, who she met on the set of a
jewelry commercial (they had to play a married
couple). From Hollywood to Broadway, Kevin has an
extensive resume as an actor, and is looking forward
to learning even more about the industry. “I love
the idea of the behind-the-camera rolls,” says
Kevin. “I know a lot of film jargon, but I am
working on communicating with the production crew.”
Natalie met Anthoni
– the third partner – while he was working as a
marketing executive for a New York radio station.
Anthoni adds a crucial business element to the
company. “My job is to dissect the scripts from a
brand marketing stand point,” he says. “I am
concerned with product placement. The screen is a
platform.” Anthoni has the cool job of finding hot,
brand-name merchandise to be shown in the films,
which can range from luxury cars to liquor.
The three members of
Three Yard Mile have complimentary
talents that have fallen into a good place – a
creative business.
Stay tuned for Three Yard Mile’s upcoming film,
Breaking
Toni Glass.
The script written
by J. Derrick Pridgen, was presented by Kevin
to the team, who took an immediate liking to it
after reviewing. Now, a feature-length film, Breaking Toni Glass is about a street-savvy
Chicago detective who returns to her home in Harlem
to investigate her best friend’s death. This
modern-day crime drama is a quick-witted and
contemporary contribution to the genre of 70’s cult
classics such as Foxy Brownand Cleopatra Jones.
The story uncovers the
intersection between political corruption and the
illegal drug trade as well as featuring a complex
romantic relationship between the daughter of a
prominent community activist and a drug dealer.
Filming is set to begin spring of 2010.
Quan
Pennz, Natalie Cook and BDS
Advice for scriptwriters from Natalie:
We love to read
scripts! The first thing to do is get your script
copyrighted by the Library of Congress and/or the
Writer’s Guild of America. We encourage you to protect
your creative contributions. After that you can send it
to
nakay@me.com.
Someone from our team will be happy to review it.
The Quan Pennz Interview
It’s a Family Affair
It really is a family affair at GMF Entertainment (Gunnz
Money Family), a music label out of South Carolina.
Big Lucci, the CEO, and his artists (who are all
related to each other) have successfully mixed
business with pleasure.
Quan, one of GMF’s multi-talented stars, says
“Working with family is easy. We know each other and
we work well together.”
Born and raised in Harlem, Quan, started rapping
when he was 14 years old and has been indulging in
every aspect of the industry ever since. He writes
his music, makes beats for his music, and performs –
all of it coming natural to him. Big Lucci calls
him, “The Biggie to my Bad Boy.”
RW - How did you get started in the music business?
Quan – I’ve always loved music. I love beats. When I
was 11 years old, Lucci took me to the studio where
I met some guys that were rapping. And writing came
easy to me.
RW – Describe your style.
Quan – My style is witty, smooth, well-spoken…and it
changes. It’s not just rap. I use metaphors and tell
stories through my lyrics. I tell my story and I’ll
tell your story.
RW – Who and what inspires you?
Quan – I’m inspired by the industry and my (MGF)
crew. And I look up to a lot of artists – Biggie,
Pac, Jada, Fab…but most of all I inspire myself.
RW – What do you in your spare time?
Quan – I write, make beats and spend time with my
family.
RW – What do you want people to know about Quan and
MGF?
Quan – We are the missing piece of the industry’s
puzzle. We are what everybody’s waiting for. We got
next.
Quan has three CD’s under his belt, the most recent
one titled, “Family Affair.” Yes, that’s right, I
said family affair again. Don’t get that song stuck
in your head though. Quan has something else that he
wants you to nod your head to, like “How We Do It,”
a hot track with a Harlem swag, and “No One,” a
perfect blend of rap and R&B that will be sure to
please the ladies. But Quan doesn’t want you to
just nod your head; he wants you to listen – because
he has something to say.
Economist Cedric Muhammad Launches Official Website
For ‘The Entrepreneurial Secret’ Book Series
(Washington, D.C. -- December 07, 2009)
Today marks the official website launch
www.theEsecret.com for
the newly released three volume book series, The
Entrepreneurial Secret To Starting A Business
Without A Bank Collateral or Revenue.
The website
includes interactive video and audio content; a
detailed Author Q & A; book excerpts/descriptions
for each volume as well as book content sheets for
media and website visitors.
A
centerpiece of the website is its entertaining and
informative viral book commercial, which is
currently accumulating views on YouTube
“I’m pleased
to unveil the official website for The
Entrepreneurial Secret book series, which will
allow all entrepreneurs to touch and feel the
content in the series and understand the motivation
for it. Whether someone is an experienced CEO,
college student majoring in business, a laid off
corporate professional, a single Mother with a
home-based business, or a previously incarcerated
person who can’t find employment, this website and
book series speaks to their reality.”
About:Cedric Muhammad
is a business economist, political strategist, and
monetary economist. He is a former general manager
for Wu-Tang Clan and currently a member of
the African Union’s First Congress of African
Economists, where he advises policy makers on
economic development. His work has been featured in
the American Banker and published in The
Wall Street Journal. His weekly Hip-Hoppreneur ™
column can be read and heard each week at
AllHipHop.com. You can watch Cedric Muhammad’s Video
Biography at
Cedric is
available for interviews and quotes for attribution
on the subjects of economics, personal finance,
business development, music industry marketing
trends and the latest public policy news.
Much Like Opportunity,
Cedric Muhammad Speaks
Are You Willing To Listen?
Cedric
Muhammad
was named a Member of the African Union’s First
Congress of African Economists in November of 2008.
He is a political strategist, monetary economist and
business consultant who has advised members of
Congress, multi-national corporations, music moguls,
and foreign governments on strategy and economic
policy. He has been published in the Wall Street
Journal, and featured in American Banker.
Before establishing his entrepreneurial development
firm CM Cap, Cedric served as the General Manager of
Wu-Tang Clan Management for the
multi-platinum Hip- Hop music group. Muhammad
attended Rutgers University majoring in Finance.
THE ENTREPRENEURIAL SECRET: Starting a Business
Without A Bank Loan, Collateral or Revenue is
his first book.
INTRODUCE
US TO YOUR BOOK:
THE ENTREPRENEURIAL SECRET is for
anyone who has a small business or is thinking of
starting one and looking for a broad overview of the
process. I wrote it with the recently laid off
professional, previously incarcerated individual,
and single Mother in mind, as well as the Hip-Hop
generation. In the book I talk about the journey
and adventure of entrepreneurship in spiritual,
technical and practical terms. There are three
Volumes. Volume I: The Political Economy
deals with cultural, economic, and political factors
that affect the bottom line of every business. It
also explains how the financial crisis has impacted
the ability of entrepreneurs to access capital and
what they can do to finance their dreams, outside of
the commercial banking system. Volume II: The
Business Principleslays out my own
experience, study and tips like the importance of
building your personal power, mastering etiquette
and networking, negotiating deals and writing
business plans. Volume III: The Personal
Struggle revolves around the uphill road
that success in entrepreneurship requires and the
toll it can take on relationships. It is a poignant
volume showing how some of the best qualities of the
entrepreneurial personality can create imbalance in
your personal and domestic life as well. Volume III
also points to how to embrace suffering and
strengthen your willpower on a spiritual and
scientific level.
WHERE ARE
YOU FROM? HOW DID YOU START YOUR WRITING JOURNEY?
AND WHERE DID YOUR PASSION FOR WRITING COME FROM?
I lived all
over the world as a young boy. By the time I was 8
I had already lived on 3 continents. But my middle
and high school years were spent in a unique Black
suburb of Philadelphia, the town of Willingboro, New
Jersey. It is an interesting place – somewhere that
residents of Philadelphia, Camden, Trenton, and
Newark New Jersey, even New York City supposedly
come to ‘escape’ harsh city life. It makes the town
a great microcosm of America. I was raised under the
golden rule and nominally as a Christian. I
accepted Islam while in college, and continue to
love the church and am grateful for what it
instilled in me in terms of respect for the
scriptures and the importance of an inner spiritual
life. Since a Muslim is a lover of peace and Islam
can be summed in one word ‘righteousness,’ I just
see a Muslims and good Christians as people who are
trying to do good or trying to do right. I see no
conflict between it and the teachings of Jesus,
which can be summed up as Freedom, Justice and
Equality and basically his Sermon on the Mount.
My passion
for writing was instilled in me by my beautiful
Mother – born in Panama and raised in Jamaica – who
placed a premium on education and reading. Growing
up as an ‘Army Brat’ – as my father (born in Harlem
and raised in Brooklyn) was in the military for
nearly 30 years, I kept a journal of my travels and
memories as young boy and wrote letters to my
childhood friends, staying in touch as we moved all
around the world. To this day I have friendships
with those that I kept in touch with through letter
writing as a little boy. But I never realized I had
a talent for it until 11th grade in high
school and my sophomore year in College when on two
separate occasions, instructors expressed how
disappointed they were in how casually I treated my
work. Their constructive criticism and confidence
in me made me believe that I had something of value
that deserved discipline and hard work. I’ve never
been trained technically as a writer but I have
received tips from great journalists and authors
over the years and developed my own style.
My writings
on economics and business have been published in a
diverse array of publications like The Wall
Street Journal, Newsday, and
The Final Call.
WHY WAS THIS
BOOK SO IMPORTANT TO CREATE?
Because
there is no single book or book series that I know
of that properly and simultaneously connects
how the political economy, personal struggle and
business principles impact entrepreneurship. The
public school system does not teach economics hardly
at all. I only received 4 weeks of it in my senior
year of high school. The media can’t explain it to
the public in clear words and newspapers seem to
only care about personal finance – 401 Ks, investing
in the stock market and buying real estate - which
is not entrepreneurship. The greatest source
of wealth in this country has not come from
investing in paper assets. It has come from
building businesses. And lastly, the book
publishing industry divides the subject of business
into too many sub categories. All of this has
contributed to ignorance and confusion.
HOW WILL
YOUR BOOK IMPACT RELATIONSHIPS?
I believe that a single chapter in Volume III: The Personal
Struggle entitled, “The Secret Of Personal
Relationships – The Entrepreneur and Those Around
Them” may be the most important in the entire series
because I deal with a subject that many don’t want
to face which is that entrepreneurship is a deeply
personal and spiritual decision and process. And
the decision to start a business is made usually
after we have entered into committed relationships.
This creates a natural tension. We often are
husbands, wives, daughters, sons, parents,
boyfriends, girlfriends and best friends before we
decide to pursue our dream. And this creates a
conflict because building a business requires
attention to detail, spontaneity, constant change,
long hours, endurance and a high level of risk,
while being in relationships can be about stability,
fulfilling duties and circumstances and regularity.
If you and your loved ones and inner circle are not
on the same page you will experience gaps in the
relationship that could require separation or
reconciliation.
I hope this book will make people on both sides of the relationship
– the entrepreneur and the loved one - more sober
about what is involved and at stake. I also hope
the book will help strengthen relationships that
have been strained by the pursuit of a business
dream or renew those which have lost spirit from the
daily trials and tribulations involved with an
entrepreneurial undertaking.
WHAT WOULD YOU SAY HAS BEEN YOUR MOST SIGNIFICANT ACHIEVEMENT WITH
THIS BOOK?
Judging from the reaction to the book I have succeeded in sharing
and presenting my personal testimony, experience and
years of study in ways that are relevant and helpful
to others. I have a very unique background and it
was important for me to weave in lessons from my
life managing music groups, running political
campaigns, and advising first-time entrepreneurs and
world leaders who have to make bottom line
decisions, in a way that was honest and true to my
personal path.
I also am proud of the fact that I wrote the book in a way that
distinguishes me from so-called ‘gurus.’ I did not
fall out of heaven with all the right answers, and
neither did they although some allow people to think
that of them. I actually have come up from the
dirt. I know what it is like to lose confidence in
yourself, be poor, without a place to live, to lose
status and wealth suddenly. And I have made
numerous mistakes and errors which have hurt myself
and others. Yet, with the help of God, true
friends, and the lessons of others who came before
me I have always been able to ‘make something out of
nothing.’ And that is the key to success for
today’s entrepreneurs and those who have been laid
off, terminated, or just come home from prison.
If the bank won’t give you a loan, the government won’t give you a
grant or contract, and no one will hire you, can you
make something happen? Can you do for self or will
you always be dependent upon others to create a job
for you?
My goal is not to look smart, holy or pure so that people will
follow me. I want people to see some dirt, mud,
imperfections, shortcomings and grime so they will
know I know what I’m talking about!
My goal is to serve people in their greatest hour of need and show
them that all they have to do is look within
themselves and in their immediate environment to
become a creator and build a business organization
according to spiritual, technical and practical
principles.
If I do my job right I will be rewarded and share in the
consequences of any good work I perform on behalf of
others.
SHARE WITH US YOUR LATEST NEWS OR AWARDS:
In March of 2009 I went to Nairobi, Kenya to participate in the
African Union’s First Congress of African Economists
of which I was named a Member. We are working on
how Africa can unite its 53 countries into one
common economic market. I was named and honored for
my one-of-a kind proposal to unite the continent
under a single currency backed by goal. A key to
bringing Africa out of poverty will not be charity,
government aid, or helping Africa borrow money on
capital markets like many suggest. It will be
determined by how successful we are in developing
entrepreneurs and small businesses. It is the same
with our inner cities and rural areas in the United
States of America. Neither the U.S. government nor
corporate America will ever be able to create enough
jobs for us. I want to place entrepreneurship at
the forefront of economic development all over the
world.
Thank to Lee McDonald of
The Renaissance Group, LLC for help to
facilitate this feature.
Butch Jamieson (1947-2009)
The Magic of Photographer Todd
Gray
The recent death of
pop icon Michael Jackson was a devastating shock
for the millions of fans who adored the King of Pop.
What surprised many cultural observers was the
overwhelming sentiment of fans who rejected the
inevitable muckraking in favor of remembering Jackson as
he was during his most creative period, from his time
with The Jacksons through his blockbuster album,
Thriller.
For those fans,
Chronicle Books releases Michael Jackson: Before
He Was King, a collection of 100 images, most
never-before-seen, taken by Todd Gray, who
was Jackson’s personal photographer during the golden
period between 1974 and 1983, just as Jackson bloomed
into unprecedented international stardom but before he
became insulated as the King of Pop. Gray documented
Jackson in performance, for magazine covers, on tour, at
home and at play. Gray was granted personal access to
the private Michael, with his family and fans, as well
as to his incredible career-making live performances and
the video shoot for “Beat It.” Michael’s obvious
comfort, candor, and pure joy shine through in the
images. Michael Jackson: Before He Was King
captures the star the way that his fans will want to
remember him.
Todd Gray,
a black man not much older than Michael who was also
forging his career and identity at the time, brings
unique insights into this period with the singer. An
introduction and narrative captions by Gray add context
to the images, and together create an intimate portrait
of Michael at his creative peak.
Michael
Jackson: Before He Was King
is a vital contribution to the history of this
international superstar and a must for fans of all ages.
After landing an assignment shooting the Jackson
5, the author was told that Michael Jackson
wanted him to be his personal photographer. The
result: a trove of images, taken between 1974 and
1984, that reveal the future King of Pop’s quiet,
soulful side. Todd Gray was kind enough to
answer some questions from Black Men In America
Entertainment Reporter Vanessa Werts for this
exclusive interview.
An Interview with
Todd Gray
By Vanessa Werts
BMIA.com:
More than two decades have passed since you were Michael
Jackson’s personal photographer. Did you ever consider
releasing the 100-image collection before his death?
Todd
Gray: I started working on this book in May of
2008, well before the announcement of his concerts at 02
in London. I just felt the time was right. This was my
third attempt at publishing a photo book on Michael. In
1985 and 1993 I organized a proposal and made a couple
of pitches to publishers but the response was minimal.
BMIA.com: Considering
your personal connection to the icon, was it an
emotional experience to put the book together?
Todd
Gray: I did not have a personal connection to an
icon, I had a relationship with a highly gifted human
being, a friend, an individual. The emotion I felt
after hearing of his passing was put into focus each
time I replayed a conversation or experience we shared
together 25 years earlier. The photographs I was
working with made the scenes in my memory more vivid,
magnifying my emotions. Sometimes I would lose myself
while looking at some of the photos, lost in my memories
from the past.
BMIA.com:
If you would, please share an intimate detail or fact
about Michael Jackson that can only be realized and told
by observing him through the lens of a camera.
Todd
Gray: Michael was painfully shy and self conscious
in front of the camera. It took about two years of
working with him, connecting and establishing a
relationship. Once this happened I noticed how relaxed
he became in front of the camera, he did not feel the
need to pose, he felt relaxed enough to be himself,
knowing that I had the ability create an attractive
photograph of him. He trusted me enough to be himself.
BMIA.com: Between
the years of 1974 to 1983, what in your opinion
where the happiest times in Michael Jackson’s life?
Todd
Gray: Michael was happiest on stage, performing in
front of an audience. In 1983 when he bought the Encino
house from his father and remodeled it "Thriller" started
to take off. I was by the house photographing him and
he was walking two feet off the ground he was so happy.
It was infectious.
About the Author
Todd Gray
photographed Michael Jackson over a period of 10
years, most of those years as Michael’s chosen
photographer. He has shot numerous album covers and
directed music videos. His photo-based artwork is in the
permanent collections of museum in the U.S. and abroad.
Gray is currently a professor of art and photography at
Cal State University, Long Beach. He lives in Los
Angeles.
Michael Jackson: Before He Was King
Photographs by Todd
Gray
9 x 11 in; 144
pp ; 100 color and b/w photographs
Hardcover
Published in October, 2009
ISBN 9780811875066
ISBN10 0811875067
Q &
A with Hill Harper Author of "The Conversation:
How Black Men and Women Can Build Loving, Trusting
Relationships"
Q:
What model couples do you admire?
Hill Harper: Well, obviously we have an
amazing couple in The White House who show how a
highly functioning friendship/partnership/love
relationship can really elevate one another. It
is clear to everyone that he wouldn’t be where
he is without her, and she wouldn’t be where she
is without him.
I speak about the issues and challenges around
their relationship, because if you look at the
history there was a lot of “dating potential”
going on. You know, a lot of the people I spoke
to said that they only want to date someone who
had arrived already or is their “equal.” That
was not the case with the Obama's.
Q: What can the Obama's show us about status
versus potential?
Hill Harper: Well they can show us that when
you look beyond individual notions of what
determines a partnership and really look at the
potential of growth, you will learn that
relationships are going to continuously change
as people grow and change.
So it’s really about looking for growth and
potential and character than looking at where
someone is right at that moment. People don’t
necessarily look beyond the present and I found
that in many cases women say, “If he’s not on my
level then I’m not interested. He has to be on
my level or above.”
Certainly President Obama was nowhere near
Michelle’s level when they first got together.
She was way ahead of him in so many ways and she
was also the principle bread winner for the
family for the first several years of the
relationship. A number of women told me that
they would not put themselves in that situation
and a number of women that I spoke to for the
book would have taken a pass on dating the
President.
But it’s important to remember that if not for
that partnership, he wouldn’t be President..
There’s a power in partnership that really
reinforces a family and marriage. When you look
at all the data, people who are in partnerships
tend to be happier, they tend to be more
successful, they tend to have less stress
overall.
Hill Harper is an
accomplished film, television, and stage actor
currently starring in the hit CBS drama series
CSI: NY. A volunteer for the Big Brothers
Big Sisters organization in Los Angeles, he
frequently speaks to schools and youth groups.
Harper graduated magna cum laude from Brown
University with a B.A.; cum laude with a J.D.
from Harvard Law School; and earned a Masters in
Public Administration from the Kennedy School of
Government.
Brian White: Coming
To A Big and Small Screen Near You
Meet
the captivating man-on-a-mission, Brian White.
Known most recently for his roles alongside WWE
superstar, John Cena, in 12 Rounds, and
opposite Channing Tatum and Terrance Howard
in Fighting, White will grace the big
screen for the third time in 2009 in the highly
anticipated Tyler Perry film, I Can Do Bad All
By Myself.
Opening in theaters nationwide September 11, 2009, I
Can Do Bad All By Myself is a story about the
familiar challenge of learning to love yourself in order
to give freely and receive love. Starring opposite
Tyler Perry and Taraji P. Henson, White
brings his two-timing, kill-joy character to life in a
convincing performance. “He’s the kind of guy you don’t
want your sisters to bring home,” says White.
“I’ve made his negative characteristics readily
identifiable and want to make it crystal clear that
these are not qualities or behaviors that are
appropriate for men in 2009!”
Polar
opposites from his role in the film, White’s real
life story reads like a well crafted script. From his
NFL stint with the New England Patriots, to a modeling
career, co-founder of a dance/theater company,
Philanthropy, and acting, White is making his
mark on the world.
I
Can Do Bad All By Myself is yet another stop on the
high speed rail White is traveling on this year.
Here is what he had to say about the film and his focus
for the future.
Brian currently resides in Los
Angeles, California. This week he set aside some
time from his busy schedule to answer some questions
from our Entertainment Reporter Vanessa Werts.
The
Brian White Interview
BMIA: What
is the storyline for I Can Do Bad All By Myself? Brian White: Madea catches three children
looting her house and returns them to the custody of
their Aunt April who is a heavy-drinking nightclub
singer living with her married boyfriend, Randy in a
dead end relationship. The arrival of the children,
followed by the arrival of a handyman sent by the local
pastor to help with housework in exchange for room and
board, becomes like a mirror to April forcing her to
take a good look at herself and her life and analyze if
she likes the reflection she sees.
BMIA: When I think of Brian White, I think of the
charismatic, smooth operator from a few of your previous
films. What is your role in this film?
Brian White: I think it’s safe to say that Randy
is the antithesis of those superlatives. In the simplest
terms, April is like a flower being starved of sunshine
and Randy is her cloud. He is a man who hates how his
life has turned out and as a result is dead inside, has
no self-love and is incapable of loving others. He has 4
children and a pregnant wife at home and splits time
between them and living with his girlfriend-on-the side,
in what is best described as a parasitic and entirely
unhealthy relationship.
BMIA: Do you see this film as a chick-flick, or do
you think men will enjoy it just as much?
Brian White: This film truly has something for
everyone: Great performances, great music, great
writing, a great message and of course Madea! And if
that ain’t enough reasons for my fellas out there to
support us at the box office, I submit to you Ms. Taraji
P. Henson as reason enough!
BMIA: The film has an amazing cast. How was the
chemistry on set?
Brian White: In a word: Amazing. Tyler created a
special environment on set where it felt less like
shooting a feature film and more like filming a live
stage play. It was remarkable how quickly the entire
cast bonded and how supportive everyone was of each
other during the filming process. We also shot the
entire film in just over 3 weeks, which demanded that
everyone bring his or her A-game and be laser focused
each day all day. So we all leaned on each other in the
challenging moments, which made us all grow close very
quickly.
BMIA: A number of characters in Tyler Perry’s films
have become staples so to speak. We expect to see them
whenever he releases a new project. Have you worked with
him before? Can we expect to see Brian White in future
Tyler Perry films?
Brian White: I hope so. Tyler is an inspiration,
a mentor and a friend. You can bet your bottom dollar
that if he calls I will happily be there to support his
artistic vision.
BMIA: You are a true renaissance man: actor, model,
dancer, philanthropist, entrepreneur, professional
athlete, etc. Your past has been as bright as your
present. What excites you about the future?
Brian White: I think this is a very exciting time
for America in general. The ?glass ceiling?, in most
fields, is a thing of the past and remains only as a
figment in the minds of the few who refuse to see
through it. And I believe that the playing field in
corporate America is the most level it’s ever been in
our countries history. I don’t have children of my own
yet. But it’s inspiring to know that when I do I can
look them in the eye and in earnest tell them they can
literally be anything in life they are willing to work
hard enough to be.
I think the primary reason I am so passionate about
working with the next generation is that I was blessed
to have many positive role models growing up and feel
compelled and inspired to insure the next generation has
the positive role models, resources and tools to help
them find success in life.
Lastly, I am excited to be working with Ray Romano,
Andre Braugher and Scott Bakula on a new TV
series called, “Men of a Certain Age.” We are in
production now and the show premieres Tuesday, December
8 @ 10 PM on TNT.
Born
near Boston, Massachusetts, the oldest and only male of
six children, White has played professionally in both
the
NFL
(New
England Patriots)
and the
NLL
(Lacrosse).
He also earned his certifications as a licensed
stock broker
(series 6, 7, 63 and 65) and co-founded the professional
dance company/community youth outreach organization
Phunk Phenomenon Urban Dance Theater. Brian is a
graduate of
Dartmouth College,
where he was a member of the Beta Theta Pi
fraternity.
White
began acting on the small screen, displaying a strong
presence in a number of television series such
as “Moesha,”
“The
Parkers,”
MTV's
“Spyder
Games,”
UPN's
comedy “Second
Time Around”
and most notably, as Detective Tavon Garris on
the award-winning
FX
crime drama, “The
Shield.”
He also appeared in Joel Silver's
CBS award-winning drama
series, “Moonlight.”
On the big screen, Brian has had leading roles in
BRICK and STOMP
THE YARDas well as THE FAMILY STONE, opposite an
all-star cast including Sarah Jessica Parker. He
also starred alongside
Jason Statham
in IN THE NAME OF
THE KING: A DUNGEON SIEGE TALE.
His most recent role was
opposite Dwayne Johnson aka "The Rock" in THE
GAME PLAN.
Brian is also the President of Celebrity Relations
for Warm2Kids Charitable Foundation (www.warmfoundation.org),
which connects socially conscious celebrities,
corporations and community organizations to create a
support network that helps teens, families and youth
leaders reach their full potential. Additionally White
is a founding partner along with director, Sylvain
White of Media 3 Films, LLC (www.media3films.com),
a full-service film, television and broadband production
company based in Los Angeles, CA. Media 3 Films
currently has six films in development and
pre-production.
For
more information about Brian White visit his web
site:
http://www.brianwhiteonline.com.
Thanks to the great folks (Anna and
Tagan) at Red Sea Entertainment for coordinating
this interview.
Black News Agency Wire (BNAW.com)
Launches as the Largest African American
News Aggregator on the Internet
Black News Agency Wire Emerges as
Online One-Stop News Source for Black America and
Beyond
A. Renée West
As a veteran columnist and writer, attorney A. Renée
West, President of IEBB Media considers herself a
true news junkie. So after years of scouring the web
for fodder for her various commentaries and raves, West
recently announced the launch of Black News Agency
Wire, (www.BNAW.com)
the largest African American news aggregator on the
web. More than the average news site, BNAW.com
presents under one banner, the voices, thoughts and
perspectives of hundreds of African American newspapers,
editors, columnists, pundits, writers, bloggers and
commentators.
Every day she and her staff sift over 500 sources for
news and information for, about and pertaining to
African Americans. Using software tailored for BNAW,
headlines then post to the site in over 75 categories
and properly sourced. When the reader clicks the
headline, they are taken to the source's site.
"Politics, business, sports, entertainment, technology,
lifestyle, reviews, hip hop, and more, Black News
Agency Wire is unlike anything else on the web for
Black folks at this time," explains West. "As an
aggregator, we don't compete with the other sites, we
drive traffic to them. At BNAW.com you quickly
find and source all your news, mainstream and African
American, in one compact location; then click and read
at the originator's location. Imagine waking up every
morning to the USA Today, New York Times, or
Wall Street Journal, and it's expanded to include
YOUR Black news, in a depth Google, Yahoo and
Topix don't, under one concise banner!"
Adds, Chris Fisher, a 10 year veteran senior news
analyst, "The newspaper industry is suffering. A website
like BNAW.com definitely services our industry, and in a
needed demographic."
A true labor of love, West has researched tirelessly for
the past few years to create a site that meets the needs
of the African American audience. The site has an easy
to read navigation bar at the top and bottom of each
page with various news categories. Each news page is
then further divided into subcategories.
"From my own personal experience and research, I have
found that not only is there so much news to access
these days, but there is also the need to make sense of
the news. Often in the media, politicians and others
say what they need to say to get what they want, but
couch it so there's deniability later, "expresses West.
"BNAW not only tells you what they say, we tell
you what the pundits said they said and then we find the
truth and call it top stories or features, making it
easier for you to get to what IS said!" reveals West.
In addition to aggregating, the site showcases daily
polls, a weekly pop news quiz, and a Black Talk Forum
and Reader Comment section. Unique to the site is the
citizen reporter section, UReportNewz, where
readers can upload local and national headlines they
find of particular concern. Outside of sites like
CNN, MSNBC and Digg,BNAW is one of
the few African American sites with this unique
capability.
To celebrate the launch, West invited readers to enter
the "Yes You Can, Name Our Tagline" contest,
where visitors can win $150.00 by submitting the
selected catch phrase that encompasses the essence of
the site. Readers can also get some R&R at the site -
register, then refer 50 friends and receive $25.00.
"There is no greater time in the history of our country
to have a national news site for African Americans. We
were speaking before November 4th, but now, we are
determining the conversation. BNAW is our
vehicle for even greater change," cites A. Renée West,
president of IEBB Media and BNAW. "Yes we
can, yes we did and yes - with BNAW we will continue to
do so!"
About A. Renée West
A. Renée West
is an attorney, and added the title columnist when her
first article on Black women and personal ad dating was
published in the Los Angeles Sentinel in the early
90's. Since then she's penned almost 100 columns
covering current events, life moments, and humor.
A graduate of Southern Illinois University-Carbondale
and Southwestern University School of Law, her readers
find her "but did I lie," demand for disclosure of media
biases, and willingness to look at both sides of issues
refreshing. Her ability to use her experiences to let
others know 'you're normal, so you're not alone,' is a
gift.
Ms. West describes herself as "comfortable in my skin.
"'I’m glad to see through the crap and be unaffected by
it 99% of the time," she adds. "I'm a resident of
Podunk, IL - although my soul still lives in New York."
And on making one really smart choice in her life - "To
travel. I've lived in New York, LA, KC, Atlanta,
Brussels, Salzberg, Europe. Spent weekends in Rome,
Barcelona, Munich, and Paris. Of course Amsterdam.
Travel not only teaches you who you are, it grows you
into who you will be, while exposing you to a world that
forever opens you to think, question, and formulate."
To get all the news you can use, fast, go to
www.BNAW.com.
CALL FOR COLUMNISTS AND BLOGGERS:
Partner with BNAW.com as an additional outlet for your
views and commentary. Contact Renée
West
at
arwest84@aol.com.
JOHN LEE HOOKER JR.
RETURNS HOME
FROM SUCCESSFUL OVERSEAS TOUR TO A GRAMMY NOMINATION!
Animated Blues
Video "Blues Ain't Nothin' But a Pimp" Propels
Artist's Success
After performing in front of
sold out crowds in Europe, Turkey and Russia
"superhero" blues man, John Lee Hooker, Jr.,
son of the late blues legend, John Lee Hooker,
returned to the states just in time to receive news of
his Grammy nomination, for his third CD release
"All Odds Against Me." This is the second
Grammy nomination for Hooker, Jr. who is nominated in
the Best Traditional Blues Album category.
John Lee Hooker, Jr.
broke new blues ground with the enhanced CD that also
includes the animated video release "Blues Ain't
Nothin' But A Pimp." The video animation,
created by Frenchman Laurent Mercier at
the Callicore Animation Studios in Paris, has been
embraced by hip hop audiences worldwide and has
successfully served to bridge the generation gap between
the two musical genres.
Click on the CD cover to see an animated video of the
"Blues Ain't Nothin' But A Pimp."
Cookin' with The Hook: An Interview with John Lee
Hooker, Jr.
On the heels of the successful release of his third CD,
"All
Odds Against Me," Grammy nominated blues
artist and son of blues legend, John Lee Hooker, John Lee
Hooker, Jr. heads to Europe, Turkey and
Russia to wow audiences overseas with his special brand of
blues flavor.
A blues superhero, as portrayed in his animated video
release
"Blues Ain't Nothin' But A Pimp," Hooker
Jr. has successfully captured the attention of audiences
internationally. The video animation, from Frenchman
Laurent Mercier at the Callicore
Animation Studios in Paris, has served to bridge the
generational gap between the blues and hip hop audiences.
The video is the first of three to be released in 2008 and
is included free on his enhanced CD. It can also be viewed
on the web at www.JohnLeeHookerJr.com.
We interviewed
Hooker, Jr., in 2004, before his debut
release “Blues with a Vengeance” and are
pleased that he continues to grow and delight audiences
around the world. To gain some insight into John Lee
Hooker, Jr. and his growth as an artist, we have updated
our exclusive interview from August 2004.
After reading this interview you will see how
John Lee
Hooker, Jr. has evolved into a first class 21st century
contemporary bluesman.
John Lee Hooker, Jr. and his legendary Dad John Lee Hooker
John Lee Hooker, Jr.
is a modern days blues man. When we sat down with him in
2004 he described his sound as 2 parts R&B, 1 part jazz and
"down home blues." The son of the legendary blue great,
John Lee Hooker,Hooker Jr. has got the blues
pumpin’ through his veins. Blues fan or not, music lovers
had better prepare to “cook with the Hook” from his debut
release “Blues with a Vengeance” from Kent
Records, to his current and fourth release "All Odds
Against Me."
Hooker Jr.
is very involved with all of his CD's. He wrote 9 of the 12
songs on “Blues with a Vengeance” and covers 3
of his father’s original classics, including “Boom Boom”
and “One Bourbon, One Scotch and One Beer.”
Hooker Jr., has played with some of the best
musicians in the world including, Herbie Hancock
protégé, keyboardist Will “Roc” Griffin; lead
guitarist John Garcia, Jr. who also accompanied Hooker, Sr.; drummer
John Handy Jr., Frank
Thibeaux (bass); and blues prodigy Jeff Horan.
It almost seems that you can’t be a “real” blues artist
unless you’ve battle demons. If that’s true, then J. Lee
Jr. is the real deal. Unfortunately, while living the "life
of a bluesman" Hooker, Jr. succumbed drugs, alcohol,
divorce and incarceration nearly brought his once promising
career to a screeching halt, but it was living the blues and
his faith in the Almighty that resurrected Hooker Jr. With the support of his family and friends, and a crew of
talented musicians who never ceased to believe in him, Hooker Jr. finally found his own inner muse, making
music that expresses the depth of emotion he has experienced
in his personal life.
“Blues with a Vengeance”
was named "Outstanding Blues Album" for 2004 at the
California Music Awards (formerly the Bammies) and Hooker Jr. won the
"Comeback Artist of the Year" award from the Bay Area Blues Society in his adopted
hometown of San Francisco.
Being the son of such a legend and then covering some of his
songs is an ambitious effort. "If I tried to fill my
father's shoes, I'd get cramps in my feet just trying to
take one step," cites Hooker, Jr. in an effort to
acknowledge that he is forging his own blues road. And
perhaps his cover of “One Bourbon, One Scotch, One Beer”
best exemplify his effort.
Somewhere in heaven,
John Lee Hooker is nodding and
singing “Boom, Boom, Boom Boom” because his son is carrying
the torch, upholding the tradition and introducing “the
blues” to a new generation of young fans. Check out our
chat with John Lee Hooker, Jr. aka Hooker, Jr.
BMIA.com: With
the name John Lee Hooker, Jr., you know you can’t be
seen as some tired imitation of your Dad. What makes you
different and deserving of the name “the real deal?”
J. Lee Jr.:
Well first and foremost I didn't suggest to my parents from
my mother's womb, "Hey guys, why not name me J. L.
Hooker, Jr.?" And as far as deserving, none of us are
deserving, it is a gift from God. But what makes me
different in styles is that I dare to be different, and it
is by choice and my natural ability to have my unique
signature whenever on hears me, instantly one would be able
to distinguish me from any other. The world doesn't need
another JLH, or another BB. King.
BMIA.com:
Let's go back to 2004. How did you feel about your debut CD
“Blues With A Vengeance?”
J. Lee
Jr.: I feltl
absolutely grateful and in awe of what this CD achieved.
"Best Outstanding Blues Album Of The Year" by The California
Music Awards. We worked very hard and didn't take no
hostages.
BMIA.com: Do you have a favorite song on the
CD?
J. Lee
Jr.:Blues
Aint Nothin But A Pimp is my favorite song because
this was taught to me by my dad, "That The Blues Is A Pimp,
because every time you have them, you gotta go do something
or get something to get rid of it (The Blues).
BMIA.com: Most folks know that you are the
son of the great John Lee Hooker. Has it been hard
or easy to carry that name?
J. Lee Jr.:
It's been very natural for me, I feel no pressure. One
feels pressure when one tries to live up to others
expectations. I just do what I do and what I was taught by
my schoolteacher, John Lee Hooker, Sr.
BMIA.com:
You have traveled around the world and played with
world-class musicians and artists. Who were the artists that
influenced you the most?
J. Lee
Jr.:John Lee
Hooker. Because with him it was on the job training. I
watched BB [King] work a crowd, I watched Jimmy
Reed make them listen with quietness, I watched Charli Musslewhite
make them clap their hands, and Big Mama Thornton
make them dance.
BMIA.com: Growing
up what was your earliest or most vivid recollection of
being different?
J. Lee Jr.:
Never felt I was any different than anyone, what was
different was the visitors that came to our home from Europe
TV cameras, journalist with flashing cameras and
microphones.
BMIA.com:
When you think about some of the artists of today’s
generation, who do you listen to and like the most? Why?
J. Lee Jr.:
I think the music industry is similar to the boxing industry
because it has developed so many different championship
belts as the blues has now became a compound word in
describing it. Rockin Blues, Rockabilly Blues, Punk Blues,
Country Blues, etc. I listen to Robert Cray, Bernard
Allison, my dad, B.B. King and Buddy Guy.
BMIA.com: What’s
a typical day for John Lee Hooker, Jr.?
J. Lee Jr.:
Going to the gym, on the computer, watching the news and
always on the "Tellie" (telephone).
BMIA.com: What’s
the best thing about being John Lee Hooker, Jr.?
J. Lee Jr.:
Everybody knows that name! It is a key to open many doors
and knowing this, I must walk through those doors with
humility, a condescending spirit, dignity, gratitude and
honesty, keeping in mind that I am simply the clay and God
is the potter, without Him no doors would open.
BMIA.com:
How would you describe your music or sound?
J. Lee
Jr.: R&B, a twist
of jazz with a gearbox that can shift to the down home blues
at any given moment.
BMIA.com: What
advice do you have for black men?
J. Lee
Jr.: To beware of
wolves in sheep clothing, and that when temptation
approaches, zip up everything, lips, eyes, and wallet. To
love everyone, no matter what color, religious beliefs,
sexuality, or financial status. Be sure to always remember
the little people when you get big, to come back and say,
"thanks so much."
BMIA.com: What
advice would you give for someone who wants to make a career
in the music business?
J. Lee Jr.:
Work hard, stay in prayer, always be thankful, dare to be
different, never think that you've made it no matter how big
you get, never become complacent, be shrewd in business, and
be honest and kind even when you're broke and its dark and
can't no one see you but God.
Click on the CD cover to see an animated video of the
"Blues Ain't Nothin' But A Pimp."
John Lee Hooker, Jr.
will be on tour in support of his latest release AllOdds Against Me across the U.S., Europe, and
Turkey throughout 2008. Click here for the tour schedule.
Documentary film producer/director Nina May talks
about Emancipation Revelation Revolution,
her documentary screen-writing and directorial debut.
Writer Kelly Alexander gives us an in-depth look.
Let’s face it; Black Americans get insulted when people
say we all think alike. But then why don't we take our
individuality to the voting booth? For one thing, a
great many Black Americans associate the Republican
Party with racism. This means that voting Democratic is
often less about making a personal choice than voting on
the basis of a group concern.
This is understandable. But is it also obsolete? Is it
time for the Black community to start spreading its vote
across the two main parties?
Nina May independent film producer/director poses that question and more
in her debut documentary film, Emancipation
Revelation Revolution. With a provocative approach
intent on exploring this issue, she spent 6 months
interviewing such well known Black social activists and
authors as Shelby Steele, Bishop Harry Jackson, Roy
Innis and Alveda King (niece of Rev MLK,
Jr.).
All of the featured guests in the film make interesting
arguments and dialogue as they discuss historical
interpretation about the formation of both political
parties that has not always been fully or properly
covered in the history books, how contemporary Black
political and social figures are vilified for their more
conservative views, and they challenge all Americans but
especially Black Americans to examine their monolithic
allegiance to the Democrat Party.
producer Nina May, who has also just written a
new screenplay, The Big L, which features a
leading role for a Black actress. She spoke candidly
with me about ERR’s success, her motivation for
producing it, and some of the controversy that has
arisen since its release.
KYA: Your film is a
documentary that examines the historical roles the
Republican Party and the Democrat Party played in the
civil rights struggle of Black Americans – Can I start
by asking you how did you chose this subject as your
debut film and was there a personal connection for you
that helped you realize this production?
Nina:
I was raised in the south where everyone was a Democrat.
I didn’t even meet a Republican until I went to college.
Republicans were called “n-lovers,” in the south and
Democrats totally controlled everything politically. I
was very put off by politics and didn’t want to have
anything to do with it. I thought it was full of
hypocrites especially on the issue of civil rights. I
lived through that struggle and I remember the names you
were called if you said anything positive about Martin
Luther King, or you suggested that Lester Maddox
or George Wallace were wrong and an
embarrassment. It was at that time of the Republican
“Southern Strategy,” where they were reaching out to
Democrats like me who were embarrassed to be a part of
the racists Democratic Party. When I announced that I
was going to register as a Republican, I was called an
n-lover . . . all Republicans are n-lovers. I said that
was confirmation then that I was doing the right thing.
An emotive soundtrack
of “Let My People Go” opens the film and in
the case of ‘Emancipation Revelation Revolution’,
the soundtrack was not simply an aural blanket for
montage sequences; it was the entire point of the film.
The film moves between historical narration by Michelle
Jones to interviews with featured guests and historical
interjection by historians David Barton and
Peter Marshall. Commentary throughout the film
suggests that issues such as high abortion rates, poor
education and the lack of political and social gains can
be attributed to the failure of both the Democratic
elected leaders and social programs they have promoted
such as welfare which the film advocates is based on
institutionalized racism and slavery of a new kind.
KYA: The information
portrayed in the film has to be accurate and factual –
how did you research the information and did you learn
anything new about Black American history in the
process?
Nina: I spent almost 6
months reading everything I could find on the subject. I
was reading both history books and personal testimonials
from conservative Black Americans who were sharing their
new struggle with philosophical discrimination and how
they were being marginalized and ridiculed for their
beliefs. I remembered the way Clarence Thomas was
treated by the White Democrats during the judicial
hearings on the Hill. I was outraged that they were
trying to destroy this honorable man and knew people who
knew him intimately and vehemently denied all the
specious allegations against him. When he called it a
“high tech lynching,” it made my blood run cold and my
first impression of the political hypocrites was
reinforced.
KYA: How and why did you
choose to profile the people featured in the film? How
did you meet and develop a relationship with them, and
gain access to them?
Nina: I started with who I
knew and then would ask them who they knew and would
suggest interviewing. I had interviewed Star Parker
about 10 years before that for a magazine I was
publishing. Armstrong Williams had been a co-host
with me on a TV show I had, and Michelle Jackson
(Bishop Harry Jackson’s wife) was a good friend and
gave me names of some people to interview. I had heard
of Roy and Niger Innis, and Jesse Lee Peterson
and heard them in interviews where they were called
names . . . Uncle Tom, etc. I sat next to Mason Weaver
at a dinner and was telling him about the film, he
excused himself and went to his room to get a book he
had written called, “It’s Ok to Leave the Plantation,”
which was a common theme in the movie. So, to be honest,
one person led to another, and all the stories were so
similar and their frustration palpable just because they
were “conservative black leaders.” It reminded me of how
Blacks were treated during the civil rights movement
because of the color of their skin . . . now it was
because of the content of their character. And I don’t
think it was what Dr. King had in mind.
KYA: What impact do you
hope this film will have?
Nina: I hope it will serve to drive a stake in the heart
of racism in this country, and expose those who continue
to warm themselves and their carriers at the flames of
hatred and bigotry that they keep alive. I want people
to be free to make the political choice they want and
not be relegated to a monolithic status based on the
color of their skin, or their gender. We fought the
feminist almost 30 years ago when they tried to claim
that all women were the same, wanted the same things,
should vote and act the same. We rebelled, as
Renaissance Women, against that form of philosophical
discrimination, and intimidation, and want to help Black
Americans who are experiencing the same thing to know
they have fellow Americans who support them, respect
them and are fighting side by side in their struggle for
self-determination.
KYA: How have you chosen
to present your film to the public?
Nina: We have been in
several film festivals and even won the Noir Film
Festival, which is one of the premier Black film
festivals in the country. It has been very difficult to
get in because of the content, not the quality of the
film. Because it tells the little known truth about the
history of both parties, those who are beholden to the
Democrat Party do not want it to be seen and have worked
hard to silence us. But those who are open minded and
really want to know the truth, are so receptive and tell
us that it truly has impacted their lives. I have had
people come up to me with tears in their eyes saying,
“Thank you for telling my story. I don’t have to suffer
in silence any longer . . . I really thought I was the
only one out there being treated this way because of how
I vote and what I believe.”
Some would venture to say that a Black film’s authenticity really
stems from the film being directed by a Black director
or producer be the film a documentary or feature.
It's why Paul Robeson’s Here I Stand directed and produced
by St. Clair Bourne was great; it was not lacking in
the soul to make it really good - It's a coming together
of the political and the personal. It's an exceptional
Black story directed by a very well-known Black
director. So what I'm asking is can color make a
difference to directing a film story or retelling of a
group’s history on film? As is often remarked, Black
jokes can be best, indeed only, told by Black comics.
Shouldn't a Black story be told by a Black director?
Sure, any talented director can put scenes and facts together,
offer excellent editing, assemble a stellar cast - But
will the film be injected with real understanding and
soul, emotion, and a genuine feeling of passion for the
material. I posed that question to Ms May and here is
her answer:
KYA: Can a White filmmaker
fully realize the experience of a Black person in a
story; can a White filmmaker adequately represent the
survival and depth of Black American history in film?
Nina: Yes, because there is
nothing new in the human experience. Everyone has
experienced discrimination, bitterness, hatred,
segregation, etc. etc., for one reason or another. If
you take the issue of color out of the mix, the personal
experiences of all of us are very similar. As the Bible
says, “there is nothing new under the sun.” The problem
that has developed though is that the line of race that
is drawn in the sand suggests that a White person cannot
possibly understand the plight of Black person and to
try to is an insult. By those standards, the door would
have to swing both ways. But would anyone dare suggest
that a Black producer could not do a film on a White
person in history? Ironically, having done the film and
experienced the hostility as a result of it has given me
even greater compassion and love for Black Americans who
are still trying to find their place at the table as
conservatives.
KYA: As a White American
filmmaker who’s subject matter is about Black American
history – Was there a particular challenge for you to
make sure the film portrayed accurate information and
were you especially sensitive to how you handled the
subject matter?
Nina: I just let the interviewees tell their stories. I
am just a fly on the wall. I learned so much while doing
the film and was really irritated that our history books
have ignored so many amazing facts like, 7 ex-slaves ran
for and became members of Congress. The first 23 Blacks
elected to Congress were Republican immediately
following the Civil War in the early 1870s and the
Democrats didn’t have a southern Black elected to
Congress until 1972. I didn’t know that. I didn’t know
that the first three Blacks in Congress were Republican.
I didn’t know that the party was founded in 1854 for
abolitionists who left the Democratic Party on the issue
of slavery. They were a civil rights party from the
beginning and 6 of their 9 planks dealt with civil
rights. They were responsible for the passage of the 13th,
14th and 15th amendments which
were unanimously opposed by the Democrats. They passed
two dozen additional civil rights bills . . . that were
ALL overturned when the Democrats got control of the
House, Senate and White House. I learned that there are
13 volumes of testimony in the congressional record
where the Democrats proudly say they started the KKK. I
saw a hit card with both Black and White men on it and
the thing they all had in common was that they were
Republicans. I learned that the Jim Crow laws were
instituted by White Democrats to keep Black Republicans
from voting. It was not about white vs. black, but right
vs. wrong. All of these facts have been ignored in our
history books and because of these things; the Democrats
were able to institutionalize racism in our country. We
could have had a dozen Barack Obama’s had they not
fought so hard to keep Black men segregated in our
society. And they are still doing it if these Black men
don’t toe the party line.
KYA: How do you know when
to stop? At what point do you think, "We have the
footage we need?” Not just tons of it, but footage
needed to tell the story you want to tell?
Nina: You know before you even start filming what you
are after. I think of all interviews as mini-auditions.
I know what the person has written or said, or believe,
and it is up to me, as the producer and interviewer (and
usually the editor) to guide the discussion or interview
in a way that brings them to the point I am trying to
make in the film. When I hear it, I make a mental note
and go right to it in editing. It is sort of like
hitting the sweet spot when you play tennis. There is
nothing like it, but obviously, you can’t take a script
in and say, “Here, save me an hour of time and tape and
just say this.” That is not kosher and would sound very
contrived and fake.
KYA: There had to be some
opposition to your project or some feedback from members
of the Black community or viewing audience that was not
supportive of your film - were there particular
experiences you had like this that you can share with
us?
Nina: Too many to mention,
but the analogy I give is that I, as a friend, have told
someone that they are dating a lying, cheating, no-good
bum who is stealing from her, having an affair with her
best friend and abusing her daughter. She loves the guy,
hates me for telling the truth about him, but . . . even
though she won’t ever speak to me again, she’s keeping
her eye on him. She is finding out more information and
asking others what they have seen. It is a case of
dismissing the messenger, but if the messenger gets the
dialogue going, and can help slam shut that door of
racism, then it doesn’t matter what names you are called
because your intentions are pure, like the friend’s.
One of the featured
guests in the film is Alveda King,
the niece of Dr. Martin Luther King, Jr. and the
daughter of slain civil rights activist Rev. A. D.
King. In the film she speaks about her uncle and
her thoughts on how he would view the current state of
Black America politically and socially. I wanted to
hear what the producer had to say on this topic:
KYA: I heard someone make
the statement that MLK was in a zone of
discomfort toward the spring of 1968. He is quoted as
saying: ''We fought long and hard for our cause, and
shall prevail, but I really get the sense that we may be
integrating into a burning house. The question for me is
whether or not we can be firemen.''
That prophetic thought wasn't as well understood as it
is now – what is your interpretation?
Nina: It was prophetic and
we can see exactly what he meant. That is one of the
major parts of our movie that discusses how strong Black
families and communities were before integration. The
new “plantation” that the Democrats erected, served the
exact same purpose that their old southern plantations
served. They made the assumption that Blacks were less
than capable . . . even though this was a lie . . . and
instituted welfare systems with impossible strings
attached. The fence around these handouts divided the
country, dehumanized the recipients and kept generation
after generation in a state of perpetual “victim” to the
state. Any efforts to try and put limitations on welfare
handouts, or put requirements to achieve beyond them
were opposed, continually by these “well meaning”
Democrats. The use of the “r” word (responsibility) was
forbidden by the left and any effort to change, alter or
restructure the welfare system or socialist handouts are
met with huge opposition by very wealthy, limousine
liberals who have only one thing in mind . . . keeping
that minority block voting for them and keeping them in
power.
KYA:
With the historical components of having both a woman
and an African American as viable candidates for
president of the USA how do you see their potential
candidacies as progress America has made in terms of
equality and civil rights?
Nina:
As I said before, had the Democrats not fought so hard
to segregate and dehumanize the Black man we could have
had dozens of Barack Obamas before this. Most of
the state legislatures in the south, after the civil war
were full of new Black legislators. But look at the
movie, “Birth of a Nation,” by DW Griffith which
glorifies the KKK. It was the first movie shown in the
White House, and showed these new Black congressmen and
legislatures, but it showed than acting like monkeys,
etc. That was how Democrats saw Blacks and because they
controlled all three branches of government, they
institutionalized racism, even ignoring the 14th
Amendment in Plessey v. Ferguson which said “separate
but equal” was constitutional. They also fought giving
women the right to vote and had it not been for the
Republicans, they may not have gotten the right for
another generation.
It is just very odd to me that the feminists and Black
Americans are so completely sold out to the very party
that denied their existence and tried to keep them
disenfranchised at every level. And for those who say
that was then this is now . . . I am not that old . . .
I lived through all of this. Senator Robert Byrd
was a recruiter for the KKK, yet he is still considered
the conscience of the Senate. Bill Clinton’s
mentor was Senator William Fulbright who was a
HUGE racist and opposed the civil rights bill.
Republican president, Dwight D. Eisenhower sent
the National Guard into Bill’s state, forcing
integration, when Bill was claiming he sat at the back
of the bus in solidarity with Rosa Parks. The
only problem with that is there were no bus systems in
either Little Rock or Hope. So what bus was it? How can
he get away with a whopper of a lie like that at Rosa
Park’s funeral and not be held accountable? Because he
belongs to the party that has rewritten history to lie
about their past and to challenge those lies and try and
set the record straight is met with not only opposition
but veiled threats. But . . . I find peace in the words
in the Bible . . . “You shall know the truth, and the
truth shall set you free.”
KYA: How do you define
success as a filmmaker? What were your personal goals in
terms of the film’s success when you decided to produce
this film?
Nina: The industry standard
is how much money the movie makes at the box office
opening night or weekend. If you are producing a movie
that may never be seen on the big screen, you have to
develop other measurements. For me, if one person tells
me it changed their lives, then I see that as a huge
success.
There aren’t many roles written specifically for Black
actresses -
We may desire to be a colorblind society, but we’re not
there. ... Black actresses have to wait around for
specifically designated ‘Black roles’ and I was glad to
hear that Nina May has created just that sort of
opportunity in her new screenplay The Big L.
The unspoken and entrenched attitudes about race in
America are nowhere more apparent than in film and on
television, where positive strong images of Black women
are few and far between. When Halle Berry became
the first Black woman to win a best-actress Academy
Award, she accepted on behalf of "every nameless,
faceless woman of color that now has a chance because
this door tonight has been opened."
Fast forward 6 years later, the door is far from wide
open. Some say real change will not come until clichéd
roles are routinely replaced with three-dimensional
characters, such as the one in the new screenplay The
Big L, written by Nina May.
KYA:
Can we talk a little about your new project the feature
film you have written called The Big L and the
character of Abby?
Nina:
Sure. Well, it is a drama with the central characters
being a young woman Christa and her nanny Abby. The
film is set in the 1950’s and moves through to present
day. Symbolically, Abby was that hidden seam that held
Christa’s family together. Abby walked in each day,
navigating the precarious obstacles of institutionalized
racism and stereotypical ideas that had entrenched two
different races into the roles they should each play.
Abby perfected the art of passive aggression and would
appear to all who only saw her skin color to be the
submissive, quiet, conciliatory, diligent housekeeper
and nanny. However, in essence, she was a quiet warrior
and teacher. In a way, her skin became her protective
covering because no one expected more from her, than
just being a Black woman who worked in a white family’s
home. When Christa was young she was not aware of the
clever nuances of the parallel universe she and Abby
lived in. She thought they were the same and felt she
had much more in common with Abby than her own mom. The
distinction of skin color was never an issue or a
thought and this confused her as she grew to understand
the smug comments, the glances, and the condescension in
conversation. Christa did not hear the words as much as
see Abby’s reaction to the words. Abby would stiffen
slightly, then say, “Yes ma’am,” and walk away with more
of a snap in her step. She would always retreat to the
sewing machine where she would press the pedal down as
far and as fast as it would go. She would bury herself
in her material with a determination that Christa
admired and desired to emulate. She had no idea the
passion of anger that was burning in her soul, or the
fire of revolution she as tempering. She was older when
she understood the self-righteous use of the term “you
people,” when Blacks were referred to en masse by
someone who claimed to be their champion. Abby
understood that through the innocent, undefiled eyes of
this little girl there was hope that one day people
would be judged by their abilities, their character,
their deeds and not the color of their skin. Christa
falls back on the lessons she learned from Abby when she
faces her own setbacks and challenges in life as she
pursues her dream of becoming a fashion designer. Abby
is the pivotal character in the story. It’s a timeless
story about love, prejudice and redemption that is
explored through humor,
pathos, drama, action, social commentary - it's all
there.”
KYA:
The film sounds interesting and I hope to see it soon in
theatres.
Well, thank you for speaking with me today. It's been a
pleasure talking to you.
Nina:
Thank you.
To learn more about Nina May you
can visit her official web site at
www.NinaMay.com.
Tyler Perry and Debmar-Mercury
Wayne
Hubbard, Ira Bernstein, Candice Price and
Mort Marcus
Tyler Perry
is a household name in African American
households and even though the majority of
mainstream America still doesn’t quite know
him, Hollywood most certainly does. Tyler
Perry has had major successes as a writer,
producer, director, playwright and actor. In
all his endeavors, Perry's first two films
Dairy of a Mad Black Woman and
Madea’s Family Reunion have grossed over
$113 million in the U.S. and the combined
sales of his nine DVDs has surpassed 11
million units. Meet The Browns
starring the Oscar nominated Angela
Bassett, now playing will hopefully
follow this same path. This past year Tyler
Perry ventured into the broadcast arena
which turned out to be another great
success.
On January 30, 2008, Wayne Hubbard
and Candice Price were on assignment
at the National Association of Television
Programming Executives, NATPE 2008
Conference and Exhibition at the
Mandalay Bay Resort, Las Vegas, where
over 7500 Top Media Executives come
together. These executives take products
such as Tyler Perry’s “House of Payne”
and make major programming deals for
television. Tyler Perry’s distribution
partners are Co- Presidents Mort Marcus
and Ira Bernstein, of Debmar-Mercury
which is a worldwide production and
distribution media company specializing in
network, cable, syndication, VOD/Pay-Per-View
and Pay TV. Tyler’s advised choice of
distribution partners was a very wise one,
for these two savvy executives respect,
enjoy and fully understand Tyler Perry and
his audience.
Tyler Perry is very particular about who he
does business with and how. He does not take
for granted the value of his main target
market, which is African American, Christian
Women, nor the dollars that they bring. He
believes whole heartedly about ownership and
the control of his product and image. In
doing business with Hollywood, which has
often turned its nose up to Black product
and audiences, Debmer-Mercury Co-Presidents
Mort Marcus and Ira Bernstein feel
differently. Tyler Perry wanted to keep his
control and ownership. Marcus and Bernstein
negotiated for this along with handling his
distribution. Tyler is great at his craft
and they are wizard at theirs.
Mort Marcus and Ira Bernstein cut a
phenomenon deal in regards to how the
business of broadcast television
traditionally works. Their deal was unheard
of in the Broadcast world. Normally a
program gets picked up by a Major Broadcast
Network and runs week after week. If the
show succeeds without being cancelled it may
make it to syndication on Cable or other
networks. What happened with Tyler Perry’s
“House of Payne” had never been done before.
Tyler Perry had created ten episodes with
his own money to do a test run on TBS last
June. The ratings were remarkable for “House
of Payne”, so Debmar Mercury was able to go
in and cut the big dollar deal.
Tyler was to create 100 episodes upfront to
be broadcast on TBS and FOX stations for the
next four years. In September 2008 the FOX
stations will start airing the show. Ira
Bernstein said, “House of Payne” is
the first originally produced syndicated
comedy to ever launch with a 100 episodes
order. This is great for Independent
Producers and distributors.” These guys
genuinely respect and love working with
Tyler Perry. Marcus and Bernstein have been
in the business a long time and have made a
lot of magic happen in the industry, but
they light up and enjoy the entire Tyler
Perry experience. “What Tyler has done is
totally way out of the box thinking”
Bernstein said,” it is all the way out the
box and we love it, Hollywood just doesn’t
get this.” Hollywood may finally be getting
something, for he has been cast in a good
role in the New Star Trek movie franchised
due out late this year.
The Many Talents of
Darrin Henson
By
Vanessa Werts
Exclusive To Black Men
In America.com
Remember the adage:
jack of all trades,
master of none? Well
sometimes it doesn’t
apply. Occasionally a
person comes along with
an unrelenting
determination to do it
all. Award winning
choreographer, actor,
producer, and director,
Darrin DeWitt
Henson is not
only mastering his
craft, he’s taking the
entertainment industry
by storm.
In an unforgiving
business where you’re
only as hot as your
latest project,
Henson is
proving that he has
staying power. Best
known for his role as
Lem, a reformed thug on
the hit Television
series Soul Food;
and most recently for
his leading role in the
box office hit
Stomp the Yard.
Other motion pictures to
Henson’s
credit include the HBO
Film Life Support,
and The Salon.
His repertoire
also boasts the musical
stage play Fabric
of A Man, and
his directing debut, Violations,
starring Malik Yoba and
Cynda Williams.
A true renaissance
man, Henson
continues his momentum
with four new projects
scheduled for release
later this year. Sounds
like a man too busy for
much else, right?
Wrong. Henson’s
love of music and dance
has set him on yet
another journey. He is
currently touring cities
throughout the country
with his seminars and
workshops,
Darrin’s Dance Grooves
Seminars,
teaching both children
and adults the
importance of exercise
and good health.
Henson is also
promoting his second
DVD, Darrin’s
Dance Grooves 2.
When Henson’s
tour brought him to the
Washington D.C. area, BMIA had the
opportunity to sit down
with him for a most
intriguing interview.
During an hour long
lunch at a D.C. suburb
restaurant, Henson
shared his approach to
achieving and
maintaining a healthy
lifestyle, and details
of his upcoming
projects.
To my pleasure, Henson was
incredibly genuine,
personable, and full of
wisdom.
BMIA: Tell me
about your seminars and
workshops.
Henson: We
have two workshops:
public and private.
Anyone can attend a
public workshop…they
fill up pretty fast…we
work with up to 75
people at the same
time. We also do
workshops for groups,
where a group can have
me come in to conduct a
workshop, and it’s not
open to the public. Our
private sessions are for
small groups [up to 10]
or one-on-one where we
focus on them and work
with them individually.
We find out what their
goals are…what they want
to do…then we design a
plan to help them get
there.
BMIA: Do private
workshops include help
with dieting?
Henson:
Loosing weight is all a
state of mind…it’s about
conditioning the mind.
We don’t call them diets
we call them ‘livets’
because most of the time
when people are dieting
that’s exactly how they
feel, so we want to
create an infrastructure
and base for people in
their lives, to create a
mental, physical,
eating, ah…pattern for
them to feel good
about. We want them to
have a feel good
relationship with
themselves. So we call
them livets. So we use
the taste, touch, and
smell sensory system…and
feeling system, to work
for the actual person.
If you eat something and
it tastes good then
we’re gonna construct it
and teach you how to eat
it where it actually
supports your taste
buds; exercise where you
start to desire more of
it opposed to less of it
in the way that you
exercise. So this is
what’s important about
how we approach our way
of moving forward into
our new selves.
BMIA: When you
have a private workshop,
do you tailor the
program to meet each
individuals needs?
Henson:
Absolutely. What we do
is, we find out how the
person moves, what
they’re used to doing,
what their abilities
are…and I have A, B & C
routines; I have a
beginners routine, I
have a middle stage
routine, and then I have
an advanced routine
depending on the
particular individual.
If there’s a person who
wants to lose weight and
dance, what I do is I
sit down with them and
go over a number of
different exercises to
see what level of
intensity they’re at. I
have them exercise
before the actual dance
class, and then we start
the dance class and I
construct moves that go
along with their
ability. And what I
have them do is…I have
them do it three times a
week for at least one
hour. So it’s an
aerobic activity as well
as a fun activity.
Everybody loves hearing
music, everybody loves
some form of dancing
whether it’s
line-dancing that you
would. You do the Cupid
Shuffle for an hour,
you’re moving to
different songs like the
Cupid Shuffle or the Cha
Cha Slide, Electric
Slide; these are all
theme dances that you do
which deal with health,
fitness, and exercise.
And after an hour of
sliding you’re working
your thighs, you’re
working your abs, you’re
working your arms…you
move everything. Many
different things are
constructed for them.
BMIA: What age
group do you work with
in your dance workshops?
Henson: The
demographics are ages
5-30.
BMIA: What brings
you to the DC area?
Henson: I’ve
been teaching in the
local schools.
Yesterday, I taught at
Thomas G. Pullen school
[in Maryland]; today I’m
doing a dance school…and
basically what I’m
trying to do is bring an
awareness to people’s
minds and bodies about
goals. In other words,
if you set a goal, then
that means that you have
to constructively think
about what your goal is,
and you have to make
decisions daily
according to what your
goal is. If there’s
something that you’re
gonna do, eat, or think
that doesn’t support
your final goal then you
have to change your way
of thinking…you see? So
if you say you want to
loose thirty pounds, but
eating a certain type of
food doesn’t support
loosing that thirty
pounds then you’ve got
to change what you
order. If you know
going to a place
promotes loosing more
energy opposed to
gaining energy and
awareness, maybe you
should go to a different
place. Maybe what you
watch on television,
what you read…if it does
not support that final
goal then you have to
change it…it’s about
reaching that final
goal. So sometimes we
have to ‘think about’
what we’re thinking
about.
BMIA: It sounds
like you work with kids
a lot. What drives you
to work with the youth?
Henson: Pure
spirits. I think that
you have to spend less
time being, ah…I just
think working with
children is a lot
easier; they’re a lot
more unaffected than
adults. You have to
spend a lot more time
reconditioning an adults
mind than a child. And
if you give them the
proper information
they’ll use it. It’s
kind of like, I look at
children and watch them
play their PS2 [Play
Station 2] games or PS3
[Play Station 3] games;
they just pick up and
start playing. Next
thing you know they know
how to play that game.
So you know dealing with
a child’s mind is a
whole lot easier…they’re
much faster learners
than adults are, because
adults start to deal
with fear. Children
aren’t afraid of
anything.
BMIA: Do you find
that the kids are
engaged when you’re
there; are they hanging
on your every word?
Henson:
Absolutely. What
happens is you’re a
person walking in there
who’s known for his
dance ability…you know,
television series
Soul Food of
course…hit movie
Stomp the Yard,
you have a lot of
influence over children
and what they do. So I
look at it as you know,
they listen to certain
radio stations and hear
certain music, watch
certain television
programs, but I’m in the
flesh with them. So if
I can shake their hands
and inspire them then
I’m ah, you know…not
infecting them, I’m
affecting them. So you
know, that’s how I like
to look at it. So I like
to, at any available
time participate in that
gathering of the minds.
It’s powerful in an hour
with them. What you
have is the children
start changing their
parent’s minds about
things. The child says
mommy I don’t want to go
to the movies, I want to
go to dance class. The
next thing, the parents
find after watching the
dance class for an hour
they say that’s fun I
want to do that. And
then you’ve created a
parents class. You know
I’ve done so many
workshops for so long,
so now we’re creating
parent classes because
so many parents bring
their kids to the
workshop and they come
there from nine to five
you know, when we do the
big ones [workshops].
And so parents are
like…we want to take
classes. So we created
a three hour workshop
for parents now. That’s
what Darrin’s Dance
Grooves Part 2 is
constructed for…it’s to
do it in the privacy of
your own home but with
your family. And the
DVD is created where you
can see both back and
front of the instruction
now. And it’s broken
down a whole lot
slower…and I just think
it’s a lot more fun than
the first one. It was
great to see Britney
Spears, it was fun to
see N-SYNC in the first
one, but right now we
are living in a reality
based world. And
reality means that it’s
about what’s real to
you. It’s not about
what Justin [Timberlake]
is doing, it’s not about
what Beyonce’s
doing…it’s about what
you’re doing. You can
take the influences of
Beyonce…you can take the
influences Mya, you can
take the influences of
Justin, of Omarion, the
influences of Chris
Brown, and do it [dance]
in your own home.
BMIA: Do people
stop you on the street
wanting to show you
their moves, or what
they’ve learned from the
video?
Henson: We
have tons of videos on
Youtube, people
imitating the moves…and
they’re on Youtube and
people are doing the
dances and it’s great.
And I’m really happy
about that because like
I said, we’re affecting
people, not infecting
them. And if it is
infectious, then it’s
infectious in a good
way. Because it’s
changing people’s lives,
and I’m very proud of
that…I’m proud of that.
And you know, Darrin’s
Dance Grooves 2 is still
an unknown DVD,
literally…it’s an
unknown DVD because
although we have a
commercial for it, it’s
an internet commercial.
We haven’t expanded to
do a, ah…you know we
have yet to do a
national or
international commercial
like the first one.
Basically, the first one
was a great DVD that I
had created…and pitched
the idea… it was a
wonderful small company,
they put a lot behind
it…it took about 2
million dollars to
advertise, you know;
that’s a whole lot of
money. If we had a
million of that to
advertise right now,
just to put it on the
commercial then we’d do
it and it would be as
big. You know we sold 4
million copies the first
time. I sold about a
hundred thousand copies
of the second one…direct
sales on my Web site.
But you know we’re
looking to expand. You
know those are great
numbers but you know
we’re looking to do a
lot bigger number
because we know how good
the DVD is.
BMIA: You weren’t
formally trained, yet
you are an award winning
choreographer. What
would you tell an
aspiring dancer who
wanted to take the same
path as you?
Henson: What I
tell people is afford
themselves the
opportunity to have
education with anything
and everything…ah,
Darrin’s road is going
to be different from
your road.
Individually I tell
people whatever you feel
innately, go with it
because that is your
road to success.
What you feel…that thing
in your head that makes
you go. Somebody
called me two days ago
and they said, man you
know I’m in my third
year of college and I’m
really thinking about
changing one of my
subjects…I want to take
an acting class, but I
don’t know man…are there
a lot of people in
Hollywood who went to
college and took acting
class. I said yes and
no. You know I didn’t
go to college…I’m not
saying that you
shouldn’t, I’m just
saying, Darrin
didn’t…but I still ended
up on the screen. I
still have three
companies, I still have
you know, a successful
DVD; I still have
creative career. What I
tell you to do is follow
your heart. I say,
don’t make a living…live
your making. Because
when you do that then
you’re following what is
given to you and what is
naturally innate inside
of you and you’ll never
go wrong with it. You
know; if you love
swimming, swim. If you
love dancing, just
dance; it doesn’t cost
anything. If you love
acting then read about
acting; go and get a
book, you know, on
acting. Go take an
acting class. Don’t
worry about what the
person next to you is
doing. That’s their
life and those are their
choices. You follow
you’re hearts desire
without fear, without
hesitation, without
procrastination, and
you’ll always advance.
BMIA: As a
choreographer, actor,
producer, and director,
which presents the most
challenge?
Henson: They
all present their own
challenges. Ah…as a
dancer, your challenge
is to dance for other
choreographers, with
their style on their
body types, right. As a
choreographer your job
is to create dance steps
and stage shows that
look completely
different from other
people’s stage shows.
As a director your job
is to tell a story. I
directed a movie for
Showtime called
Violations, starring
Malik Yoba and Cynda
Williams…. You know I
started a company a
couple of years ago and
they gave us the money
and said you’ll own this
movie, you direct this
movie, you produce this
movie…you get the
company together it’s
your movie, here’s the
money. It was
wonderful. And ah, you
know that was one of the
hardest things I had
ever done in my life
because you really have
to live in each one of
the characters heads as
well as be able to tell
the story in a way
that’s going to be
efficacious where people
get it. Ah…and as a
producer your job is to
get other people to
believe in your project
and ah, you know, win
them over; so they all
present their own
obstacles. I never call
things problems because
they’re not. And if you
do then every problem
has a solution so then
it’s just an obstacle.
And ah…but all of them
are different and I love
all of them for
different reasons.
Henson went
“submarine deep on us,”
says Gary Johnson,
founder of BMIA.com, as
we switched from
interview mode to
dialogue, following my
last question. Before
it all ended, we talked
sports, history,
ideologies about race,
and philosophies on
life, and even dropped
some trivia. Henson
also showed his sense of
humor when I joked him
about the pompous
character he played in
Stomp the Yard.
You can catch Henson
on the big screen this
year in these
high-powered films: The Express,
where Henson plays
Heisman Trophy winner
Jim Brown;
The Hustle,
a comedy starring
Charlie Murphy,
where Henson plays a
church pastor, and A Good Man is Hard to
Find, starring
Hill Harper,
and Debra Cox.
To find out more
about Darrin’s
Dance Groove Seminars
and workshops, or to
purchase the
Darrin’s Dance Grooves 2
DVD, go to
http://www.darrinhenson.com.
Special thanks
to
Donnese Tyler for
making this interview
possible.
Click On
Photo To Enlarge
Darrin Henson and
Vanessa Werts after the
interview.
BOBBY JONES COMEDY ALL STARS
VOLUME ONE
DVD SRP: $19.98
PROGRAM DESCRIPTION
Dr. Bobby Jones has revolutionized the gospel
music world with his “Bobby Jones Gospel,” the
first and only nationally syndicated black gospel
television show. His shows, “Bobby Jones Gospel” and
“Video Gospel” are the longest running cable shows to
date, as well as the two highest rated shows on BET.
Jones is a Grammy® winner for “I’m So Glad I’m Standing
Here Today,” and also the recipient of the Dove Award,
Stellar Awards and the Sally Martin (Mother of Gospel
Music) and the Thomas A. Dorsey (Father of Gospel Music)
Awards. Bobby Jones Comedy All Stars
showcases hilarious clean-content comedy for the urban
audience!
Volume One features notable Christian comics: Trina
Jeffrie, the first lady of Christian comedy, Jonathan
Slocumb, Ron Baker, Jr., LaVance Lining
Andrew Ford (HBO’s “Def Comedy Jam,” BET’s “Comic
Review,” TV’s “Showtime Live at the Apollo”) and Coco.
Mark Hampton: Capturing a Vision, Continuing a Journey
He isn't a Michael Vick, or TI; he's not in trouble, so there won't
be a front page story in the media, touting the
stereotypical negatives of the black man. In spite of
his stellar accomplishments, Mark is a very humble
person. He just recently received word from the
committee reviewing his doctorate thesis that his
argument had been accepted and of course – as most sons
do – made that call to his parents, Ann and Arnold
Hampton. Family and friends were cheering and
congratulating him as word spread across the country.
He was awarded his doctorate from the Department of
Electrical Engineering and Computer Science at MIT in
Cambridge, Massachusetts and will take his final walk in
June 2008.
His thesis subject -- Reducing Exception Management Overhead
With Software Restart Markers – flies far
over the head of the average person. Being able to
integrate high performance processor designs into the
software and hardware technology of the average consumer
is an over-simplified, but understandable description of
his expertise and field.
His field focuses between the hardware and software genres of
computer science; somewhat like a bridge. The trends in
recent years indicate this is the key to the future of
computer architecture. Faster and faster processors
were the initial trend. That came to a halt as the
paradigm shifted to figuring out ways to get performance
by using software techniques and structure. In the
past, software architecture was not the emphasis. Going
forward, high performance designs rely more upon the
programming and compilation.
Hampton’s post-doctorate objective is to turn his thesis into an
actual product. His vision for his future most likely
lies in a startup or newly formed company versus a large
established corporation. In large corporations: you
end up not getting what you want to accomplish done,
management may not have your focus, you get lost in the
shuffle, not really making a difference, said Mark.
I have friends who took that route and are frustrated
by both the bureaucracy that comes with the territory
and the inability to get an idea past a given superior
who has no real idea of what they are trying to do.
His initial plan was to become a part of a startup
company that was being formed in California, but the
company’s formation has been put on hold until funding
can be acquired. Having been contacted by headhunters
from various concerns, Hampton will not have a problem
formulating a Plan B for this aspect of his future. My
job selection must meet a certain criteria -- how my
position is defined, so that I have the freedom to
create ideas freely and bring them to fruition,
salary/benefits/employee culture, and physical
location. I want a good income, obviously, but I
also want to enjoy what I’m doing and where I’m doing
it, states Hampton. My vision of my future
varies. I am very involved in my church and actually
give sermons on a regular basis. My father – Arnold
Hampton – is a full time minister and when I was young,
he did not want me to follow his footsteps into the
ministry. But in recent years, he has become open to
the idea. Now that I have completed my formal
education, I may dedicate more time to speaking more
often, perhaps as I travel I can speak to the
congregations my church has throughout the country, a
traveling minister, if you will. Ten years from
now I envision myself as a minister, having spent some
time in the computer architecture industry, having done
a handful of things in respect to that. I want to fill
a particular need in the industry, then get bought out
in a way that I benefit financially and long term. I
want to be able to say that I did that; then I can shift
more to spiritual matters.
Hampton, who is a member of the Hampton family – one of the largest
families of musicians in the country -- has other
talents and goals in his personal life. My vision,
for the personal part of my life, is not quite clear
yet; I don’t necessarily have any specific vision for
myself, except to settle down and marry. I have been so
consumed with school and church, that most of my
thinking has been focused there and all else has fallen
by the wayside. I don’t even play chess anymore and I
want to get back to that, get to master rank at least.
I would like to travel; there are some places I still
want to visit. Looking back, I am somewhat wistful for
the experiences I had like being on stage acting and
singing as I did in high school. I always had a
fascination with martial arts, specifically in Wing
Chun; I do want to get back to that. I regret that I
didn’t continue with that. But I haven’t really worked
all that out for myself yet. I have interest in a lot
of different things.
For those who have not yet realized what makes this story unique,
Mark Hampton is an African American man. I tend to
see my field as colorless. I am not sure that it is
related to the industry at large or what. My friends
have had issues in their particular fields, but I have
not had any covert or overt issues here, specifically in
my group. I was the sole black person in my group. I
never feel that it is a distinguishing factor, even when
I go to conferences in my field -- which are held
globally. The issue is always about what you can do,
not the color of your skin.
For aspiring high school and college students who are looking to
successfully attain their respective goals, Hampton has
this advice: Have a clear vision of who you are,
what your priorities are and stick to them. Develop a
support network, particularly in grad school, because
you are isolated. I had a group ACME -- Academy of
Courageous Minority Engineers; we actually had a paper
published as a group. It’s important to have others
with whom you can identify and understand the challenges
you face. For more information about Mark Hampton,
visit his website:
www.cag.csail.mit.edu/~mhampton.
Thanks to E. Joyce Moore for bringing Mr. Hampton to our
attention.
So what do you think? If
you would like to respond to this article
click here
and sign our
Guestbook
to leave a public or private statement, comment or
reaction.
G&D:
More than Music
“There’s a message!”
G&D
is Georgia Anne Muldrow and Dudley Perkins;
a musical group that has come together for more than a
musical impact…they are equipped with a message. They
aren’t just bringing a generic message and delivery that
comes a dime a dozen. The group has done their research
and they have a defined stance on multiple topics. Is
crossing over an under minded move to the organic birth
of their art form? Wassup with the wars goin’ on in the
world? When all is said and done, what will be the
definition of success for them? I had a chance to sit
down with the “D” of G&D to discuss these topics and
much more.
As I listened to their album, I found a contradiction in
their ability to tie so many themes together. This many
sounds rarely exists on one album yet still finds the
ability to dovetail the prior and track into the current
one while adequately preparing you for what is to
come. While I strained to hear that “oh so obvious”
stand out sound or genre grabbing thread of continuity,
I realized something…I couldn’t. As hard as I tried,
the sound isn’t just R&B, Hip Hop, or even Rock. It’s
all of these things with sprinklings of World,
Classical, Soul, Spoken Word and even Shakespearean-like
dialects. After a complete run through the album, one
question pops up. Where did their sound come from?
“I’m influenced by creativity and the ability to be
creative. That’s what influences me. Steve Taylor is
someone who I listen to. He’s a White guy from
Oakland. He speaks on a John Lennon type talk. Anyone
who speaks on change is a definite influence on me,
because there is a message and no way around that.”
More thought on the sound that G&D bring versus other
artists in the industry, quickly cause words to pop up.
Grassroots. Organic. Neo-Soul. Genre-less. These are
some of the words to define a new crop of artists that
have come up in the music industry. Some people know
all about these various artists such as Cree Summer,
The Dre Allen Project, Kina, Rahsaan
Patterson etc. Other people, however draw a blank
look when these names are dropped. Why? There is a
comfort with a smaller and more “dedicated” set of
followers. It seems as though they are quite content
with a solid fan base, consistent income from tours and
the freedom to create their own art. The bonus; this
comes without the constraints of music executives who
have never set foot on stage before.
This approach has cultivated a sub industry within the
music world that encourages independent releases, self
funded tours and multitasking PR Management teams to run
things for these artists. More often than not, the fame
of Lucy Pearl, Angie Stone, Erykah Badu
or Tony Rich doesn’t appear to be the goal as
much as creative freedom and consistent musical
expression. G&D has struck a harmonic balance between
individual expressive freedom and a desire for crossover
success. While their sound, oftentimes, goes beyond
the boundaries of genre defined limits, they are not
taking on the view of mainstream success that a large
faction of their counterparts usually takes on.
“I would love a large following. That means my message
got there. Artists with large followings; their
messages get there. And their messages is what’s
dictating what moves the world today. Music is the
backdrop of our lives. When we play music, we act it
out, no matter what…the vibrations that we can’t
control. Babies come out moving and vibrating. So
these ones with the media look and everything that’s out
there, their message is definitely getting out there.
Can’t you tell? We’re at war.
If the true message was out - not the one that’s on
BET and the radio. I’m not hating on nobody’s
talent or nobody’s career or anything, but if the true
message was out. Not the false lights with skeletons in
their closet and all that and never put it out on wax
that they drank a lot and smoked a lot of weed and stuff
and told the truth. If the true message was out…their
would be no war. Everybody would actually be listening
to the true messages ‘We are the world, we are the
children’ (singing and laughing). That kind of stuff.
We’re listening to ‘kill yo mama, kill everybody’ all
day. The music industry is packaging toward little
children like Camel [cigarette company]. All they
record covers look like little tiny children’s book and
all of the chimes and tunes [begins to hum a little
child like chime] ABC type like messages to the kids.”
Despite the message, there are intrinsic things that can
get in the way. Often times, they are distractions and
other times they are legitimate woes that cause us to
turn away. The music industry has had to face a divide
on a major topic and Dudley took the opportunity to
sound off on it.
When asked “When is it Okay to Rock vs’ Drop the N word
in music,” he discloses “We don’t use it [The “N” word]
in the racial sense. It was more political, but
we have since erased it from our vocabulary. It is a
terminology when slaves were herded up and I noticed a
lot of kids who aren’t black are using this word
freely. You can go on YouTube and see racist
kids using it more than black kids.”
As Dudley reflects on the music of today and vocalizes
the sounds and continues to talk about the state of
current music, he drops science on how these things
occur and why it is geared the way it is. It is now
that his passion for the protection and nurturing of the
youth becomes a burning fire and not just a smoldering
ember.
“You know why this is allowed? Because it keeps
separation. And we don’t know who allows it. For all
we know it could be Condoleezza Rice. Like my girl
Georgia says, Condoleezza Rice is a murderer. Ain’t
pointin’ no fingers at her but if you ‘OK’ something
like the killing and bombing of people and you know that
children are over there, then you are responsible. It
hurts me to the core of my being. Why kill the kids?”
It is obvious that the group has more of a desire to
tell a story and put out a message than anything else.
I wanted to dig deeper into what would make him happy
after a year of the collaborative efforts with Georgia.
“If everyone put the guns down and everybody on the
planet started working together towards this so called
global warming and other crisis in the world. I would
like to see it stopped. You know how things just stop?
People make it stop that day…Ain’t no working on it. Do
it like cold turkey and be over it in three days.
Cured.”
Dudley closes out with a very appropriate view of the
group’s calling. “Wherever you at, we are here to stir
up a message about life. Music is just the thing we
do. It is the fun creative thing God gave us. If you
wanna do something fun that God gave you. Just play it
back. Whatever you call God; he, she her, him, shim or
whatever. Give that creative back to that being…that
energy. By giving the art to him…her him or whatever.
Every single thing you do; painting, drawing, speech,
should be towards that. If you are doing it for the
energy of that, then you are doing it for the energy of
civilization.”
Lawrence “eL-Train” Evans, is a graduate of West
Virginia University. He is a Washington, D.C. based
writer. With a strong background in music industry
history, he aspires to work in the A&R/Marketing field
of the music industry. Currently he is a writer for
BMIA.com and is working on completing his first novel.
Kickin' It with Michael Jai White
This interview with
Michael Jai White only added
to my anticipation and excitement for opening weekend of
“Why Did I Get Married?” Men and women alike
will relate to Michael’s married character, Marcus, who
brings infidelity issues into his bedroom. Michael was
both courteous and frank in his responses as he offered
a male perspective and shared a bit of his personality
with me.
BMIA:What was it like working with actor, director, and
producer Tyler Perry?
Michael Jai White:
It was a lot of fun. I worked with Tyler Perry on his
television show first. So it was more of the same; just
a lot of fun, and a great opportunity to put down some
work with some friends and hopefully entertain some
people and teach.
BMIA:Describe the chemistry between the cast members once
the cameras started rolling?
MJW:
It’s kind of like one of those things where you have a
friend that’s down to earth and you meet a bunch of
their friends and they seem to be down to earth too and
everybody gets along because everybody’s got that
somethin’ in common. The thing is like…Tyler is the
hub, and there’s a bunch of people coming from the same
place so it’s absolutely comfortable… you know.
Everybody belonged together. It was no drama whatsoever
– no tension whatsoever.
BMIA:What was your character’s personality and who was
your character?
Michael and co-star Tasha Smith
MJW:
My character is Marcus. And he’s kind of a guy who is
easy going; he loves his wife...and he sees things that other’s may
not see in her.
He kind
of applauds her strength and loathes her brashness. But
that going un-checked for too long becomes its own
monster. And so then she [his wife] becomes that
monster and I kind of become less of a man…and I do the
lesser thing which is step out on her instead of being a
real man and face it. It’s kind of a guy in his own
comfort zone who is non- confrontational.
BMIA:If I’m not being too personal, is there a little bit
of Michael J. White in this character or is this
something new for you altogether, personality wise?
MJW:
Well there are little bits of me in the character. I’m
kind of goofy…and I just let the goofiness come out.
And so it’s more of me in this character than a lot of
other characters like Tyson or what have you. But I
think I kind of created the character based on a younger
me and some other folks I know.
BMIA:What would you say to men who think this is just
another “chick flick” to get them out to theaters this
weekend?
MJW:
Well, first of all it’s just not a chick flick. It
gives as much as it gets. It’s not one of those chick
flicks where men are bad; women are good. If anything I
think it kind of favors the male perspective more than
the female perspective.
Ending the interview, I told Michael that I had not seen
the movie yet and couldn’t wait for opening night.
These were his final words on the relevance of the movie
to both men and women.
MJW:
It’s definitely not that [a sappy romantic relationship
story]. It’s pretty balanced. I think it’s really more
of a guy’s movie than a girl’s movie. It’s stuff that
you will never hear in a relationship movie. It’s stuff
that women hear in real life…that they don’t hear in the
movies.
Michael Jai White in the middle of "baby
mama drama" in "Tyler Perry's Why Did I Get
Married?"
This interview was conducted by
Vanessa Werts for
Black Men In America.com
and posted on 12 October 2007.
A special thank you to
Anna Fuson
and
Tagan Lee
of
Red-Sea
Entertainment
for
facilitating this interview.
Vanessa Werts
is a freelance writer and special
correspondent for Black Men In America.com (www.blackmeninamerica.com) currently working on her
first novel. She is an optimistic contemporary, compelled to write
articles that voice true expression of those directly
impacted by negative social trends in the Black community. Vanessa
lives in the Washington D.C. area.
So what do you think? If
you would like to respond to this article
click here
and sign our
Guestbook
to leave a public or private statement, comment or
reaction.
A Chat with Denise Boutte
You may not know her by name today. And her face may look
familiar to you today.
However, we guarantee after Friday, October 12, 2007,
when Tyler Perry’s Why Did I Get Married?”
opens at theaters across the country you willknow the name and face of Denise Boutte.
Denise Boutte plays the sexy
vixen Trina in the film. While watching her
performance in the movie, you're likely to catch
yourself mumbling, "No she didn't!"
After attending an advance
screening of the movie, we wanted to feature some of the
actors in the film you may not know a lot about, but
soon will, due to their strong performance. Today
it's Denise. Tomorrow we will feature Michael
Jai White.
Tyler Perry’s “Why Did I Get Married?”
is the story of four married couples who take a trip to
the mountains of Colorado for their annual seven day
reunion. Trouble begins when “Trina,” played by Denise
crashes the scene causing mad drama for all.
Secrets are revealed and love is stretched to the limit
as the healing begins.
The all-star cast includes
Tyler Perry, Richard T.
Jones, Malik Yoba, Michael Jai White, Lamman Rucker,
Jill Scott, Janet Jackson, Denise Boutte, Tasha Smith,
and Sharon Leal.
BMIA.com writer
and correspondent Vanessa Werts was assigned to
interview Denise Boutte. Here's the result
of their conversation.
The Denise Boutte
Interview
I spoke with the down-to-earth, keepin’ it real
Denise Boutte for a most enjoyable interview. Her
personality shined through as she shared her thoughts
with me about the movie and this experience.
BMIA:Is this your first time working with Tyler Perry? If
so, what was it like?
Denise Boutte:
Actually this is the second go around for me and Mr.
Perry; I did 10 episodes of his sitcom that will be
following House of Pain called Meet the Browns,
last December. Based on my performance during that
time, the movie deal evolved from there. I guess he was
testing me out. Based on that performance or
experience, he then offered me the role of Trina.
He’s [Perry] like a big brother, he picks on me. I
don’t know if you saw the BET special last
night…he [Perry] said he found me on the side of the
Interstate roping hogs. But you know, the big joke is
he’s from like the New Orleans area so we’re both from
country Louisiana so I don’t know why he tries to dis’
on me like I’m just the country one. He may have
upgraded in the last couple of years but he and I are
from the same neck-of-the-woods, so he needs to stop.
But that’s what it is, he’s like a big brother; he
pokes fun at me, I poke fun at him. That’s just the
kind of relationship that we have. It made for some fun
times on set. Everybody was basically the same way.
All the guys turned into big brothers. If you couldn’t
take it you were in trouble. Between Malik, Michael and
Richard…they’re all clowners and practical jokers.
BMIA:What was the vibe like on the set? Did the cast have
as much chemistry as it looks like you did on the
trailer?
Denise Boutte:
You know what, we did. Tyler said that people always
say, “It felt like family. It was an amazing
experience.” But it really was that kind of amazing
experience. Tyler, being the spiritual guy that he is
would lead thing off, start things off with a prayer.
We would always make sure that we would get together as
a cast on the outside…because here’s the thing: Tyler
works fast. So when you get on set you better be ready
to roll. Unlike some other productions that give you
rehearsal time, even weeks before you start rolling the
camera. With Tyler, when you get on the set you better
be ready to go. So knowing his style we would get
together on the outside before hand and rehearse our
scenes together. Everyone wanted each other to
succeed. And Malik and Janet’s characters were cast so
fast, I don’t know if it was a week or days before
hand. I mean they really and truly had to jump in full
speed ahead because we really didn’t have much time. We
were all helping each other. Being a newcomer to the
whole thing being that this is my first studio picture,
I was really like a sponge trying to absorb lots of
information from all these greats. Because when I was
back home doing advertising, doing the reporting work,
looking at these greats at work, I was like if I waste
this opportunity and not take advantage of it, I’m
crazy. It could have been a very intimidating situation
and there were times when I would sit back and I would
be like, “I’m working with who?” You have those moments
of realization, like whoa, this is really happening.
But instead of being scared of it I looked at it as a
huge opportunity to learn and grow with my own acting
skills in leaps and bounds because I’m around all these
amazing people.
BMIA:Getting to the movie, tell me about your character
and how your role fits into the scheme among the
couples.
Denise Boutte:
Oh, Miss Trina [Denise’s character]. I try to put a
positive spin on it. She’s the girl you’re going to
love to hate…okay? She’s basically an opportunist and
takes advantage of her friend Sheila, played by Jill
Scott, at a time when she’s very weak. The Sheila
character is trying to re-love herself; trying to
re-discover herself. In that time her marriage is going
south and her husband Michael, played by Richard T.
Jones, is not helping matters at all. While Sheila
is going through all that, Trina is on the outside
looking in telling herself that this relationship looks
like it’s not going to last much longer so if this man
is going to be on the open market, let me help myself.
A lot of people asked me how I could like playing the
villain. Seriously, it was fun to play something
different. Trina knows what she’s doing is not right
but for some reason she rationalizes that it’s okay
because it’s good for her. There are Trina’s out there,
it’s sad to say. Tyler is a creative God, but he didn’t
just make Trina up – she’s out there. It was a fun role
to play. Here’s the other thing--Trina’s being there is
like the catalyst for all of these conversations and
healing to take place. I see it as Trina needs to be
there in order to force the other couples to do their
own soul searching and self reflection. Whereas the
Michael character is open about his dirty laundry, the
other couples have dirty laundry too; they’re just not
waving theirs in each other’s faces. I like the fact
that Trina comes in and shakes things up – for the
better.
BMIA:Do you think the characters in the movie are
realistic?
Denise Boutte:
Each couple has their journey, just like in real life
when you’ve been in a relationship for a long time you
will usually hit that bump in the road. And the
question is what are you going to do? Are you going to
fight for your relationship? Or is it something not
worth fighting for, when you come to that fork in the
road? And whereas people may not identify exactly with
the troubles these couples have, they may know someone
who does. But what you will relate to are the
characters’ personalities themselves. Every girl wants
or has a girlfriend that’s an Angela, played by Tasha
Smith, who will come in and wreck shop, and give it
to you hardcore no matter how much it hurts. She will
tell you the truth if no one else will. You sure better
keep one of those in your arsenal because that’s the
chick that will keep you grounded. Then you have the
other friend that’s little “Miss Perfect,” like Janet
Jackson’s character who is always trying to over extend
and help someone out but seldom takes time to step back
and take care of herself. I think everyone will
identify with the roles. I think everyone will get
something out of this movie. The thing is, it’s not
going to be sunshine everyday so it boils down to: Do
you have the battle in you?
BMIA:What do you think the response will be to the movie?
Denise Boutte:
If nothing else, I know people are going to have to
talk. I keep saying that folks need to schedule coffee
or dinner or something after this movie because it’s
definitely going to make you want to talk about one of
the situations. Whether you’re single or married you’re
going to have to sit down and talk about the choices in
this movie. What I’m hoping is that it will start a lot
of dialogue with people who have problems in their
relationship. Maybe this will give them the courage
they need in order to bring it to the surface before it
blows up and gets too big to where it can’t be fixed.
One of the major messages in the movie is that if it
ain’t right you got to tackle it because sometimes when
things come to the surface like Tasha does, it blows up
in your face. And you feel terrible by that point.
BMIA:What would you say to men if they think this is just
another “chick flick” to encourage them to come out to
the movie this weekend?
Denise Boutte:
No male bashing! The women get just as much heat as the
men do, I’m telling you. Tyler made sure that he had a
balance; whereas the men may be wrong on some scale, the
women definitely do their side of the dirt. It’s just
equal. Some of the women are right, some of the men are
right. It’s a story for everybody. We’re not slamming
guys, we’re not slamming women, we’re just saying that
as couples, we’re individuals and as individuals we’re
not perfect. Why do we expect to be perfect in our
relationship? Don’t be afraid of it; go in there with
an open mind. You can go with your boys whether you’re
single or married and you will get something from this
movie. You’re going to have a lot to talk about and you
don’t want to be left out of those water cooler
conversations on Monday. Tyler did not leave the guys
hanging.
Writer’s note:
In closing Denise said: “Being around an all-star cast
like this was just surreal; all the way around, an
amazing experience.”
This interview was conducted by
Vanessa Werts for
Black Men In America.com
and posted on 11 October 2007.
Click On Photo To Enlarge
A special thank you to
Anna Fuson
and
Tagan Lee
of
Red-Sea
Entertainment
for
facilitating this interview.
Vanessa Werts
is a freelance writer and special
correspondent for Black Men In America.com (www.blackmeninamerica.com) currently working on her
first novel. She is an optimistic contemporary, compelled to write
articles that voice true expression of those directly
impacted by negative social trends in the Black community. Vanessa
lives in the Washington D.C. area.
So what do you think? If
you would like to respond to this article
click here
and sign our
Guestbook
to leave a public or private statement, comment or
reaction.
Portrait of An
Artist: Larry “Najee” Dorsey
BMIA.com: Hey Larry, It’s been about two years since we last
hooked up. You’re now operating from the ATL. Fill us
in on the latest happenings.
Najee:
Gary you showed me love ever since I started reaching
out to the mass media. Since my last interview with
“BlackMenInAmerica.Com magazine” I’ve taken the next
significant step in the evolution of my artistic life.
Stepping into the epicenter of Black Hollywood, Atlanta
Georgia has been an incredible experience. Atlanta and
the southeast art community have shown me nothin’ but
love. We recently secured a commission through one of
Atlanta’s legendary jazz clubs, CAFÉ 290. The deal
includes a 9 x 6 mural piece and a merchandizing deal.
Also, we’ve sold quite a few pieces during our private
viewing tour. Additionally, we have several pieces
currently hung in Atlanta area Starbucks and two high
end home furnishing retailers.
BMIA.com: When did you first know that you had artistic talent?
Najee:
It was in the 5th grade during a Halloween art
competition. I placed 3rd in the competition. That
experience urged me to continue for a couple of years,
but I felt somewhat disenchanted with the competitive
side of art. I entered competitions but never really
felt the love from the judges. But Ms. Barfield my 8th
grade art teach continued to inspire me through
supporting me as an young artist. Her encouragement got
me to the point where I began to win competitions.
BMIA.com: Who were some of the people that supported you and
nurtured your talent?
Najee:
Well let’s start with the obstacles first… My high
school art teacher definitely hindered my growth by
showing little academic or artistic support during those
critical periods of my artistic life. Unfortunately she
never showed the type of support one would expect from
an educator, especially within a small community like
Blytheville, AK. However, the positive influences were
many, particularly Najjar Abdul Musawwir. Najjar,
who through a friend of a friend introduced me to the
depths of the brush stroke. Najjar had a studio
in Carbondale, ILL were he worked and mentored aspiring
artists. Najjar shared his life as a previously
incarcerated brother, who through perseverance made his
way and obtained a BA and Masters of Fine Arts from
Southern Illinois University. Najjar help me get my
first paid commission through
the
L.E.A.D. leadership conference.
BMIA.com: How would you describe yourself as an artist?
Najee:
An idealist, a romanticist and innocence. To understand
me and my artistic ideals is best quoted by Picasso “as
a teen I was able to paint like the masters, but it took
me a life time to learn how to paint like a child.”
BMIA.com: Is your art a form of self-expression?
Najee:
Definitely! Let’s just say I live vicariously through my
brush strokes.
BMIA.com:
In our last interview you mentioned such artists as
Charles Alston, Aaron Douglas, and Romare Bearden as
African American artists whose work responds to the
Black existence. Can you say more about that?
Najee:
The African American artistic masters’ influences
reflected the life and lifestyles of the times. I don’t
think my generation can even identify with the concepts
of the works of the masters. Today, people don’t support
artists that paint on the basis of social commentary and
political opinion. Most people today only what things
that match the decor in their homes.
BMIA.com: What makes your work different and unique?
Najee:
The differences are my use
of
colors, the complexity of subject
matter, the faces, the abstraction of backgrounds and my
homage to the strength and struggle of women.
BMIA.com: How is your mentor Najjar Abdul-Musawwir doing?
Najee:
He’s living well and doing well. He’s working on
achieving his tenure with Southern Illinois. Showing,
selling and teaching. Najjar is the consummate teacher
inside and outside the classroom.
BMIA.com: What’s the best part about being an artist?
Najee:
I love the creative process and the legacy of great art.
I’d gladly give up one hundred pieces sold today for one
piece sold 100 years from now.
BMIA.com: What makes African American art so special?
Najee:
It mirrors our existence in America… We were once under
appreciated and disenfranchised and now we are being
hailed as masters within the international art
community. Art memorializes the greatness of African
Americans as a people.
BMIA.com: Does your religion play a role in your expressions?
Najee:
Yes, there are certain places that I won’t allow my
brush to go… I don’t depict sex and sexuality. I flex my
artistic influence to depict intimacy and the strength
of nurturing.
BMIA.com: How important is it to be a commissioned artist? What
does that mean?
Najee:
It’s important, but no more important than a piece that
I may create based on a day at a street festival.
Commissioned work highlights the accolades of the market
and marketplace. It’s gratifying to know the public
appreciates your talent, but intimate pieces reflect my
soul.
BMIA.com: How can people reading this interview support you?
Najee:
That’s easy. Go to
www.artbynajee.com
or call our office at 1-888-249-0432 to reach out and
contact us. We definitely want folks to sign up for our
newsletter. In fact, we’re giving your readers a free
poster for signing up for our newsletter during July. I
really want to thank Gary Johnson and Black Men In
America.com for everything. You guys have been great.
Larry and Seteria Dorsey
Surviving The "Down Low": ON THE UP
AND UP with Brenda Stone Browder
Men who are
living on the “down low” need an accomplice. For years, Brenda
Browder unwittingly served as “cover” for her man so that he
would not appear to be gay. Brenda Stone Browder is a writer,
educator, and lay speaker who lives in Springfield, Ohio. She
is probably best known as the former wife of author J. L. King,
who wrote the book, “On The Down Low:
A Journey into the Lives of Straight Black Men Who Sleep with
Men."
If you
believe King’s story, most women who are dating or married to a
“down low” man have no idea that their man is participating in
this lifestyle. Browder didn’t know. J. L. King repeatedly
denied to Browder that he was having sex with other men and
still hasn’t admitted it to her face-to-face. (Can you say low
life?)
I never read
J. L. King’s book. In fact, I am so sick of hearing
about J. L. King and the “Down Low,” I don’t know what to
do. I saw King’s widely watched interview on The Oprah
Winfrey Show last year. Although, one of my life principles
is to give everyone a clean slate, after watching King on Oprah,
make no bones about the fact that I thought that he was a
contemptible human being. It was hard to pinpoint but as I
listened to King, I thought about how every brother would be
second-guessed as a D.L. (Down Low) brother. And his statistics
about the percentage of men who practice this lifestyle were
very questionable. King lost most of his credibility with me
when he proclaimed that he had sex with other men but did not
consider himself to be gay or bisexual.
Browder’s
public relations firm,
TriCom Publicity, Inc., led by the talented L. Peggy Hicks,
contacted me to see if Black Men In America.com had any interest
in Brenda Browder’s book. I was curious about Browder’s story
and wanted to hear her side of the story. After reading her
book and then conducting this interview, I came away feeling
that in order to fully appreciate what life was like living with
J. L. King, “I guess you had to be there.” There are elements
of Browder’s story that are scary, courageous and just flat out
hard to believe.
Despite my
obvious biases I thought it was important to do this interview
because I still have the sense that in many parts of the black
community, the topic of homosexuality is not dealt with
effectively and as a result, lives are being lost. I have no
idea how big this down low phenomenon is. But the statistics
reflect that too many black people are at risk and dying as a
result of HIV and AIDS. I do believe that there is a
connection. If this interview can educate and enlighten others
than it will have served its purpose.
According to
Browder, one issue that has secretly plagued women for years is
MSM
(men who have sex with men), or the Down Low
lifestyle. In some cases women are aware of their significant
other’s lifestyle, in some cases not. Brenda Browder has
personal experience with a previous failed marriage to a man who
was living on the “down low.”
In her
workshop entitled “Surviving Life
on the Down Low”
Brenda speaks candidly on that relationship. She wants to
educate other women and let them know that they are not alone.
The sad reality is that there are some women who have had their
lives turned upside down by a spouse or significant other living
a “down low lifestyle.”
To her
credit, Brenda’s emphasis is on “surviving the storm,” healing
and forgiveness. If I’m being fair and objective, both J. L.
King and Brenda Browder have powerful stories to tell. I find
one to be very objectionable and the other to be somewhat naïve
and courageous. That clearly reflects my bias. When reading
either of their stories, one should not lose sight of the
reality that too many people are having unprotected sex—and that
can kill you and your partner(s). If reading their stories can
help save lives, then its difficult to fault their efforts.
I’ve heard
some whispers that Browder and King are making money. So what?
I won’t fault them for that. People can decide whether or not
they want to buy their books or attend their seminars. I will
say that after reading her book, Brenda Browder does have a
story to tell that should be heard, especially by women of (all
ages).
In her
book Browder shares insights such as—
• The kind of women DL men are attracted to are usually three
basic personality types—“Wide-Eyed and Just Plain Naïve,” “Women
who are Running Low—Low on Self-Esteem and Self-Image,” and
“She’s on the DL, Too!”
• Women will lie to themselves and let their men get away with
things rather than stand up for themselves and face the facts.
• Signs to look for include the man not being accountable for
his time, inconsistent behavior, his male friends being a little
too friendly, changes in his love making, and more obvious clues
such as same sex pornography and a lot of phone calls from men.
In the black community the secretiveness about homosexuality is
deadly. Black women are the largest growing risk group for HIV
and AIDS, in part because of the Down Low phenomenon.
Browder believes the black church must take a leading role in
stopping this trend. “Society,” she says, “particularly in the
black community, has spent so much time making people feel
uncomfortable, like lepers…we have driven people so far into the
closet that they have made up a whole new identity—the DL.”
ON THE UP AND UP: The Brenda Browder
Interview
BMIA.com: Hello Brenda.
Welcome to the Black Men In America.com Hot Seat where we
interview authors in a “keeping it real” kind of way. So let’s
get started. In your book you write that your ex-husband, J. L.
King, author of the book “On The
Down Low: A Journey into the Lives of Straight Black Men Who
Sleep with Men,” never apologized for what he did
to you. What was the worst thing that he did to you?
Brenda Browder: The worst
thing that J. L. did to me was to lie to me about who he was,
his sexual preferences.
BMIA.com: This is one of the
most challenging interviews for me, because of the tendency to
judge you and J. L. King, who you refer to as Jimmy. Let me say
that your ex-husband comes off as a despicable human being.
This guy was cruising the parks, going to men-only parties, and
disrespecting you in any number of ways and you apparently
ignored all of the warning signs. Help me out? With all due
respect, can you explain the logic that was driving your
behavior at that time?
Brenda Browder: Keep in mind
that at the time I did not know that J. L. was cruising the
parks and going to men-only parties. He kept that a “secret.”
I ignored all of the warning signs because they did not affect
our relationship; when it started to affect our relationship,
when he started to get sloppy with his “other life” the red flag
flew high enough for me to see it and to recognize that
something was wrong in our relationship.
BMIA.com: O.K. How did you
feel when your Jimmy (J. L. King) admitted in great detail to
the entire world?
Brenda Browder: I felt hurt
and betrayed again that he could admit it to the world, but
never to me face–to-face. Then I thought this is a bigger man to
admit it, not just to me, but also to the whole world in a
book. It was as if he had said I’m sorry in an airplane banner
in the sky for all to see. Then I realized the bigger picture;
it was about empowering women and saving lives, and not about
me.
BMIA.com: Now that’s an
interesting way to look at it. Generally speaking, are women
who are attracted to “down low” men low on self-esteem or
self-image?
Brenda Browder: Women are
not attracted to “down low” men, women are attracted to a man
who says and does the right things (on the surface). Down low
men are attracted to women who fall for their selfish
intentions, intentions to live a down low lifestyle to the
detriment of the woman, to use them as a “cover girl.” However,
a man with selfish intentions will prey on women with low
self-esteem.
BMIA.com: Looking back, what
were the signs that Jimmy was sleeping with men and why do you
think you ignored them?
Brenda Browder: The changes
in our lovemaking, the extreme friendships he had with men,
letters from his friends, male pornography, and my intuition.
BMIA.com: What can women do
to protect themselves from a “down low” man?
Brenda Browder: A. Love and
respect yourself first before entering into a relationship. B.
Ask specific questions about their sexual practices and
preferences (be tactful). Remember if someone wants to lie to
you they can, practice safe sex with condom use. Get tested
before engaging in a sexual relationship and require that your
partner get tested also.
BMIA.com: What amazes me
about guys like your ex-husband is that they sleep with other
men and don’t consider themselves to be homosexual? Do you
consider your ex-husband to be gay?
Brenda Browder: I define a
homosexual man as a man who has sex with another man, practicing
sex with the same sex.
BMIA.com: OK, let me switch
gears. How do you feel about the reaction to your book?
Brenda Browder: I feel that
I am extremely blessed to have had such an adverse situation in
my life to be used to help others. I have women, and men who
thank me for opening up and telling my story. They tell me that
my story has helped them face their realities. I am pleased
with the continuance of dialogue, and people becoming aware that
the choices that one makes affects others. If we hear the
message enough it will start to make a difference.
BMIA.com: What do you want
readers to get or “take away” from your book?
Brenda Browder: I pray that
they all realize the message given about healing and
forgiveness, and the need for us to be non-judgmental. I pray
that the readers understand that we all are children of God, and
loved by God. We all want to be loved unconditionally, and
deserve to be loved unconditionally that the sin is separate
from the sinner, and we must obey God’s Holy Word. I want
readers to understand the need to be honest, and to have
integrity in their relationships, both men and women. Take your
test in life, and make it your testimony to help others. Get
tested for HIV/AIDS protect yourself and others.
BMIA.com: Jimmy (J. L. King)
put you at considerable risk with his behavior. Why do you
think you were spared or didn’t contract any diseases?
Brenda Browder: That was not
in God’s plan for my life. I was delivered from that
relationship for such a time as this, to help empower people.
When you read “On the Up and Up”
one realizes that there were other tests in my life that I
endured through the help of God. I believe I am to be an
example of how one can overcome through faith.
BMIA.com: Yes, you would
have to have strong faith to go through what you went through
and live to tell it. How would you describe your relationship
with Jimmy (J. L. King) and do you two plan to work together?
Brenda Browder: J.L. and I
are friends, and the parents of two beautiful children. We
share the same passion of being an inspiration and example to
our children, and to others who will hear our message.
BMIA.com: Have you forgiven
him for what he did to you and your family?
Brenda Browder: Yes, I have
forgiven him.
BMIA.com: Speaking of
family. Do you think Jimmy’s (J. L. King) behavior impacted
your children?
Brenda Browder: Of course,
as a result of his behavior our family was separated. It also
impacted them in a positive way.
BMIA.com: In a positive
way? How?
Brenda Browder: They now
realize the importance of helping others, and how honesty and
integrity are imperative in relationships.
BMIA.com: What is the
relationship between your children and their father?
Brenda Browder: Our children
love him unconditionally; they have a good relationship.
BMIA.com: What do you and J.
L. hope to accomplish by working together?
Brenda Browder: We hope to
be an inspiration to others to be safe and empowered in their
relationships; that the end results of our union and separation
will help others.
BMIA.com: In your book,
there’s a section called “A
Survival Guide for Women Living with Men on the Down Low.”
Why was it important to have this section in the
book?
Brenda Browder: This is what
women want to know; the questions that women have asked. How
can I survive? How can I insure that I have a good/rewarding
relationship with a man? How can I attract a good man in my
life? How can I be safe?
BMIA.com: Great. One last
question. What is the most important piece of advice that you
would share for women who are dating men?
Brenda Browder: Mother
Nature gives every woman a sixth sense.
The signs were there all along. I was
unwilling to listen to that internal voice.Love and respect yourself, get tested for HIV/AIDS
and put God first.
BMIA.com: Thank you Brenda.
Brenda Browder: Thank you.
Brenda Browder earned her BA degree
in Communications/Journalism at Central State University, and
completed the teacher certification program, at Urbana
University. Brenda is currently a student of theology at United
Theological Seminary, Dayton, Ohio, where she is pursuing a
Masters of Divinity, and Masters of Religious Communication.
She also serves as a lay speaker at Covenant UMC in Springfield,
Ohio. She became concerned about women’s issues during a church
service while listening to their testimonies. As a result, she
recognized the need for an outlet that would allow women to
speak candidly and developed the
The You are Not Alone Women’s
Empowerment – Mind, Body, and Spirit seminars.
To learn more about Brenda Browder, and
purchase her book please visit her web site at
www.brendabrowder.com.
This interview was conducted
by Gary Johnson for Black Men In America.com with a special
thanks to Peggy Hicks of
TriCom Publicity, Inc., for arranging this interview.
Soul Patrol Is Preserving Our
Musical Legacy
Soul-Patrol is an informational, news gathering and
educational series of Internet resources focused on funk, soul,
jazz, blues, rock artists, music and culture. Soul-Patrol
highlights the 1950's, 1960's, 1970’s and 1980’s; this is the time
period of the American Civil Rights movement, and those massive
changes that are reflected in the music and the culture.
Soul Patrol is a unique entity in the wide world of “DOT
COM’S.” Like this site, Soul-Patrol is 100% “black owned.”
The site started in 1995 with a very simple idea—develop a web
presence that brothers Bob and Mike Davis would manage. Mike would
handle all of the back end technical stuff and Bob would handle all
of the web page construction, mailing list moderation and
marketing. Together, the brothers have a wealth of experience.
They have been involved in the Data Processing Industry for over 20
years as a Project Manager, Systems Analyst, Systems Architect,
Strategic Planner, Methodologist and Systems Integrator, for many
Fortune 500 companies.
Today
Soul-Patrol is at the forefront in bringing you news,
information and music with a historical perspective through essays,
commentary, discussions and album and book reviews. Soul Patrol
reaches approximately 500,000 soul music fans a month.
Why is this important? We’re living in a time where black owned
media outlets are dwindling. It is Soul Patrol’s ownership
of both its content and technology infrastructure that makes it
important and unique. Most sites own and manage their own content.
NOBODY, except the Davis Brothers are crazy enough to undertake
managing the underlying technology infrastructure (servers,
telecommunications links and programming) that makes the
presentation of their content possible.
Not only have
the “pulled off the unthinkable,” they see it as an absolute
requirement to use state of the art technology (hardware and
software) components, for their web site. This is what makes it
possible for Soul-Patrol to extend its reach and service it’s
sponsors and partners, with effective communications tools and
technologies to help them reach their goals.
More recently,
Bob Davis has generated a buzz with his “open letter” to Radio
One Founder, Cathy Hughes. In his letter, Davis asserts
that Radio One's programming policies have "set the freedom movement
of Black Americans back by about 40 years."
There are some
people who think that Soul-Patrol should be a big supporter of Cathy
Hughes. After all, she is the owner of the nation's largest Black
owned radio network. In November 2004, Radio One purchased 51
percent of Tom Joyner'sReach Media
company. That network is growing larger each day and she is to be
commended for having accomplished that.
However, we [Soul
Patrol] can't in good conscience support her radio operations as
currently configured. It is my personal belief that her current
programming policies have actually set the freedom movement of Black
Americans back by about 40 years.
Bob Davis
recently stopped by the Black Men In America.com office and spent
several hours with Gary Johnson. This impromptu conversation turned
into a great interview about this truly unique web site. Not to
mention, Bob and Gary had a great time. If you’re a fan of “old
school” music, or simply love good music and the personalities
behind that music, then Soul Patrol is the web site for you.
Click On Photo To Enlarge
A Conversation with Bob Davis of Soul Patrol
Johnson:
Alright Bob, how long has Soul Patrol been in business?
Davis: Soul Patrol has
been in business under several different formats since 1995.
Johnson:
Okay. What made you start Soul Patrol? What was the logic
or the motivation?
Davis: Well, I’m a “funkateer.”
Johnson:
Alright.
Davis: Okay, I’m a funkateer. I’m one of those
people that back in the early 1970’s had the big fro and the
bell-bottoms and dashiki and all of that stuff. And basically, I’m a
person who also, you know, had been involved in corporate life the
past twenty… I wanted to do was utilize the Internet basically to
find out what happened to all the other funkateers. And I started
the site purely as a labor of love and to find these people and
document them from an African American perspective. ‘Cause, you see,
at that time, back in the early to mid 90’s there were not a whole
lot of black folks on the Internet, period. And, there were some
Black music sites out there, but they were all written from the
perspective of white Americans, or even in many cases, from the
perspective of people outside of the United States – who were
absolutely fascinated with our music and our culture. And, you know,
while I don’t see anything wrong with that, I thought that there was
something wrong with the fact that there was no perspective from the
Black folks. You're listening to some Sly and the Family Stone
in the background as we speak. There used to be a great website out
there, that was on Sly Stone that was a – created by a young man who
was a student at Columbia University. And it was a nice web site and
had some nice pictures, had some nice basic biographic information.
However, somebody who is 18 years old in 1995, -- how were they
going to actually write about the impact?
Johnson:
Credibility…
Davis: Of Sly and the Family Stone? Which was
huge -- that’s just an example. I mean, that’s nothing against that
person, but you know, some of these things absolutely have to come
from us. Otherwise, it will not be accurate. And, one of the biggest
problems we have with the mass media is that our image is not what
we would like it to be. And, many times the reason why our image is
not what we want it to be is because we don’t participate in making
it the way would we like to see things be. So it was my attempt to
try to do things from that perspective.
Johnson:
Who or what has been your most, in your opinion, your most
interesting find or discovery while you’ve been doing your research?
Davis: That’s a good question. I guess the most
interesting find – and this is going to lead into a whole story –
was the fact that the Mighty Dells were not a member of the Rock ‘N
Roll Hall of Fame. And we discovered this back in 1998.
Johnson:
They’re in now, aren’t they?
Davis: They’re in now.
Johnson:
Probably as result of some laboring and some campaigning
on your end?
Davis: Absolutely. When we found out that the
Dells were not in the Rock N’ Roll Hall of Fame -- which seems like
it was an abomination – we started a drive to get them in. And,
still we, even though we’re fast forward from 1995, we’re at 1998.
There still really aren’t that many black people on the Internet in
1998. But we mounted a drive and once again, one of the things about
Soul Patrol that’s unique, is that we control our technology. We run
our own servers, and telecommunications links. The reason we do that
is because (when I say we) we want to have control over that
technology infrastructure because we want to be able to take
advantage of it. The campaign for the Dells is an example of that.
What we were able to do was set up something that today sounds very
rudimentary, but back then it was actually a big deal. We created a
form letter that basically outlined all of the Dell’s qualifications
to be in the Rock N’ Roll Hall of Fame. They had all these hits,
this many years, they’ve got this many awards, they had a movie made
about them, they’ve been around since 1953, … do the case. Then at
the bottom of that particular web page which had this form letter,
it had a space for the reader to put their e-mail address in and
click a button. And that e-mail got sent off to the Rock N’ Roll
Hall of Fame. So, its basically a petition.
Johnson:
I was going to say, petition. People do that now.
Davis: They do that now.
Johnson:
You just made it easy.
Davis: We just made it easy, they could get it
from our site and at that time we able to actually bombard the Rock
and Roll Hall of Fame with this particular form letter and we
actually blew out their server. We sent them so much e-mail. And
that was an easy one. ‘Cause most people would say, “you know the
Dells belong in there, no brainer.” But that’s probably the most
surprising thing and ultimately it got their attention, put me in
contact with the people who run the Rock and Roll Hall of Fame,
people that run the induction process and I was able to start having
dialogue with them about these kinds of things.
Johnson:
I want to find out a little bit more about Soul Patrol and
your reach. But while it’s on my mind, I want to put you in what I
call the Black Men In America.com Hot Seat -- Word Association. I am
going to throw out with a word or a phrase and you just come out
with the first thing that comes into your mind.
Davis: Okay.
Johnson:
Mandrill
Davis: Mandrill. 12th Century before
the word Afro-centric existed.
Johnson:
Rick James
Davis: Ah, unfulfilled potential.
Johnson:
Van McCoy
Davis: Initiated crossover
Johnson:
Chaka Khan
Davis: (Chuckle) The lips of course.
Johnson:
(Laughter)
Davis: (Laughter) The lips, what else can you
say about Chaka Khan, I’m sorry.
Johnson:
Luther
Davis: Luther’s carrying the torch … carrying
the torch.
Johnson:
Tina Marie
Davis: Unfulfilled potential.
Johnson:
O’Jays
Davis: O’Jays – for the love of money.
Johnson:
A lot of people recognize The O’Jays from the Apprentice
now. You know.
Davis: The Apprentice. But you know that song
was, when it first came out it was off the hook. I will always
identify them with that. It’s interesting, that’s what people know
them from, but obviously they have a long history of great music.
Johnson:
Curtis Mayfield
Davis: Once again, unfulfilled potential comes
to mind. Like Marvin Gaye, who is universally put on this pedestal?
Johnson:
Right.
Davis: Curtis Mayfield’s music was actually more
powerful that Marvin Gaye’s. But I think Marvin Gaye is more of an
every man – you can relate to Marvin Gaye. You can easily imagine
yourself sitting down playing cards with Marvin Gaye or playing
basketball with Marvin Gaye. I don’t think people think of Curtis
Mayfield in quite that way. And, I think that his voice, being
missing during the 1980’s is something that hurt us as a people.
Johnson:
More for you. Sly and the Family Stone
Davis: Sly and the Family Stone – unfulfilled
potential. And this is going to seem like a reoccurring theme.
Johnson:
But this may be some data for us, you know, all this
unfulfilled potential.
Davis: Unfulfilled potential.
Johnson:
What is the best soul song you think has ever been
written?
Davis: (Laughter) That is really putting me on
the hot seat. I have no clue, but I can tell what I think my
favorites are but I don’t know what the best one is.
Johnson:
All right. What is your favorite R&B song and your
favorite R&B group?
Davis: That’s a question I have been asked many
times. My three favorite artists are Miles Davis, Smokey Robinson
and The Miracles, and Jimmy Hendricks.
Johnson:
That’s an eclectic mix.
Davis: That’s an eclectic mix. But those three
artist is kind of at the heart of what the Soul Patrol website is
because it all branches out from the three of them.
Johnson:
Wow. Okay. You cover a lot of music, a lot of genres
there too.
Davis: But that’s why the sub title of Soul
Patrol is “Great Black Music from the Ancient to the Future.”
Because we kind of don’t recognize some of these categories – we
just say there is Black Music. Some of these other categories that
have been created by record companies only exist to put artists in
separate bins in record stores and create separate VF stations.
Johnson:
You know what comes to mind when I hear you say something
like that? An artist that just immediately came to mind -- Lenny
Kravitz. It seems like he’s manufactured.
Davis: Lenny Kravitz is …
Johnson:
I’m not saying he doesn’t have talent.
Davis: Well we wrote something recently about
Lenny Kravitz. Lenny Kravitz was complaining about being the only
black (inaudible) man in rock and roll. And we took him to task.
Because we said, first of all I think your math might be a little
bit off.
Johnson:
About him being the only one.
Davis: I think we can check with the Black Rock
Coalition and probably find out there’s some different numbers. You
know, Lenny Kravitz is part of the music establishment -- he’s not
an outsider. He tries to portray himself as though he is an
outsider, but he is a part of the music establishment. When I went
for example for the Rock and Roll Hall of Fame Induction Ceremony
last year Lenny Kravitz was sitting at a table that was front and
center. He was flanked on one side by Yond Winter (phonetic
spelling) who is the publisher and owner and creator of Rolling
Stone Magazine. And Ahmet Ertegun, he created Atlantic Records.
Johnson:
Yes, Atlantic.
Davis: So those are the people who created the
Rock and Roll Hall of Fame and those are the people who run a large
portion of the music industry. Those are Lenny Kravitz’s buddies.
Johnson:
Right.
Davis: That’s who he hangs out with. So,
manufactured? I think that for somebody that’s never produced a
good album; he’s had a lot of money pumped in to marketing his
career over the past ten years.
Johnson:
Networks pushing his song with this show “Alias.”
Davis: They’re pushing it, they’re pushing it
there and they’re pushing it on the GAP commercial.
Johnson:
Yes.
Davis: Lenny Kravitz, you know …
Johnson:
I don’t want to spend too much time on Lenny. But you can
go ahead.
Davis: Lenny Kravitz -- it is almost sad,
because Lenny Kravitz is really all that is left in a mass media
sense of Black Rock. It’s very sad because there’s a lot of good
artist out there that fit the job. Lenny’s got the look. He’s got
the look and he’s got the public awareness. He doesn’t have the
music.
Johnson:
What’s this group? I have two of their CD’s. Robert –
they remind me of Sly and the Family Stone.
Davis: Robert Randolph and the Family Band.
Johnson:
Yes. They remind me of Sly.
Davis: That’s a great group. And see that’s a
good segue into this idea of underground music. Most of the best
Black music that is being created today is actually under the radar
of most Blacks.
Johnson:
I’ve got his live CD, man, it’s (chuckle)
Davis: Robert Randolph and the Family Band, they
play to sold out houses all over the country – audience is white --
and they are play some of the best Black music around. Very close in
the tradition of Sly and the Family Stone, Jimmie Hendricks, Marvin
Gaye, a lot of the music from the 70’s and they play some blues and
some gospel.
Johnson:
They covered it all …
Davis: They’re covering it all. Problem is, is
that, and this gets into a larger question of Black folks being
brain washed. We’ve almost been brain washed today into believing
that if someone plays an instrument – they’re not worth listening
to. So in many cases young people have never seen a live band
perform at all.
Johnson:
I took my youngest son to see Prince, the Musicology Tour.
At 14, he’d never, ever seen a live band. And I said, “You know what
– let me let you see something.” And I took him with all my
friends. He enjoyed it. He had never had that experience before.
Whereas, you know, with us, like you said, Parliament, Earth Wind
and Fire, Ramsey Lewis – I see those all the time.
Davis: What we’ve done is we’ve, we talk about
something at Soul Patrol all the time. We call or refer to or as
culture vanishing, where our culture has been procreated by various
media. That’s absolutely true. We try to keep track of when that
happens, we try to keep those people honest to the extent that we
can.
Johnson:
(Laughter) I know.
Davis: It used to be that we had a whole culture
that watched out for our culture. That doesn’t exist anymore.
Performers now days are interested in making big bucks. They
understand that marketing is about money.
Johnson:
Let’s talk Sam McClain – Mighty Sam. Perfect example of a
guy who’s out there – and he’s not alone – a bunch of other blues
artists that are playing to sold-out crowds of mostly white
audiences.
Davis: Well, Mighty Sam is interesting. I’ve
known Mighty Sam since about ’97. He was one of the first sponsors
on Soul Patrol. First thing Mighty Sam will tell you is that he’s
not a blues singer.
Johnson:
That’s true, ‘cause he does country, does R&B …
Davis: He does Gospel
Johnson:
Gospel. You’re right.
Davis: He’s not a blues artist. Mighty Sam
McClain is a person who sings it all, Otis Redding, Sam Cook, that
type album.
Johnson:
Al Green
Davis: Yea, that type of singer. Johnny Taylor.
He’s not really a blues singer. However, he has to allow himself to
be pulled into what’s knows as the blues circuit. Because there’s a
blues industry out there. There’s a blues industry. The blues
industry basically, is for white people – it’s for white audiences.
And the blues industry started back in late 1970, late 60’s early
70’s as some of the original blues artists from Chicago and
Mississippi Delta were starting to age. A whole generation of white
folks that had become disenchanted with the current rock and roll
scene – that’s when heavy metal, Alice Cooper, (inaudible) all of
that was coming -- they wanted to get back more to the roots of
rock and roll – where did rock and roll come from – rock and roll
evolved out of the blues. So they gravitated towards these blues
artists. On Soul Patrol we refer to that as the “toothless old
black men.” They felt comfortable with Muddy Waters and John
(inaudible) and those types of individuals. And, they really created
a whole industry for them. And, that led to the creation of this
whole network of suburban blues festivals that take place across the
United States and suburban blues clubs. And today there’s a whole
circuit of these things that are far, far removed from the radar of
Black America. But, take my word for it, there are suburban blues
festivals that probably take place within a twenty mile radius of
where we’re sitting at right now, that may draw, 40, 50 thousand
people to them and 99% of the audience will be white. Most of the
performers will be black. Today, Mighty Sam McClain is part of the
artists that participate on that blues circuit. Oddly enough, if you
ever attend any of these shows, even if you see any of the
advertisements for any of these blues festivals – which take place
in the summer time – are usually municipally funded – you would
think that you’re at a 60’s or 70’s R&B music show.
Davis: For example, you, you know I’ve seen some
shows lately, in the last couple of years, where you had people like
Mavis Staples, Parliament-Funkadelic, and say, Mighty Sam McCain on
the bill – as part of the 2 or 3 day blues festival. I never knew
any of those artists were blues artists.
Johnson:
(Laughter)
Davis: Gladys Knight – I’ve seen her at blues
festivals. Basically, these are celebrations of African American
Culture that are in many ways are not open to folks like back in the
Old Cotton Club days. Cotton Club, located in Harlem, and all the
performers would be black and the audience would be white. That’s
the circuit that Sam McCain in on right now. And, he’s not
necessarily on there because he wants to perform in front of an
all-white audience.
Johnson:
Right.
Davis: He’s on that circuit because he’s got to
eat.
Johnson:
He’s got to eat – he’s got a living – he’s got to make a
living.
Davis: Because I could bring Sam McClain to
whatever the club is, whatever the hot spot is here around DC –
Blues Alley, let’s say. A lot of folks go to Blues Alley – maybe 10
people would show up to see Sam McClain.
Johnson:
You’re right. Because, who’s Sam McClain?
Davis: Who’s Sam McClain? Even – see here’s
what’s even worse – even if I brought Sam Moore in there.
Johnson:
Oh yea.
Davis: Sam Moore would probably only draw like
20 people.
Johnson:
(Laughter) You’re right, you’re right.
Davis: See we have a way of turning our back on
our culture that is very sad. It’s almost (inaudible) prophecy when
we talk about this thing. We’ve got to break that circle of defeat.
I haven’t quite figured out how to do that, yet. But, we need to
have black people actually be more accountable for their apparent
defeat of our own culture.
Johnson:
Well, you know, you and your brother, you all have sort
of, I guess, a Soul Patrol, for lack of a better word – you help me
the right word, you got kind of your own industry here. You control
your own servers, you got your radio show, right? You got your
Internet – you got your large newsletter. So tell more about that.
Davis: Well basically, what we try to do is
create a platform because we think it is important to have a
platform. Because if you don’t have a platform, then you can’t do
these things. So, we have a infrastructure that consists of a number
of computers and peripherals, that make up what people call a
server, and on that computer, on that series of computers we have
applications that are running. The applications include things like:
websites, you know. We could put any number of other kinds of
applications on there, but the thing is – without a platform, you
can’t really do anything. So, we built the platform, then we built
the applications. And, the applications all serve different needs.
Because, when you are trying to distribute information, which is
basically what we consider ourselves – we’re distributors of
information. You have to figure out, well how do people want to
receive this information? Some people want to receive this it via
audio, some people want to receive it via a small number of written
words, other people want pictures – they don’t want to read
anything.
Johnson:
Right.
Davis: Some people don’t care about pictures,
but they want all the details. So, what we’re trying to do with the
set of internet resources that we have is to actually try to appeal
to all of those things – and interactive is something I just left
out also.
Johnson:
Okay.
Davis: Interactive. One of the things we used
to do a lot of and we stopped doing is “chats.” Now, we’re going to
start doing chats again. The reason is because – feedback -- our
role in all of this has changed. When we first started our goal in
all of this was just to be documenters. Because, nobody else cared
about Earth, Wind and Fire, really, really, nobody cared about it.
So I built a web page about Earth, Wind and Fire. And, a whole bunch
of other artists. We have 650 web pages about artists. What
happened over the course of time if we fast forward maybe somewhere
around the year 2000, artists starting coming online themselves.
Johnson:
You mean with their own sites?
Davis: With their own sites. They had
computers, they build sites, so they have a presence out there. So
the need for me to have a page on an artist is no longer as
important.
Johnson:
But, you hyperlink to their site and
Davis: We link to the sites. But now the
greatest need is feedback because we got information overload on the
Internet now. I probably get a 1000 e-mails a day. And probably 800
of those e-mails are spam.
Johnson:
Yea, I know.
Davis: Once I get rid of the spam, now I got 200
e-mails to go through. And you know something, as diligent as I try
to be – don’t get through all 200 in one … everyday.
Johnson:
Right.
Davis: And, it piles up and it piles up and it
piles up. So, I have to be able to have a system to sort by. And I
do. Mentally, I know which ones are the most important and I read
them and may or may not get to the other ones. Information overload
– and the fact that now it really has become what … everybody will
have their own talk show.
Johnson:
Right.
Davis: That’s where that language comes from –
well today everybody has their own web site. So since everybody has
their own web site now, they have tunnel vision. They care only
about their web site. Even if it is just a personal web page. Their
web site is the center of their universe. So, with that kind of
thing going on, where people are very much narrowly focused -- how
do you get feedback? The biggest thing that Soul Patrol is about now
is trying to get feedback. The artists produce music. 99% of the
artist that we talk about on Soul Patrol do not have record deals.
Whether they are older artist or they are new artist. They do not
have record deals. They don’t get played on the radio. We have an
Internet radio station we played them on. We have links out to their
sites. Biggest thing that we can do for them besides getting people
to go to their sites and hopefully buy their products, is how do we
get feedback? Well, to get feedback requires interactive technology.
Unless you’re sitting in the same room with somebody and say, “I’ve
got this CD and what do you think of it?” Now, we going back 360
degrees and we’re saying, “What is it that we can do real well?” A-
we can tell people when there is going to be a chat session. B- we
have a chat room.
Johnson:
Right.
Davis: What we can now do is we can actually
play music in the chat room.
Johnson:
Great.
Davis: So now that we can do that, we can have
more listening parties in the chat room and get direct feedback from
people. What did you think of song number one? What did you think of
song number two? What did you think of song number three? If song
number five was available to you on a MP3 download, would you buy
it? If you could by this album in your local record store, would you
buy it? Would you buy it if it was online for sale at Amazon.com? We
can collect that kind of data. Because, that’s really how we can
help that artist. ‘Cause now, as opposed to just being an
information distributor about historical information, we really see
ourselves as an advocate for these artists that don’t have record
deals. And they’re not in the mainstream public eye. So, you
mentioned Mandrill earlier. Mandrill’s got a brand new CD / DVD
package. Mandrill Live at the 2002 Montreux Jazz Festival (see
www.mandrillis.com). Somebody was a Mandrill fan. They got to
have it. How do we let people know about that? It’s not going to be
on the radio, it’s not going to be in Ebony magazine, or Jet
magazine, or BET. That’s what we think our job is now.
Johnson:
That’s what I love about your sight. It is so
informative.
Davis: Thank you.
Johnson:
What is the biggest challenge facing black artist, black
music artist today?
Davis: It’s really, it’s really – it’s the
public.
Johnson:
Now, you know I’m going to have to ask you to explain that
a little bit.
Davis: That’s okay.
Johnson:
Because I want the public to be clear – those who are
reading this, I want them to be clear.
Davis: It’s really the public. For example, let
take New Birth (see
www.nynorecords.com). New Birth is one of the sponsors of Soul
Patrol.
Johnson:
Alright.
Davis: New Birth has a brand new CD out. They
released it in October. As of this moment, they do not have any
distribution for that CD. The only place you can get that CD is by
buying it off their web site. We put that out there and it generates
big numbers, ‘cause we got banners on the web site and links and all
kinds of stuff like that and we can drive traffic to New Birth’s web
site. We can send them – just pick a number. We can send them 1000
people in two weeks, which – that ‘s a lot of action.
Johnson:
That’s a lot, yea.
Davis: 1000 people in two weeks.
Johnson:
How many of those of buying though?
Davis: Not enough. Now, what the people will do
is they will go to the web site and they’ll say, “Oh, Lord, New
Birth, wooo. We thought y’all was dead.” (Laughter)
Johnson:
(Laughter) I remember.
Davis: So, they will get e-mail from people that
have go on there and they will even get requests – “Remember that
album y’all had back in 1974, you know I lent that to my girlfriend
and she left town and I haven’t seen it since. How can get that
album?”
Johnson:
Can I get a tape or something?
Davis: Can you send me a tape? Can you do
something? But first of all, the public needs to understand that
that album that New Birth made in 1974
Johnson:
It’s been out of print for
Davis: It’s out of print. They don’t own that.
The record company owns it. Lock, stock and barrel. So, even if you
can find it, New Birth is not going to get paid from that. So
therefore, what should motivate New Birth?
Johnson:
To go out of their way
Davis: To go out of their way and hook you up
with that album.
Johnson:
To let somebody else get paid.
Davis: To let somebody else get paid for it.
(Laughter) Absolutely zero motivation. If you tell New Birth we got
a new album for you, we got a brand new album, you know, then they
get excited – ‘cause they own that 100% and they’ll help you get
that album. Buy you got to be willing to buy it. You got to be
willing to listen to it and we’ll play it on Soul Patrol.
Johnson:
And maybe pay a little more.
Davis: Whatever it is it takes. They incur all
the distribution expenses, and everything else – the entire business
value chain. They’re incurring all of that. We need to become
patrons of the arts. And that’s what I mean – the fans. You say
you’re a fan of New Birth – if we tell you they’ve got a new CD out
– you should buy it and buy it from the web site directly from them
and don’t worry about if not a Wal-Mart, or wherever you buy your
music at, buy it directly from them and you need to buy it from them
the first time you know that it’s available. Don’t say, “Oh, I’ll
come back to the web site and get it.” Because you won’t come back.
Johnson:
‘Cause I noticed you said they got a new CD out and you
said, “October.”
Davis: Came out in October. As we’re sitting
here now, that’s what 3 or 4 months later. That’s the biggest
problem that they face – it’s the disloyalty of their own
“so-called” fans.
Johnson:
Is it disloyalty, or is it just a lack of communication,
or both?
Davis: It’s actually disloyalty. And the reason
I say that is because
Davis: Constantly, there’s all kind of
off-shoots from the original Parliament Funkadelic, with various
members of the band they have solo albums out, they are independent,
you got to get them off of their web site or get them at the shows.
When you go the shows, spend the extra 10 bucks and buy the album at
the show. You don’t want to buy it off the web site, you know, I
know we in DC – I know Bernie Worrell …
Johnson:
I was going to mention Worrell
Davis: always playing around here. 930 Club and
stuff like that. Go to the show and buy the CD right there. That’s
what means something to them. Because, in order for them or any
other artist to continue making music, they have to have something
coming in so that the balance sheet is equal. The Escorts – remember
the Escorts?
Johnson:
Yea.
Davis: They have a great CD out. And people are
not responding to it. But, I tell you who is responding to it –
folks from overseas. Black Americans, and again, this is why I say
this is disloyalty. Black Americans are not buying the music. They
are going to the site and seeing it’s for sell and saying, “Ah, ha.”
White people in Europe and Asia – that who’s buying this stuff.
Johnson:
So, why are they buying it and not us? What do you think?
Yea, what do you think is the difference? Is it greater appreciation
or what?
Davis: I think it’s a number of things. But,
that’s a complex question, actually. Some of it is, white man’s ice
being colder.
Johnson:
Okay. (Laughter)
Davis: Some of it is that. For a fact, “I’m not
going to give up my money to them, I’d rather, how come it’s not on
Amazon.com. If it was on Amazon.com I’d buy it.” Traditionally, our
culture has been greater appreciated in some other places – you saw
the movie about Charlie Parker, right? You know that Charlie Parker
left the United States –
Johnson:
That is the one Clint Eastwood produced?
Davis: Yea, with Forest Whitaker.
Johnson:
Forest Whitaker, yea.
Davis: He left because he was not getting the
appreciation here in the United States –absolutely as well.
Johnson:
Marvin Gaye left for a while, went over to Belgium.
Davis: Marvin Gay was in Belgium. So all of
these artists that we think are ours. They really belong to the
world. And they know that too. Some of their highest paying gigs are
actually outside of the United States. So, it’s all of that plus I
also think that when we talk about the Internet and we talk about
Internet business. Black people, black Americans are not ready to
deal yet with the Internet.
Johnson:
Still?
Davis: Mentally, they’re not ready to deal with
the Internet. I have just a quick story. When we did Ray, Goodman
and Brown, and incidentally, we moved well over 20 thousand units
for Ray, Goodman and Brown, of their independent produced CD. We put
it up on Soul Patrol Radio and this woman down in Miami, who I have
actually known for a long time, says, “I listened to that album,
it’s beautiful, I think I am going to go down to the record store
tomorrow and get it.” I said, “you’re not going to find it in the
record store.” “This is not one of the pop-corn groups you were
talking about, this is Ray, Goodman and Brown, of course, it’s going
to be in the record store.” And I said, “no, its not.” So, about a
week later, she e-mailed me back and she says, “Bob, you’re right, I
couldn’t find it in any record store and I went all over town.”
Johnson:
(Laughter)
Davis: And I said, “you have to buy it from
their web site. That’s the only place that you can get it.”
Johnson:
What’s the big deal about buying it from the web site
--the transaction?
Davis: I think the transaction, it’s kind of
like…
Johnson:
The credit card thing, or the PayPal thing.
Davis: It’s like, we don’t have no problem
taking money out of the ATM machine.
Johnson:
But they can’t really see it when it’s on the computer
Davis: But, how many people do you know who just
put money into (with emphasis) the ATM machine? Cause, you know, you
can do that.
Johnson:
I know. I don’t know a lot of people using them.
Davis: (Laughter) It’s kind of like that. So, I
think that we need to learn how to use the Internet. I think we have
to understand what it’s there for – it’s not there just for
entertainment purposes. You know they’re people that are really
trying to conduct business there. And, in many cases, the people
that are trying to conduct business are the people that we say that
we love so much. Not just that we say we like, we say we love them.
Now, that’s another whole issue – the downloading with the
downloading. We stream music on Soul Patrol and we do that for a
reason. We get a lot of e-mail from folks who say, “Why didn’t you
put in MP3 – you get a better sound?” You knuckle head, don’t you
think I know that? We do it in real audio specifically. Because we
don’t want to give you the highest quality sound, because we
actually want you to buy a copy of the CD.
Johnson:
Right. That’s right.
Davis: We want you to sample it and listen to it
and know that this is something that I would like or not like, but
we want you to buy the CD.
Johnson:
Right.
Davis: We don’t want you to download anything.
We don’t care about the sound quality actually.
Johnson:
Okay. Final question. What can people do to help support
Soul Patrol?
Davis: The main thing you can do to help Soul
Patrol is to support the artist. We have, we call ourselves Great
Black Music From the Ancient to the Future. And we mean that
literally. We have some of these older artists from the 50’s, 60’s
and 70’s that a big part of Soul Patrol. They are our sponsors and
we try to support them. And, we also have a whole cadre of younger
artists who are doing music that’s in the tradition of other artist.
Hill Harper is an
accomplished film, television, and stage actor
currently starring in the hit CBS drama series
CSI: NY. A volunteer for the Big Brothers
Big Sisters organization in Los Angeles, he
frequently speaks to schools and youth groups.
Harper graduated magna cum laude from Brown
University with a B.A.; cum laude with a J.D.
from Harvard Law School; and earned a Masters in
Public Administration from the Kennedy School of
Government.
