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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.

NOTE TO MEDIA:  Renee West is available for interview. Contact makeda@jazzmynepr.com  .
 
CALL FOR COLUMNISTS AND BLOGGERS:  Partner with BNAW.com as an additional outlet for your views and commentary.  Contact Ren
ée 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. in Russia

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 All Odds Against Me across the U.S., Europe, and Turkey throughout 2008. Click here for the tour schedule. 

This interview was conducted by Gary A. Johnson.  A special thank you to the "best kept secret" in the business, Makeda Smith of Jazzmyne Public RelationsPhotos:  SUZANNE FOSCHINO PHOTOGRAPHY

 

A Conversation with Filmmaker Nina May

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.  

I had the opportunity to speak with Emancipation Revelation Revolution 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.

http://ecx.images-amazon.com/images/I/51L7t7Y8lfL._SL500_AA240_.jpg

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. 

PROGRAM INFORMATION

  • Year of Production: 2006

  • Title Copyright: © 2006 Saints of Comedy Holdings LLC.  All Rights Reserved.

  • Type: TV on DVD

  • Rating: NR

  • Genre: Comedy

  • Closed Captioned: English Closed Captioned

  • Subtitles: English and Spanish

  • Format: Full screen

  • Feature Running Time:  58 Minutes

  • DVD Audio Status: 2.0 Dolby Digital

 

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 willTen 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.


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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, eL.Train@yahoo.com

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 will know 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's Reach 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

Johnson:                 Alright, so the Dells have a new album.

Davis:                     The Dells (www.themightydells.com) have a new album, Ray Goodman and Brown (www.raygoodmanandbrown.net) has a new album, P Funk is putting out stuff constantly.

Johnson:                 I know.

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.

Johnson:                 Who are some of those? Music?

Davis:                     No.

Johnson:                 (Laughter) That’s why I’m asking.

Davis:                     These are audience that this audience probably would not know about. They are not household names. Artists like Real Soul, Funk Bank from L.A., Durania, who is a female jazz saxophone player from Chicago who does a great  D hyphen E R

Johnson:                 You recognize it when you see it, right

Davis:                     You can see it on the site.

Johnson:                 Okay. That’s right. I can just go on the site.

Davis:                     She’s got a slamming, what we used to call back in the day, Soul Jazz. Beautiful album. Then there’s Neo Soul Group out of Chicago. They have a sound that’s very similar to Earth, Wind and Fire. Very much inspired by Earth, Wind and fire. Sunny Boy, very much inspired by Sly and the Family Stone and Jimmy Hendricks.

Johnson:                 Cool.

Davis:                     A number of other folks in that vane.  These are people who are trying to carry forward the music of the past. We got a new one that’s just starting up – you’ll see an e-mail blast on this next month – a group – Hooley’s Hot Box. They’ve got a sound that is similar to Club Nouveau – you remember Club Nouveau?

Johnson:                 Club Nouveau. Yea.

Davis:                     And Soul to Soul.

Johnson:                 Val Watson, from Club Nouveau. We’re getting ready to do something on her. I’ve got someone who’s listening to her album. She’s a somebody else. You know. Like, I mention Val Watson, and they’re like, who’s that, who’s Val? And I’m like, “Club Nouveau”, and they’re like, “Oh, yea.” Her agent sent me her CD. Again, you can buy it on her site.

Davis:                     And see, Club Nouveau, that’s a group that was out in the 80’s. So I might

Johnson:                 Redid the Bill Withers – Lean on Me.

Davis:                     I might be thinking, well they’re not that old. But you know, that’s almost 20 years ago.

Johnson:                 That’s right. And if they were 20 then they are 40 now.

Davis:                     That’s right. The other thing is just to go see the shows.

Johnson:                 They put on great shows.

Davis:                     They still put on great shows in every major city in the country. Every weekend there is a classic soul show somewhere.

Johnson:                 Yea, you’re right.

Davis:                     In Philly, DC, they have them down here all the time, in New York, LA, Chicago, all over the place. But you know those are things that help support Soul Patrol because those artists are our sponsors. The other thing is that people should get involved with some of our off-line events. You know, we have a big convention that we’ve done every year in different areas of the country, also.

Johnson:                 Okay.

Davis:                     So, I would encourage people to participate in those.

Johnson:                 Okay. That wraps it up for me. That’s a lot of good information.

As you can see, Bob Davis is not void of opinions.  He’s the face of a dynamic web site that is doing the “heavy lifting” when it comes to keeping black music and the artists in the forefront of our minds and in history.

To learn more about Soul Patrol and their vast archives, visit their web site at www.soul-patrol.com.

This interview was conducted by Gary A. Johnson for Black Men In America.comA huge thanks goes out to Ms. Renée Spivey for transcribing and typing this interview.

 

 

Luther Vandross is one of the most popular and talented vocalists in the world.  His life has been full of pain and love, tragedy and redemption.  On April 16, 2003, Luther Vandross suffered a near-fatal stroke.  Rumors immediately circulated that Luther might never sing again.  He was too weak to receive visitors, but cards and good wishes came from a host of luminaries such as Aretha Franklin, David Bowie, Anita Baker, Halle Berry, Patti LaBelle, Jesse Jackson, Burt Bacharach, Bette Midler, Star Jones, Gladys Knight, and Dionne Warwick.

With prayer vigils being held around the world, a rock steady mother and the will to live, Luther survived and is regaining his voice.  In April of 2004, Luther told TV talk show host Oprah Winfrey that he plans to resume his music career.  Today, Luther Vandross spends his days in a rehabilitation center undergoing intensive physical and vocal therapy sessions.

Craig Seymour has interviewed Luther Vandross multiple times.  In his new book, LUTHER:  The Life and Longing of Luther Vandross, Seymour presents a positive tribute to the man who has entertained millions of fans around the world.  This book is the first biography of the world-renowned crooner.

For those of you who’ve been living on another planet, Luther Vandross hit the music scene as a solo artist over 20 years ago and remains one of the music industry's most private celebrities.  And I do mean private.  Before he became a solo act, Luther earned a good living singing on commercial jingles and as a background singer for such artists as David Bowie, Bette Midler and Roberta Flack.  His voice was on songs with such groups as Sister Sledge, Chic and Change

In preparation for this book, Seymour interviewed a number of people close to Vandross.  Some, out of respect for Luther, preferred not to be identified.  Others were familiar with Seymour’s work and were confident that the author would write an honest portrayal of the singer. 

A close friend of Luther's is singer Roberta Flack.  In his book, Seymour wrote about how Roberta Flack fired Luther as a background singer for his own good.  "I think a lot of people view big stars such as Roberta Flack and David Bowie as selfish and very self-centered.  What I learned with both Bowie and Roberta is that they did amazingly selfless acts in order to further Luther’s career.  Roberta Flack could have said, “Oh, no, he’s so great, I want him singing behind me for the rest of my life ‘cause he makes me sound good.”  But she said, “no, you owe it to yourself, you owe to me and you owe to the world to further your talent.  So I’m lovingly firing you.” That is an amazingly selfless act," recalls Seymour."

Seymour investigated Luther's life from his early obsession with soulful girl groups, to the day he was discovered by rocker David Bowie, to his devastating stroke and inspiring recovery.

In his book, Seymour explores many aspects of the world according to Luther and the pain his weight has caused him and those around him.  Seymour also tells the real story behind the widely publicized feuds between Luther and R&B icons Aretha Franklin, Anita Baker and En Vogue.  In addition, Seymour explores the tragedies of Luther’s life including the (not so publicized) 1986 car crash that killed his best friend and nearly destroyed his career.

I caught up with fellow Washingtonian Craig Seymour to discuss his new book on Luther Vandross.  Part of the success of this book is a direct result of Seymour’s history from his previous interviews with Luther.  In addition, Craig Seymour is an open and engaging guy.  He’s comes off as a very down to earth guy who loves what he does for a living.  I read the book straight through, its just that good.  LUTHER:  The Life and Longing of Luther Vandross” is full of interesting stories about rock stars, and the lives that they lead. 

In addition to interviewing Craig, I "did my homework" and spoke with people who were familiar with Luther at different times during his career.  I saw him mainly as singer.  I was never aware of the impact that his personal experiences were having on his career.  He got a late start into the music business.  He was bothered by younger and seemingly less talented artists winning musical awards and receiving a bunch of accolades. 

So how's Luther doing in his recovery?  According to Seymour, he's still struggling to do the things that we take for granted everyday like getting in and out of a car and walking across a room.  But, he's also making tremendous gains.  "I’ve talked to people who have seen him and they say that he has good days and bad days.  On the good days he’s quick and making jokes and stuff like that.  On his bad days you talk to him and he seems a little distant, say Seymour."

For much of his career it seemed that Luther Vandross struggled mightily behind the scenes and was an often-lonely superstar.  He sang before thousands and at times seemed all alone.  And yet he never quit.  And he is unlikely to quit as he faces the biggest challenge of his life--recovering from the massive stroke that nearly killed him.  Here's our interview with author Craig Seymour.

 

 The Craig Seymour Interview

 

BMIA.COM:             Hey Craig, how ya' doing today? 

SEYMOUR:              Great. 

BMIA.COM:              I'm going to get right down to business.  What was the position of the Vandross camp about your writing this book?  

SEYMOUR:               Basically, I made sure they knew what I was doing. I let them know, of course, I’d be interested in talking further and just whatever opportunities there were. But, you know, he was going through a lot of challenges at that time. That was when it his condition was really touch-and-go. 

BMIA.COM:              Right. 

SEYMOUR:               Personally I wanted to let them know exactly what I was doing. But, I wasn’t necessarily pressing them for a whole lot because I knew that they really had more important matters on their hands.  I’ve interviewed Luther several times and I know that he really enjoyed some of the things I had written about him in the past. 

BMIA.COM:              Okay. 

SEYMOUR:               But, you know, some people would have liked to beat down the doors trying to camp out at the rehabilitation center and stuff like that. That’s just not my style.  You know what I mean?  I just felt like I wanted him to know what I was doing; I wanted him to know that it was coming from a respectful place; but I didn’t really want to be all up in the mix while he was trying recover.  

BMIA.COM:              So would this be considered an authorized or unauthorized biography? 

SEYMOUR:               Well, officially it would be unauthorized simply because I didn’t ask for permission to write it.  A lot of times when we think of unauthorized biographies, we think of people going through the trashcan and talking to all sorts of enemies and trying to dig up the dirt. And that’s clearly not what this is about.  I think when people read the book they’ll see it as a sympathetic portrayal – I think, it was written from the spirit of a tribute. 

BMIA.COM:              You know I read the book.  I would agree that this is not a negative portrayal. 

SEYMOUR:               This is not a book about scandal. 

BMIA.COM:              I read some high praise about your book from some notable people in the industry. How does that make you feel?  

SEYMOUR:               You know. It’s overwhelming. Just the fact that I’m a new author and I’m out here, you know, obviously – if I get a kind of approval from them then that gives me more attention. You know what I mean? 

BMIA.COM:              Yea. 

SEYMOUR:               The fact that authors like E. Lynn Harris and Michael Eric Dyson were willing to reach out and help me out, you know – help a young brother out that’s trying, that’s new on the scene -- that was just an overwhelming feeling and it just exemplifies what we can do when we help each other. You know?  When we’re not trying to be competitive with each other or not trying … but when we’re actually reaching out to help the next man like it can really create an incredible thing.  

BMIA.COM:              What motivated you to write the book?  

SEYMOUR:               Well, nothing motivated me to write it.  I just feel that as much as much as people were big fans of Luther and as much as people thought they knew about Luther I still felt like there was a lot that people didn’t know. And, I still feel like Luther has been unappreciated in the sense that there were very few, major articles on Luther. There have been very few opportunities where his whole life story has been put down from A to Z.  So I just felt that now was the perfect time to do that. 

BMIA.COM:              Right. 

SEYMOUR:               And, you know, I’ve been a Luther fan since the 1980’s.  I grew here in DC, I heard him on WHUR and WKYS.  Luther is just a part of my life.  When I became a professional music critic I always volunteered for any Luther assignment.  Once I had the idea about writing a book I was excited and basically gave my whole life for the better part of six months to complete this project. 

BMIA.COM:              Did you learn anything about Luther that you didn’t know or did you discover anything that was different? 

SEYMOUR:               Well I think what I got really was just an appreciation of his struggle.  When you think about how long it took him to achieve the level of success that he got.  Luther was thirty years old before he really got his first hit. He’d had this dream of being a singer ever since he was a young boy and he just really stuck to it and developed his craft until he got this incredible success.  So I guess it’s such an inspirational story for people that have this dream and just doesn’t seem to be happening.  If he had given up or never been given the chance we would have never heard “A House Is Not A Home,” or we would have never heard “So Amazing.” So it’s a dreamer’s story and I think that’s what I got, a new appreciation for Luther after writing the book.  

BMIA.COM:              Very good.  Let’s slightly change the focus of the questions.  What’s the biggest myth or rumor about Luther that you could put to rest? 

SEYMOUR:               There are a lot of rumors out there about Luther.  Even after you read this book, there’s still going to be a mystique about Luther. There’s always, going to unanswered questions about him.  You know what I mean? 

BMIA.COM:              You mean the "lingering sexuality mystery."

SEYMOUR:               Exactly.  And I don’t think he wants us to know the answers.  I think after you read the book, whatever you thought beforehand, I think you have more information out of the way. I mean to put it out of the category, whichever way you want to deal with it.  I think – one of the biggest things I think about Luther is that people always thought that it was a complement to go up to him and go “oh, you know, I made a fifty babies by listening to you.” Or you know, ”you were just the best singer of love songs ever.” And Luther never found that to be complement. He just wanted to be known as the consummate vocalist. Luther doesn’t want you to praise his fast songs more than his slow songs –he just wants you to appreciate him as the consummate vocalist. And then he often thought that when people would say, “Oh, you know I get busy to you every night.” He thought that kind of diminished his craft.  I don’t think most people knew that. 

BMIA.COM:              After talking with people and reading your book I came away with this portrait of a man who during periods of his life felt unwanted, isolated and at time unloved.  Is that your sense? 

SEYMOUR:               Yea.  I think this is another curious thing that I learned through the book.  You know Luther’s father died when he was very young and it seems like after that he just always had a sense that he was either missing something or he was longing for something.   

BMIA.COM:              Man, you know who that reminds me of? Someone I was listening to earlier this morning and that is, Phyllis Hyman.  

SEYMOUR:               Oh yea.  That’s it exactly. That’s really a great parallel.  You know there’s a lot of parallels there because you really had two people that, I think both of them felt unappreciated in their careers – like I think Luther felt like he wanted more pop stuff but Phyllis felt like she wanted more mainstream stuff and they both felt empty in terms of their personal lives. You know – fortunately Luther didn’t take the same route as Phyllis did, in terms of ending her life, but – as I talk to more fans across the country – there are a lot of fans who really think that, you know because he was so – you know with the weight up and down and that seemingly he was so unhappy in his personal life  -- a lot of fans – I’m not saying I think this, but a lot of fans think that might have had something to do with his recent impairment. You know, so, I think there are a lot of parallels between Phyllis and Luther. 

BMIA.COM:              One of the things that struck me in the book – was that British rocker David Bowie got the credit for discovering Luther. 

SEYMOUR:               Yea.  Isn’t that a trip? 

BMIA.COM:              You also wrote that during the early days, Bowie was the only person who consistently encouraged Luther and believed that he could be a star.  

SEYMOUR:               Yea, isn’t that amazing? 

BMIA.COM:              That’s not to say that others didn’t believe in him but I got the sense from you that Bowie was probably the most influential at a critical time early in his career. 

SEYMOUR:               Yea, that’s an example that sometimes the most unlikely people can help us the most.  I mean you had this British rock star that with this flamboyant image encouraging this unknown singer to hone his craft.  Bowie recognized the talent in Luther and really pushed him to be out there.  I mean – you just can’t imagine the same scenario now, like you can’t imagine this big rock star letting this young unknown from the Bronx open up his concerts.  There were times where Bowie had to force Luther to go onstage.  He didn’t even care that Luther was tanking every night – he said, “no, you go out there – don’t worry about what the crowd does – worry about what you do and you learn how to work a crowd.”  And Luther’s arguing, “No, no, I don’t want to do it.”  And Bowie just pushes him out there every night. I mean, that’s just so amazing about believing in somebody else’s talent and the things that we can do for other people. You know. 

BMIA.COM:              Well, it’s the same thing with Roberta Flack who “lovingly fired” Luther for his own good.  (Laughter) 

BMIA.COM:              How many people did you interview? 

SEYMOUR:               Oh gosh.  Between the people that I interviewed for the book and the people I had interviewed from the past for Luther articles, I between 70 and 100 people. 

BMIA.COM:              Was there a percentage of those people that wanted to remain anonymous?

SEYMOUR:               Yea. There were. You know, not an abundance of people, but I would say, maybe like 20 or so, I guess.  I’m being really rough here. (Laughter)  It wasn’t like they wanted to remain anonymous, it wasn’t really like had anything scandalous to say or anything.  They appreciate and respect how private Luther has always been, so they were just kind of uncomfortable talking about him on the record.  You know what I mean? 

BMIA.COM:              What I’m hearing is that the few people who wanted to remain anonymous did so more of out respect for Luther and his privacy. 

SEYMOUR:               Yea. I think that was the thing. 

BMIA.COM:              Did you get the sense that some of the folks that you interviewed didn’t know if they could trust you? 

SEYMOUR:               Well, I think that with a project like this you’re going to run across some people who are skeptical and unsure.  I appreciated that. You know, you never know when somebody calls you up and says, “You want to talk about somebody,” what they’re going to do.  When it’s just the author and their computer they can write whatever they want.                            

Some people were familiar with the things that I had written about Luther in the past and sort of had a sense of my credibility so they felt comfortable talking to me.  Other people wouldn’t talk point blank because they just didn’t want to talk about their friend. And, I could appreciate that. 

BMIA.COM:              Good. 

SEYMOUR:               I’m a person who doesn’t hound people.  It’s like – if you don’t want to talk to me I know that somebody else is going to talk to me, so I just respect that.  I wasn’t knocking on people’s doors, and digging through trash and stuff like that.  I just felt like I could find a way to tell this man’s story with the information that I would be able to get. 

BMIA.COM:              Did you talk to Luther’s mother? 

SEYMOUR:               I didn’t interview Luther’s mother for the book.  I had talked to Luther’s mother before – once – I think this part is in one of the chapters in the book where I traveled to Jamaica with Luther.  I was able to talk to Luther’s mother there. 

BMIA.COM:              Okay.  In the book you wrote about an incident that didn’t get a lot of attention at the time, and that was the tragic car accident in Los Angeles where one of the two passengers in the car that Luther was driving hit another car.  That accident resulted in the death of Luther’s friend Larry. 

SEYMOUR:               It’s really a tragic story.  I feel that if Luther hadn’t been so driven that’s something that really could have derailed his career.  I mean that was so very early in his career.  That was right around his “Give Me Reason” album so he’d only had three albums, so he could have easily hung it up or that could have been the scandal that sort of put a bad light on his career.  But, he really kept moving forward.  You know.  That was an awful year.  Later that year his long-time drummer committed suicide.  So, that was really a bad time. 

BMIA.COM:              Absolutely!  Well, let’s just get right down to it Craig.  What did you find out about these highly publicized feuds between Luther and Aretha Franklin, Anita Baker and the singing group En Vogue

I think the Aretha situation was about ego.  I think Luther got a little full of himself – you know after he’d had that original success producing Aretha’s album and with the song “Jump To It.”  From all that I’ve heard – and I talked to people who were in the studio that day – it was kind of like he was telling Aretha how to sing.  And, she was not trying to have anybody tell her how to sing.  They quickly patched things up and then they became the best of and have remained the best of friends.  As you know, Aretha held a vigil for him and everything.  I think the thing with Anita Baker was just a series of miscommunications.  When you get to be a certain level of a star it’s not like you’re talking to that person. It’s like your people are talking to their people.  And so there’s just a series of miscommunication.  So, I think that’s what happened with the Anita Baker situation. 

BMIA.COM:              What about with my girls En Vogue

SEYMOUR:               I think the En Vogue situation was an example of – En Vogue agreed to some things in order to be a part of Luther’s tour.  They agreed to not use much of the stage and they also agreed to not wear really shiny outfits because Luther didn’t want anybody to sort of take away from his stage presentation.  Which as the headliner, he had every right to do.  Right? 

BMIA.COM:              Sure. 

SEYMOUR:               But then once they got out on tour, and started getting bad reviews – people said, “well, wait a minute they don’t use the whole stage and their costumes are drab,” then they wanted to go back on the things they had agreed to in the first place.  Luther wasn’t having it, so then that created tension there.  But I think that was just a situation where there were legitimate issues on both sides, but those star attitudes and egos sort of inflamed the situation. 

BMIA.COM:              Did you get a chance to talk to Max, Luther’s long-time assistant?  

SEYMOUR:               No. I didn’t actually talk to him.  Remember when I started this book Luther was just coming out of a coma and Max and others close to him were at the Rehab Center every day and I only had six months to write the book.  So, again, I tried to talk to everybody I could after I figured out what I was doing, but I couldn’t talk to everybody. 

BMIA.COM:              What do you want people to learn as a result of reading your book? 

SEYMOUR:               I want people to learn about personal struggle that goes behind the making of an icon.  When we think of Luther – we think of this huge icon, one of the most influential R&B singers of all time.  And, what I want the book to reveal is that this is a man with his own personal story, struggles and demons that he’s fighting.  I also want people to understand the intimate story of the man behind the music. 

BMIA.COM:              How is Luther doing? 

SEYMOUR:               It’s still a day-to-day process.

BMIA.COM:              Did you happen to see the Oprah interview?

SEYMOUR:               Oh yea.  Good interview.  You know, people keep asking me if I think he’s going to perform again.  You know I think he could do some stuff in the studio; maybe he could one song on stage. But, I think often people don’t appreciate all that goes into a live performance.  That seems like an incredible undertaking for somebody who has been through so much. 

                             So I always tell people that I think they should continue to pray that he’s going to return to the Luther that we all know and love.  But, I think we should also just pray that after giving us decades of wonderful entertainment that he should be able to find some personal peace -- whatever that means for him at this point in his life.  You know what I mean?  Let’s just pray for the man to have some peace, to be happy with the person he’s become.  Sometimes I think we can be pretty selfish and want him back on stage and wanting him to entertain us.  I think this is a time that we actually should put our energies into hoping that he should just be able to focus on him.

BMIA.COM:              Well stated.  I agree.  What’s the best thing about being Craig Seymour? 

SEYMOUR:               (Laughter) Well right now the best thing about being me is meeting all of the people.  I love meeting readers.  I just feel like I am very privileged to be able to convey the lives of people that I feel are really important.  I feel honored to be able to tell somebody’s life story and have that move people.  That’s just a great thing to be able to do. 

BMIA.COM:              Cool.  Anything else? 

SEYMOUR:               It was a pleasure talking to you. I really appreciate the support; I appreciate everything you said about the book.  I really mean it.  I really appreciate everything that you’ve done and thank you for taking time out of your day to read the book and talk with me.  It really means a lot. 

BMIA.COM:              You’re welcome.

Here's what people are saying about Craig Seymour’s book:

“Craig Seymour paints an intimate portrait of the man behind some of the most beautiful love songs of our time, Luther Vandross. Full of juicy anecdotes, fast-paced writing and interesting analysis, the book reveals surprising new dimensions of this much-beloved balladeer. If you've ever mourned lost love with "A House Is Not a Home," celebrated good fortune with "So Amazing," or pledged forever with "Here and Now," don't miss this book!” 

E. Lynn Harris, author, What Becomes of the Brokenhearted?

Seymour’s brilliant book is like a great Luther Vandross song: elegantly written, effortlessly executed and eloquently delivered.  It pays majestic tribute to a remarkable cultural figure with the same grace and flair Vandross has used to shape his legendary art.

Michael Eric Dyson, author of Mercy, Mercy Me: The Art, Loves and Demons of Marvin Gaye

Craig Seymour is a longtime music critic who has worked for the Atlanta Journal-Constitution and the Buffalo News.  A frequent contributor to The Washington Post, Vibe, Entertainment Weekly, Spin and the Village Voice he has interviewed and profiled some of the biggest names in music, including Luther Vandross, who has granted him numerous interviews in the past.  Seymour has also been a music analyst for CNN’s Headline News; he’s a native of Washington, D.C

Singer Luther Vandross, sitting in a wheelchair, and RCA Records head Clive Davis pose with a framed copy of the singer's hit album Dance With My Father in a Februrary 2004 photo.
Credit: © Reuters/Dan Klores Communications


To date, Luther Vandross has won 5 Grammy Awards and sold more than 20 million albums over two decades.  His recent release, “Dance With My Father,” entered the Billboard chart at #1. 

This interview was conducted by Gary A. Johnson for Black Men In America.com

A huge thanks goes out to Ms. Renée W. Spivey for transcribing and typing this interview.


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