ALLEN TOUSSAINT The “Southern Knight” Enters the Songwriters Hall of Fame

By Hedi Butler

Photo by Michael Wilson

The remarkable career of Allen Toussaint has now spanned half a century and embodies — like few others – the inimitable spirit, soul and rich traditions of New Orleans music. But he has consistently defied the limitations of genre with his chameleon-like ability to bring his creative genius to blues and rock, country and classical, musical theatre and movie scores, television themes and even award-winning commercials.

As one of the most prolific composers, producers and arrangers of our time, Toussaint had already written and recorded some of his most enduring hits while barely in his 20s. It was the beginning of an eventful journey that would take him from his home in the heart of the Crescent City to diverse national and worldwide venues. And it continues today.

Along the way, his influence transcended his deeply embedded roots as a seminal force in New Orleans R&B, as well as the indigenous music of the city, to encompass highly successful collaborations and covers of selections from his vast songbook, which includes more than 600 compositions, by artists throughout the spectrum of popular music. In fact, it has been noted that Toussaint’s songs were “crossing over” long before the term was coined.

The list of those who have worked with or performed Toussaint music is itself a veritable industry who’s who: Pop/Rock’s Paul McCartney, The Rolling Stones, Elvis Costello, Paul Simon, Boz Scaggs, Joe Cocker, Mac “Dr. John” Renneback, The Band, Little Feat, Devo, Johnny Winter; Country’s The Judds, Glen Campbell, Bonnie Raitt; R&B’s Patti LaBelle, Gladys Knight & the Pips, Esther Phillips, Etta James, Aaron and Art Neville, Irma Thomas, Ernie K-Doe, Lee Dorsey, The (original) Meters; Jazz artists Manhattan Transfer, Ramsey Lewis and Eric Gale; and Hip Hop’s Heavy D and the Boyz – among countless others.

When BRE talked to Toussaint shortly before his June 16^th induction into the Songwriters Hall of Fame, along with Garth Brooks, Leon Russell and others, the man who found a comfort zone behind the scenes for much of his career had just returned from the road. At 73, he shows no signs of slowing down, as long as there are audiences everywhere who want to experience a memorable performance by an authentic legend whose material is timeless.

Called the “Southern Knight,” a reference to his 1977 Grammy-nominated mega-hit “Southern Nights” recorded by Campbell, Toussaint clearly embodies many of the qualities associated with such courtly graciousness. Indeed, his modest, soft-spoken manner as he shared the backstory of his formidable musicianship belied his status as an industry giant.

“It was love at first touch,” he said, speaking of his initial encounter with the piano that entered his home as a gift from his aunt intended for his sister. “At that time, it was considered ‘dignified’ for a young lady to play piano or violin.”

While his sister lost interest, young Allen – only six at the time – was fascinated. “I loved the pleasant sound it made and that inspired my lifelong enthusiasm for the piano,” he recalled. “I understood the structure of the black and white keys and soon picked out innocent melodies on the keyboard. Then I tried to imitate everything I’d hear on the radio.” A budding songwriter was born.

His mother, a classical music buff, enrolled him in a junior music school, hoping he’d approach the study of piano in a more genteel way. “After about eight lessons, I was done,” he says. “By then the boogie woogie had me.”

With all of the various influences in New Orleans, always a great piano town, the aspiring artist was convinced he’d have to learn a repertoire of all kinds of music if he was going to compete. “I didn’t realize there were specialists in different genres. So I just tackled all of it because I loved it all and I still do.”

He was particularly impressed by the flamboyant playing style of the city’s reigning master, Professor Longhair, and is still considered one of his disciples. “He just floored me,” he says. “I wanted everything he had.” Toussaint shared scenes with his idol in a 1982 documentary, Piano Players Rarely Play Together.

In retrospect, Toussaint attributes the versatility for which he is so highly praised today to that “ill-thinking” early exposure. “I was wrong, but it put me on the road to the career I’ve had that has allowed me to work with so many artists in so many genres of music. And it’s been such a wonderful road.”

Toussaint has indeed crossed many paths since he got his first break as a teenager, standing in for Huey “Piano” Smith at a gig with Earl King’s band in Alabama. Toussaint later replaced Smith in local duo Shirley and Lee’s band and got his first taste of touring with memorable appearances at Harlem’s fabled Apollo Theatre and Washington’s Howard Theatre, among others.

Back home in New Orleans, he began to perform regularly in local nightclubs and with another young pianist, Dr. John, he starting playing studio sessions. Thanks to the two-sided 45-rpm vinyl format of that era, the need for B-side material created an outlet for developing his songwriting skills.

“Sometimes an artist would have one song to record, but they needed two,” he said in a recent interview. “Whoever was in charge would come to me and say, ‘Do you have any songs?’ So when we took a break from recording, I wrote a song, because I knew the general structure.”

“As time went on, I took writing more seriously,” he continued. “But it seemed so natural to do. A plot with a few good verses, a few good lines, and it worked.”

By the time he was recruited by Joe Banashak and his partner, local radio personality Larry McKinley, to join their newly formed Minit Records in 1960, Toussaint had acquired the skills to supervise the label’s recording activities. He became a virtual one-stop-shop for the company as writer, producer, arranger and A&R man. And the course of his future was set.

In the early ‘60s, he wrote and/or produced and arranged a string of hits for the label’s artists, including Ernie K-Doe (“Mother-In-Law”), Irma Thomas (“Ruler of My Heart”), later recorded by Otis Redding as “Pain in My Heart,” Jessie Hill (“Ooh Poo Pah Doo”), among others. Many of his songs from this period, including “Lipstick Traces (On A Cigarette)” and “Fortune Teller,” both initially recorded by Benny Spellman, were covered by many pop/rock stars.

Toussaint’s songwriting career was also bolstered when two of his earliest instrumental compositions were mega-hits for two trumpeters: “Java” became a signature for fellow New Orleanian Al Hirt and Herb Alpert soared with “Whipped Cream,” later used as the familiar theme for “The Dating Game.”

While the ‘70s found him more immersed in the funkier sounds of New Orleans – writing and producing for The Meters, Dr. John, and the Wild Tchoupitoulas Mardi Gras Indians – he also kept his chops in other genres through working with artists such as B.J. Thomas and Boz Scaggs, who recorded Toussaint’s “What Do You Want the Girl to Do?” on his chart-topping 1976 album Silk Degrees.

Returning to his New Orleans base, Toussaint’s collaboration with Lee Dorsey produced another powerhouse of hits: “Working in the Coal Mine” (later recorded by Devo and The Judds) “Holy Cow,” “Ride Your Pony” and “Yes We Can Can,” a signature hit for The Pointer Sisters.

In 1973, the New Orleans music man partnered with Marshall Sehorn to open Sea-Saint, the city’s first 24-track recording studio. With LaBelle’s “Lady Marmalade” and Dr. John’s “Right Place Wrong Time” striking gold, Toussaint’s studio attracted other artists who wanted a touch of the Crescent City mojo – from Paul McCartney and Wings to New Edition, from Joe Cocker to Etta James, and lots of homegrown talent.

In the ensuing years, Toussaint’s decades of writing, producing, recording, arranging, performing and conducting were recognized with his induction into the Rock and Roll Hall of Fame, a Grammy Trustees Award, The Louisiana Music Hall of Fame, and a Grammy nomination (Pop/Vocal Album of the Year) for his collaboration with Elvis Costello, The River in Reverse.

It was, in fact, the life-altering impact of Hurricane Katrina that led the man for whom New Orleans was practically a part of his DNA to relocate to New York while his home was being rebuilt. Ironically, Toussaint lived in the shadow of the fairgrounds, the home of the annual Jazz and Heritage Fest in which he has been such a pivotal participant over the years.

With the lower level of his home flooded by seven feet of water at one point, he lost many irreplaceable items from his illustrious career. But with the post-Katrina loss of so many lives and livelihoods, he considered himself fortunate and joined other Crescent City musical expatriates in practically nonstop fundraising concerts and albums. He also forged new relationships with artists including Costello, with whom his creative synergy was magical.

Elton John has compared meeting him to “someone the equivalent of the Dalai Lama because for me, he influenced the way I played the piano….” When BRE asked about this cultural affinity with English musicians, Toussaint replied with typical modesty: “We take our music for granted here because it’s always been with us; not just the musicians, but the people,” he observed. “But when those from other places heard this special brand of music, they were delighted and it fit very well. That’s why the collaborations between our music and other musicians have been excellent.”

And that is also why Allen Toussaint music will continue to live on throughout the world.

REFLECTIONS ON ALLEN TOUSSAINT

“Allen Toussaint is simply one of the most talented musicians, songwriters and producers of all time. When I first met him playing piano in a club in New Orleans, I knew I wanted him on our team at Minit Records. He went on to write so many hits for us, including Ernie K-Doe’s classic ‘Mother- in-Law,’ and he was key to the success of our company. Despite the enormity of his talent, he was at one time underrated, but no longer. The world now recognizes this man for the true musical genius and creative force that he has always been. But don’t box him in to New Orleans music. He makes ‘Allen Toussaint music’ and that says it all.” –Larry McKinley, former New Orleans radio personality and co-owner of Minit Records

“It’s about time that Allen Toussaint’s great contributions as a songwriter are being honored. It is well deserved and long overdue. He is such a quiet, beautiful person who’s so easy to work with and fully qualified. At the beginning of his career, he played piano for me on recording sessions when Fats (Domino) was on the road. Allen is a master who can hold his own with anybody, anywhere. Congratulations, my friend!”–Dave Bartholemew, legendary New Orleans musician and longtime Fats Domino collaborator

“During the early ‘60s, I lived in New Orleans and hung out at the musicians’ hall on Claiborne to sit in with my trumpet. Whenever Allen Toussaint came to jam with us, he was always introducing new rhythmic sounds – a true genius! And few have shared those sounds with the world like he has!”–Sidney Miller, Founder, Black Radio Exclusive

“Allen Toussaint inspired all of us and it’s an honor to play his music in my shows. You mean to say he’s just going into the Songwriters Hall of Fame? Man, what took them so long!”–Trombone Shorty, New Orleans musician and bandleader

“It has been one of the true joys of my life to be able to work with my father. He has been a teacher for my life and I’ve learned so many things from the way he handles his career. I’ve admired the way he treats people and the way people speak of him in return, which is always so favorable and lovely. My dad has handled his accolades and success with such humility and is truly a spiritual model for me. The trust he has placed in both my brother Reginald and me is beyond measure and it has made us want to do our best to make sure his illustrious career continues in the manner – and even better – than when we were put at the helm of it all. He has been a constant on the music scene our entire lives and has maintained dignity, integrity and his sense of self along the way. Reginald and I are truly honored that he has put his faith in us to be a part of his professional life, while remaining such an outstanding father and friend. We are so proud to be his children. –Alison Toussaint-LeBeaux and Reginald Toussaint

Toussaint Productions

ARETHA DOES ARETHA “A Woman Falling Out of Love”… and into A New Era

By Hedi Butler

Photos by Matthew Jordan Smith

In royal circles, the doctrine of the “divine right of kings” is generally understood to mean that the monarch can do no wrong. And so it is with the reigning Queen of Soul, Aretha Franklin, whose realm transcends geography, genres and generations.

Her voice – dubbed a ‘National Treasure’ by many – is a singular musical signature with which she has autographed her formidable body of work with excellence for over half a century.

So let there be no doubt that the Queen has earned the right to do it her way. It is the privilege of her crown. Thus, the recent release of her 38^th album, A Woman Falling Out of Love, marks much more than a triumphant return to the recording scene after an eight-year absence following her amicable departure from Arista, her longtime label home.

While she famously enjoyed a great relationship (still intact) and creative partnership with the legendary Clive Davis, whom she calls “one of the last of the great record men out there,” this time, she has independently released and executive produced a new album on her own Aretha Records.

Why take on the mantle of label head now? “It was just high time for me to do my own thing,” she has said. “I’ve certainly had enough experience over the years to do it.” And the autonomy to take her time with the project and allow Aretha to do Aretha.

Some three years in the making – produced and recorded between her busy schedule of concerts, commercials and other pursuits – A Woman Falling Out of Love was distributed exclusively at Walmart Stores and Walmart.com from its May 3 release through June 3, when it when became available to all digital retailers and other stores.

Although her business approach to her recording career is a departure, what remains unchanged is the Queen’s sure-footed ability to showcase her magnificent vocal instrument and effortless mastery of diverse material and styles that has become her hallmark.

The 12-song album, a satisfying listening experience from the first cut to the last, serves notice on anyone who may have wondered whether her fabled pipes and unmistakable delivery were still vintage Aretha – the answer is a resounding yes! She meticulously selected a program of music, much of which she produced herself, that includes old and new, classic blues and R&B ballads, jazzy scats and soul-tingling gospel selections that take listeners back to church in the most inspiring way.

The album opens with “How Long I’ve Been Waiting,” also the lead single, a lushly produced Aretha original that invites a long-desired love to come into her life. She returns as writer-producer on “This You Should Know,” a beautiful confessional that closes the door on a “323” relationship that can neither live nor completely die. With her piano driving the arrangements, her message resonates personally and musically.

Curtis Boone contributes two tracks that are standouts. The first, “U Can’t See Me,” dismisses a would-be suitor as Aretha reminds us that she can hold her own in a style evocative of Ella that will appeal to multiple demos. The second, “When 2 Become One,” is a hit-bound ballad with a similar jazzy feel but a more sensuously romantic theme for lovers and would-be lovers.

Her duet with Ronnie Isley, with whom she literally grew up in the industry since their teen years, gives a new dimension of meaning to the classic “The Way We Were,” as it unites two of the most distinctive voices on the contemporary recording scene.

“Put It Back Together Again,” written by Norman West, is another worthy addition to the Aretha songbook and features the Queen at her most expressive as she seeks to renew a broken relationship.

Producer Sanchez G. Harley oversees Aretha’s stirring duet with Karen Clark-Sheard of the celebrated Clark Sisters, with vocal arrangements by Richard Smallwood and Nathan Young, while Derrick Lee’s piano drives the rhythm section.

The bonus track, “My Country ‘Tis of Thee,” adds a historic note for good measure as Aretha replicates her performance at the 2009 Obama Inaugural.

The album cover reveals a sassy, playful and confident Aretha in ultimate girlfriend mode played out in chatty liner notes. She offers woman-to-woman advice on how to avoid or move on from failed relationships – like the one of her own that inspired the album’s title, although there is no title track.

There are, however, helpful tips in the lyrics of the songs on the album, she says. And in her own ready-to-get-back-in-the-game photo: “This is how you’re supposed to look when you’re a woman falling out of love.”

BRE founder and publisher Sidney Miller Jr. previewed the concept and content of the album in his cover story that shared impressions and conversations while accompanying his longtime friend during her tour stops last year from Washington, DC to Hollywood, Florida – with a birthday celebration in Boca Raton in between.

In “Aretha Takes Charge,” she disclosed to him that she had reached that place in her life, nearing her seventh decade, when she was ready to call her own shots and take full creative control of her career. After all, she had become her own manager following the untimely 1989 death of her brother, Cecil Franklin.

A Woman Falling Out of Love, she predicted, would be the quintessential expression of her own vision, with several tracks on which she had served as producer and/or songwriter. “We worked long and hard to come up with what we have done and I feel real good about this album,” she told Miller prior to the album’s release.

But the journey between the earlier BRE story and this one, which celebrates her new project and Aretha herself during Black Music Month, is filled with dramatic twists and turns that captured a world stage as only a royal personage of her stature can.

Lest anyone needs to be reminded of her lineage as the undisputed Queen of Soul, here’s a crash course. Born in Memphis and reared in Detroit, the city she still proudly calls home, Aretha Louise Franklin displayed her musical gifts at an early age. Her childhood friend Smokey Robinson recalls Aretha as a prodigy who “could play complex gospel chords at six or seven” and “soared vocally” even then.

She began singing at New Bethel Baptist Church in Detroit, pastored by her father, the renowned orator and recording artist, Rev. C. L. Franklin, a friend and colleague of Dr. Martin Luther King, Jr.

By the age of 14, Aretha had recorded her first album of gospel music, a powerful influence that she would later combine with blues, jazz and pop to forge a sound that would “speak to the younger generation in the new language of soul.”

Aretha’s shift from her gospel roots to secular music came when she was signed by Columbia Records at 18 and was groomed by uber-record man John Hammond to sing jazz and standards such as “Skylark,” which she did impressively. Then producer Clyde Otis steered her to a string of R&B hits including “Running Out of Fools,” and “You’ll Lose a Good Thing,” among others.

But Aretha’s reign as the Queen of Soul truly started at Atlantic Records, where her production chemistry with Jerry Wexler took the genre to another level. Accompanying herself on piano, she co-produced and belted out classics starting with “I Never Loved a Man (the Way I Loved You)” and reaching a zenith with her re-working of Otis Redding’s “Respect” as an anthem that resonated with all groups suffering discrimination – from women to the civil rights movement.

The soundtrack for the ‘60s was filled with Aretha’s hits: “Dr. Feelgood,” “Chain of Fools,” Do Right Woman—Do Right Man.” She opened the ‘70s with the critically acclaimed Spirit in the Dark, Young Gifted and Black, Live at Fillmore West and Amazing Grace, touted as “the most successful gospel album ever made.”

While the latter years of that decade would witness the rise of disco and knock many of her peers off the charts, she survived by the sheer force of her extraordinary talent. By this time, her place in the pantheon of soul singers was firmly established and she left Atlantic in 1979 after 12 years and 19 albums.

The ‘80s signaled the start of her Arista years under the aegis of Clive Davis. Once again, she attracted stellar producers such as a young Luther Vandross (“Jump To It”) and Narada Michael Walden (“Freeway of Love” and “Who’s Zooming Who”). In 1987, a duet with George Michael (“I Knew You Were Waiting [For Me]”) gave the Queen the second Number One hit of her career, exactly 20 years after “Respect” topped the charts.

Other collaborations with British rockers further broadened Aretha’s exposure in the late ‘80s: Rolling Stone Keith Richards (“Jumpin’ Jack Flash”) from the Whoopi Goldberg movie of the same name and Elton John (“Through the Storm”).

In 1987, Aretha became the first woman inducted into the Rock and Roll Hall of Fame – ironically joining Jerry Wexler, who had played such a pivotal role in her ascendance as the greatest soul singer of our time, in that year. Seven years later, in 1994, she scored another milestone as the youngest Kennedy Center Honoree.

After scaling the charts once again in 1998 with “A Rose is Still a Rose,” written and produced by the talented Lauryn Hill, Aretha Franklin demonstrated her extraordinary artistic versatility by stepping in for an ailing Luciano Pavarotti and brilliantly performing an operatic aria at the 40^th Grammy Awards at Radio City Music Hall.

As Wexler observed from his unique vantage point, “If you look over the arc of her career, there is no American musical artist who has achieved her level of accomplishment.” And her success is quantified by having charted more Top Forty singles – 45 in all since 1961 – than any other female performer.

But it is qualified by the fact that just the mention of the name “Aretha” is a subliminal evocation to that deepest, purest, most soulful part of each listener’s sensibilities that no other entity can occupy. As Ray Charles aptly put it: “There are singers, and then there is Aretha.”

Rolling Stone made it official by placing her at the top of its compilation of the 100 Greatest Singers of All Time. But her 18 Grammys (20 including her two special awards), millions of records sold, and barrier-breaking accomplishments and accolades, say it all. Is there any wonder her voice is, according to Mary J. Blige, “the reason why women want to sing”?

And why Aretha wannabes with powerful voices emerge regularly in every local church choir or “Respect”-belting vocalists take the stage hoping to wow audiences with her mystique at every talent search. Or other pretenders-to-her-throne attain some minor notoriety merely by being hyped by industry publicity machines as “the next Aretha.”

But make no mistake about it, there is only one. And that special quality has endowed the icon with an aura of invincibility that was severely tested when her hospitalization was announced late last year. Although she asked, through her representatives, that her privacy be respected as to the specific nature of her illness, the rumor mill ran rampant and worst-case-scenario headlines dominated the press and the blogosphere.

An enormous outpouring of concern and support from adoring fans around the world, as well as some of her closest industry friends, certainly warmed the Queen’s heart. Stevie Wonder was there when she came out of surgery and her spirits were bolstered by visits from Smokey Robinson and others, including Jesse Jackson and Tavis Smiley, who lovingly rallied to her side and were overjoyed – as was her family – when she was home before Christmas.

Of course, Detroit has always had great love for its hometown superstar, but never was it more visible than during a poignant candlelight prayer vigil for her health. “People in the checkout line said they prayed for me,” she said in a recent interview. “It’s amazing how beautiful people can be.”

It was from her home in the Motor City that the world first saw their answered prayers in the flesh, as a radiant and healthy-looking Aretha videotaped a greeting after her Grammy Tribute in February. An audience of millions had been wowed by a show-stopping medley of her music performed by a stellar multi-genre lineup including Yolanda Adams, Jennifer Hudson, Christina Aguilera and Florence Welch.

Fast forward to this past May. Millions more viewers – and a crowd of 13,000 in attendance – were thrilled to see the Queen of Soul, slimmed down and elegant in a white one-shoulder dress, take the stage of the United Center in Chicago at the surprise farewell celebration for the Queen of Media, Oprah Winfrey.

Introduced by Winfrey’s longtime partner, Stedman Graham, Aretha sang a rousing version of “Amazing Grace” – complete with her trademark spine-tingling gospel inflections – that brought down the house and moved the honoree to tears. Clearly, the Queen was back. And in rare form.

In a very real sense, Aretha Franklin is now experiencing a new chapter in her life, personally and artistically. She has aggressively taken charge of her health in the same way she is now exercising greater control of her career and ensuring that her legacy will continue under new management. Her own.

Since she began her doctor-ordered rest in late 2010, the newly revitalized Aretha is eager to resume her concert schedule and return the love her legions of fans expressed during her illness and subsequent recovery. She has even indicated that she may be ready to overcome her fear of flying to perform for audiences beyond the reach of her customized tour bus.

After all, experiencing a live performance by Aretha Franklin should be on every serious music lover’s bucket list. But if you’re simply in need of a current recorded Aretha fix, pick up or download A Woman Falling Out of Love – and fall in love with her music all over again.

Michael Jackson: BRE Magazine’s 2010 Man of the Year

I can almost hear Michael now. “I am so touched by this,” he’d say in his soft timbre capable of melting steel. In expressing his appreciation at being named BRE Magazine’s 2010 Man of the Year, Jackson would have called on such Michaelisms as “You are so kind” and “This is just the greatest.”

I have more than a notion about this. As a journalist who covered MJ’s storied career for more than three decades, I’ve been around to actually hear such words from the horse’s mouth, so to speak.

It wouldn’t have mattered that he’d already won nearly every major citation in the universe. When informed of the Man of the Year kudos, Jackson would have acted as if he’d just won the Nobel Peace Prize.

That was Jackson’s way. He absolutely loved winning, on every level. Ever the competitive artist, regarding the BRE honor, Jackson would have wanted to know just what artists he beat out.

And the answer: no one even came close. To be sure, other artists enjoyed major success in 2010. According to Forbes Magazine, Lady Gaga, Beyoncé, Madonna and Jay-Z each last year earned more than $50 million doing their thing. But over the past 12 months, Michael Jackson earned an estimated $275 million–more than all four acts combined.

Indeed, it was Jackson, from his perch somewhere in the cosmos, who managed overall domination of 2010, and not just financially. In death, Michael Jackson’s artistry continues to garner the rabid interest of a devout global fan base, international media, and the entertainment industry that he forever altered.

“I want to hurt ‘em in the beginning and kill ‘em in the end,” Jackson was fond of saying regarding his work. When releasing a new album, he preferred the first single to be a ballad so as not to betray the monster grooves to come. In designing his live concerts, he wanted audiences to be stunned by the show’s opening and completely destroyed by its finale.

In the tradition of Jackson’s penchant for one-two punches, at the top of 2010, Sony Entertainment took a mighty jab by releasing the DVD version of Jackson’s blockbuster documentary, “This Is It.” With a sales performance typical of Jackson, in its first week of release The DVD sold almost two million units in the U.S. alone, setting a new record for the first-week sales of a music DVD.

However, it is Michael, the artist’s first posthumous non-soundtrack album (after This Is It) that illustrates Jackson’s continued verve as one of the bestselling recording artists of all time.

Featuring songs written, performed and/or produced by Jackson that were culled from a cache of material found after the entertainer passed, Michael is the latest release in Sony’s unprecedented $250 million 10 album/seven year deal negotiated with the Michael Jackson Estate in the weeks after the artist’s death.

At the time of Jackson’s passing, the ten songs chosen were in various stages of development. The Estate and Sony commissioned producers to complete them.

Some of the producers, including Teddy Riley, Akon, Giorgio Tuinfort, Theron “Neff-U” Feemster, Angelikson, “Tricky” Stewart, Brad Buxer, Lenny Kravitz and John McClain, had collaborated personally with Michael on the songs featured. Others were enlisted because during writing and recording, Michael had expressed an interest in working with them.

As a result, Michael ends up both a rare, intimate glimpse into Jackson’s creative woodshed and a case study in posthumous collaboration. Tracks such as “Hollywood Tonight,” “Monster,” featuring 50 Cent and “Breaking News,” required Teddy Riley to call upon his past experiences in the studio with the superstar in order to, as Riley said, “have these songs be what Michael would actually approve and be proud of.”

Producers had the challenge of finishing songs singularly written by Jackson–“(I Like) The Way You Love Me,” “Best of Joy” and “Much Too Soon”–without the artist’s input, and polishing the tracks on two songs he didn’t write, Akon’s “Hold My Hand” and Lenny Kravitz’ “(I Can’t Make It) Another Day,” in a way true to Jackson’s musical vision.

Even before its December 14th release, Michael had generated some three million units in pre-sale orders. Stateside, the album, buoyed by the Michael Jackson/Akon track, “Hold My Hand,” sold 228, 000 its first week out.

It’s no surprise that Michael immediately hit number one in Italy, Germany, the Netherlands and Sweden and climbed into the national top five in Japan, Britain, Belgium, France and Denmark—no American recording artist, living or dead, is more successful internationally than Michael Jackson. According to Sony, an estimated two-thirds of        Jackson’s total recording sales come from overseas. Berlin is his Iowa, so to speak. Since his 2009 passing, Jackson (the current Michael album not included) has sold more than 31 million recordings worldwide.

The Michael CD is just the latest of many remarkable projects in the works from the Michael Jackson Estate, headed by co-executors John Branca and John McClain. Jackson could not have chosen two men more qualified to oversee and grow his estate.

Branca was his longtime entertainment attorney who engineered some of Jackson’s most important and ingenious entertainment deals; McClain, respected music industry executive and Jackson’s childhood friend, developed and executive produced Janet Jackson’s landmark Control and Rhythm Nation albums and was a founder of Interscope Records.

The two currently oversee a slate of Jackson projects: TV and film properties, live productions, electronic products, books, licensing and merchandising deals such as the recently released UBI Soft multi-format video game, “Michael Jackson The Experience,” which allows players to sing and dance along with the superstar.

There is no shortage of companies, manufacturers and entrepreneurs eager to be in the Michael Jackson business. But if that weren’t the case, the Estate still owns half the Sony/ATV Music catalog, which holds rights to some half million songs, including 250 Beatles tunes and titles by Elvis Presley, Bob Dylan, Lady Gaga, Eminem and Beyoncé. Worth about $1.5 billion, Sony/ATV Music earns between $50 and $100 million annually, $25 to $50 million of which goes to the Jackson Estate.

Still wonderin’ why Michael Jackson was named BRE’s Man of the Year?

Yet to be determined is when and where Michael Jackson fans will be presented with a place of “worship,” a la Elvis’ Graceland. Neverland Ranch, Jackson’s former home 120 miles northwest of Los Angeles in Santa Barbara County, most likely won’t be it. The property is controlled by L.A.-based investment firm Colony Capital and neither the town’s two-lane traffic tranquility nor the locals would accommodate the projected influx of Jackson fans. Whenever a location is established, it could prove to be a formidable and consistent revenue stream.

In the meantime, the Estate has partnered with Montreal-based Cirque du Soleil to create “Michael Jackson The IMMORTAL World Tour.” Arguably the greatest fusion of pop rock and pole tent entertainment undertaken, the IMMORTAL tour was written and directed by Jamie King, who has staged some of the biggest rock shows of all time.

The production, which launches its 30-city North American leg in Montreal October 2011, is a live, interactive mélange of Jackson’s music, 60 international dancers and spellbinding, cutting edge audio/visual technology. However, if Jackson were here and asked to define the show, he wouldn’t give his answer a second thought. “It’s magic,” he’d no doubt respond. He’d grin, and leave it at that. That was Michael’s way.

BRE MAN OF THE YEAR ’09 DEVYNE STEPHENS

Don’t be fooled by his boyish good looks, easy smile and humble nature. Devyne Stephens is a powerhouse. A heat-seeking talent missile. Savvy international businessman. Trendsetter. Empire builder. Star Maker.

For those who are serious about the music business, Devyne Stephens has become the “go to” guy. If you want to be a music superstar, Devyne is the man who can pull all the pieces together, polish your act, get you ready for prime time and even negotiate your contract.

Driven… Passionate…. Visionary… Devyne Stephens has already helped shape the hit albums, performances, videos and world tours of some of the brightest stars in the entertainment galaxy: Akon, Michael Jackson, Whitney Houston, T. Pain, Lionel Richie, Mary J. Blige, Jay Z, Usher, Alicia Keys, Gwen Stefani, Mariah Carey, P. Diddy, Ciara, Ludacris, Sting, Pink, Outkast, Monica, TLC, Jermaine Dupri, Busta Rhymes, Nelly, New Edition, 112, Sean Paul, Boyz II Men and many more.

He brokered the deal for his international multi-platinum selling artist Akon to produce songs for Michael Jackson and Whitney Houston for her long-awaited comeback album I Look To You. Devyne’s well sought-after artist/producer Akon has also worked with such great talents as Lionel Richie, Gwen Stefani and Leona Lewis, to name a few.

Entertainment and business mogul, P. Diddy says Devyne simply “understands what it takes to make people into international superstars. My fondest memory of Devyne would be in rehearsal just watching his passion. Not just passion for dance but his passion for interpreting the lyrics. Sometimes,” says P. Diddy, “you need someone to really take you out of your comfort zone and really deal with what you are saying, deal with what this record means to people.”

“Devyne has great ears,” adds Universal Motown President, Sylvia Rhone. Universal Motown, along with Steve Rifkind’s imprint SRC, embraced Devyne’s pitch of the now highly successful artist Akon. “He can take an artist from infancy and develop their style, performance, attitude, staging, and everything in between. He is truly a consummate music man.”

Starmaker, L.A. Reid, IDJMG Chairman, who has known Devyne since he was a teenager, recalls, “ I knew instantly he was one to watch. His overall presentation – style, moves, vibe – were light years ahead of the competition, and he was already stepping out as a born leader. Today,” says Reid, “his business acumen and invaluable experience as an entrepreneur are second to none.”

Until he met Devyne, international music star Akon was headed down a rocky road that eventually landed him in “the big house” miles away from his childhood dreams. Today he thanks Devyne, his friend and business partner, for a second chance at the good life.

“I used to do so much, it was jumbled up, like gumbo. He helped me organize that talent to calmly just mold it into a franchise.” Akon’s praise for Devyne runs deep. “He has the skill to make you believe, more than you believe in yourself. You know, not everybody can actually motivate in that way. Devyne definitely has that gift.”

Like so many others, Akon says of Devyne, “There’s something about him. He can read people. Know their talents. Know their gifts. Know their strengths and know their weaknesses. Help you identify that, and then work from that point. He helps you see the whole thing clearly.”

Devyne is Executive Vice President of Akon’s label, Kon Live Distribution, and helped launch the careers of the flamboyant Lady Gaga and the ubiquitous T-Pain (Konvict Muzik), two highly popular artists. At the Upfront/Konvict brand, Devyne and Akon help direct numerous artists, producers and songwriters to industry success.

In fact, it was Devyne who negotiated the deals for Akon’s label imprint Kon Live Distribution and his song deal as a producer with Interscope/Geffen Records. In addition, Devyne was also influential in re-negotiating the artist deal for T. Pain and Konvict Muzik/Jive Records.

Renowned entertainment attorney, Joel Katz counts Devyne as a friend. He says his unique demeanor is one of the aces behind his booming business. “He’s very, very aggressive in a non-aggressive way,” says Katz, “which is very positive because he can get most of the things done that he puts his mind to, without irritating people or fighting with people or yelling at people. Yet he’s very strong-willed and he gets done what needs to be done.”

“Devyne has a unique ability to bring out the best in those around him, adds popular platinum-selling artist, Usher. “He’s like a brother to me and a good friend.” Usher started working with Devyne when he was 14 years old. Today the megastar freely compliments the talent, work ethic and determination Devyne showed him, and the impact that it had on his career, and so many others.

“He is very strategic,” says renowned producer, filmmaker and high school runnin’ partner, Dallas Austin. “He knows how to get things done. He’s been an artist, so he understands that perspective and can integrate it all together.”

Vision, passion, hard work and faith have evolved into Devyne’s ever-expanding recording and development empire, Upfront Megatainment.

Its divisions cover all of the artist development bases, from creation through distribution. There are plans to expand Upfront Megatainment abroad, opening an international branch in London, possibly as soon as next year.

Artists, athletes, comedians and others flock to the development center, “The Complex” an incubation facility in Atlanta. Here, Devyne and his staff give attention to the finest details of artist development: from body and voice strengthening, hair styling, makeup, wardrobe, choreography/staging and media training.

Says Devyne, “You have to stay ten steps ahead of the talent, making sure you’re providing a way for them to succeed. You have to set the stage in order for them to command the stage.”

In a world grown fat and lazy with overnight successes and “one hit wonders” Devyne Stephens is “old school” and “hands on,” taking the time to groom artists for long-term success.

“From the element of the music, to wardrobe, to the staging, to the production and putting shows together, Devyne is really unique at what he does,” says Upfront A&R Exec, Leon Lee, “because he sees everything and knows how to bring it together so well. Devyne instinctively knows how his clients or artists should look, sound and present themselves for the greatest impact in the marketplace.”

Says veteran entertainment publicist, Jody Miller: “He combines market forces knowledge with strong support of his artists to be the best people they can be.”

Those instincts and knowledge come to bear every day as Devyne heads up his own label, Upfront Megatainment, distributed by Universal Music, representing artists from Akon and soul singer, Majic Massey to girl group, KRAVE.

His Cartel Management Group gives guidance and direction to blossoming careers of not only artists but also the roster of Upfront Producers, including Jazze Pha, Akon, Chris Beatz, Young Sears and Bdon, as they keep the hits rolling out of the studio. “He made me realize that ownership, relationships and branding make the world go around when it comes to the music or any business,” shares platinum producer, Jazze Pha. “He can take a diamond in the rough and make it shine brighter than most.”1-cvr_moty_devyne

For exclusive entertaining, Devyne and his real estate/design team developed Dreamland, an opulent 18-thousand square foot palatial Atlanta estate, as well as two popular local nightclubs.

“Who’s Next Worldwide” searches the globe for the next hot, new creative talent on the planet, while Devyne makes ever blossoming plans for upcoming Publishing, Television and Film projects. Peachtree TV and Film Production, headed by Ryan Glover, is currently working on reality show projects like “Welcome to Dreamland” and singer Monica’s showcase: “Monica: Still Standing.” Popular filmmaker, Will Packer says he and Devyne may soon do something big together. “He’s somebody that’s at the forefront of creativity within this industry. I am really very impressed. I’m proud to be working in the same industry and market with the brother.”

Of Devyne’s many endeavors, especially dear to his heart is his Devyne Intervention Foundation, created to share his blessings. The Foundation helps to inspire and create opportunities for young people, through the healing power of music.

On one occasion Devyne and T-Boz, who suffers from sickle cell, visited a host of excited 6-16 year old children who suffer from serious illnesses and life challenges at Camp Twin Lakes. At the camp, T. Boz shared her story about her struggle with sickle cell. Afterwards, everyone shared their dreams and ice pops on a hot summer day.

Devyne’s latest Foundation project is huge. He is helping to raise $46-million to underwrite the success of a brand new children’s hospital, Children’s Healthcare of Atlanta at Hughes Spalding, right across the street from the public hospital Grady Memorial where he was born.

Devyne remembers what it was like to be young and disadvantaged. His is a classic ‘rags to riches’ story. Growing up in the Red Oak housing project near Atlanta, Devyne knew hardship, family challenges and disappointments. But he never lost faith that better days were coming. These days, the plates on one of his fancier cars reads, “Red Oak,” a constant reminder that vision, passion and hard work can lead to happy endings.

The music and dance he loved was his ticket out. His father was a minister and the lead singer in a gospel band, along with his uncles. Records and the radio were a constant in his home. When the music came on, any music at all, little Devyne would dance. When he was just five years old, his mother entered him in a talent contest at WAOK Radio, and he won. It would be the first of many wins in contests and dance battles around the Southeast and across the country.

Ladi Drew has known him since he was around 10-years-old, a non-stop dancing machine. “Devyne danced in front of the complex where I lived in College Park with a transistor radio in one hand. He danced all the grass down to red dirt! He was always very energetic, the way he is now. Innovative. Always making up new steps.”

Years later, he would persistently ask Ladi Drew, who was working with Arrested Development at the time, to help him learn about the business of music. “He said to me, ‘if you would just take time and manage me, believe in me, we could go places.” She did, and they did. Today, Ladi Drew is Vice President and CFO of Devyne’s thriving entertainment empire, Upfront Megatainment.

There was no school and no one person who could teach Devyne all he would eventually learn about both the business and creative sides of the industry. “I was always watching other people and always picking up on things, so I learned what to do and what not to do. And somehow, I made it out,” he adds with a laugh.

Devyne’s special gift? “Talking,” teases songwriter Sean Garrett. “ Really, he’s a good negotiator and a student of the game.” Being willing to share his knowledge of ‘the game’ has led to Devyne’s success.

Devyne has helped stage some of the music industry’s most prestigious events, including the Grammys, American Music Awards, the Soul Train Awards, VMA Awards, Billboard Awards, the BET Awards, Vibe Awards, VH1 Awards, Source Awards and even the NFL’s Super Bowl Half Time.

Passionate about excellence, and an arbiter of “what’s hot and what’s not,” Devyne is the name to call when you want to take an event or an artist to the next level.

When they were all just kids, Jermaine Dupri used to put mix tapes together for Devyne’s own early dance routines with his group FDC, the Fresh Dance Crew. Dupri says for as long as he’s known his old friend, Devyne hasn’t had a problem telling anybody when an approach was on the right track or not. And he still doesn’t.

“You know, I’ve seen him work with Jay-Z. I’ve seen him work with Puff,“ says Jermaine, “and the little things that he did for each one of them, were definitely something they didn’t have in the beginning. Just showing them, and telling them don’t be scared to do this. He helped me develop as a producer over the years. You need people like that around you in this business, to really direct you and keep you on the right track.”

As an aspiring teenage artist, Devyne added other dancers, vocals, music and rapping to his act. The new group, called Devyne plus 90 Miles per Hour reflected his energy, drive and super-polished performances and became the first act signed to LaFace Records. But before they ever released an album, the group broke up. LaFace dropped the contract, breaking Devyne’s heart and dissolving all of his hard-earned perks, overnight.

For the first time, he seriously considered leaving show business.

But Fate wasn’t having that.

Devyne had successfully polished other acts, including Boyz II Men, who got their start in Devyne’s garage studio, where Dallas Austin would drop the four off to work on their routines. Just as Devyne’s own performance career hit a roadblock, Boyz II Men skyrocketed to fame, and bassist Mike McCrary of the group suggested that Devyne might try another career path… helping other acts the way he had helped theirs.

Devyne recalls clearly, “Mike said, ‘since performing is not working for you right now, have you ever thought about choreographing, you know, just like what you did for us?”

“At the time, I didn’t even know what the word really meant,” Devyne remembers, but when Mike added, “You know you can make money doing this,’ I said ‘Wow!”

With that, Devyne’s “performer” chapter ended and the “choreographer, artist developer and entrepreneur” chapters began.

A lot of choreographers can dance and perform,” says Nathan Morris of Boyz II Men, “but it’s very difficult to translate that to another artist. Devyne has a gift of being able to translate.”

LaFace promptly rehired him for artist development. Word of his impressive work with TLC, a teenager called Usher and Pebbles led to more recommendations and more successful relationships. Calls from RCA, Cable Records, Arista, Motown, Bad Boy and others eventually led to work with nearly every important R&B and Pop artist on the map.

“He was our first choreographer,” says singer LaToya Luckett of the days when she was a part of Destiny’s Child at age 14. “He put us through it, honey. We had never worked with a choreographer before and we were like ‘whew!’ He had us sweating. It was a workout. He’s a grinder. He is so talented.”

One of the very first artists Devyne helped develop, Pebbles, recalls the swag of the outfits, hairstyles and dance moves he came up with to prepare her for the “Arsenio Hall Show.” He even rapped in the background to help pull the whole look together. “He is an extremely talented person, with such a positive energy and drive…and he’s fearless,” says Pebbles. That fearlessness, drive and faith have led Devyne Stephens to become a superstar himself, behind the scenes.

“He’s got the concept, he has the vibration and he does his thing. He’s really intuitive about what’s going on in the industry,” says Wanya Morris of Boyz II Men. “He’s everybody’s legend,” says rising star Keri Hilson, “it’s almost like you can’t escape his name.”

“Devyne has a magical energy about him,” says renowned video producer, Bille Woodruff. “ There is a reason that all kinds of people, executives, people in the hood, pop divas, R&B stars, hip-hop artists and so on are drawn to Devyne – he hasn’t lost his love of the magic of what draws us into entertainment. He is pure in that way. It gives him a light that people react positively to. He has a way of bringing out the best in people and making them calm in stressful situations.”

Famed choreographer and video director, Fatima Robinson says, “Devyne has amazing intuition. He sees what artists naturally have, and he has the ability to give them the confidence to do it.“

“I know when I first started producing records Devyne saw something in me that I didn’t see in myself,” producer Bryan-Michael Cox reveals, explaining that Devyne “would come and get records from me. Devyne really believed in me, really 100% believed. He saw something. And now 10, 11 years later here I am, a success story.”

Keith Sweat goes “way back” with Devyne, who choreographed his dancers before his tours. “He knows what an artist needs. When he meets an artist, he knows if they have what it takes to take it to the next level.”

As Atlanta exploded onto the music scene as a fertile source of talent and creativity, one of the unseen forces behind the movement was Devyne Stephens.

Singer and “Real Housewives of Atlanta” performer, Kandi Burruss, says, “He has been just an icon in the city of Atlanta, helping things get going. He does everything, helping people to be an overall artist. Not just the choreography or the music. He knows how to build a brand. I think he’s just an amazing person.”

Star songstress Monica was 11 when she met Devyne, who has helped her with videos and vocal recordings, as he has for so many others. “He just gives himself unselfishly and thinks about the end result. He believed in me, a young girl from Atlanta, when people said ‘we don’t have celebrities here.’ He was one of the believers who said, ‘You’re going to make it. We’re all going to make it.’ He has faith that’s unmovable.”

“He has benefited the culture so much,” says Atlanta’s Mayor-elect Kasim Reed. “I think he is a role model. He has taught people how to move from the entertainment space to the business space. He’s so much more than music now.”

Top Atlanta radio personalities at CBS urban WVEE-FM (V103), Frank Ski and Ryan Cameron, reflect on Devyne’s transition from artist to artist developer. “He’s come full circle,” says Ski, “He is a true testament that there is opportunity beyond the mic and the camera. Devyne is one of the most successful people you will meet behind the scenes.” Cameron, who has known Devyne for the past 15 years adds, Devyne is “very unique, because he refuses to fail.”

These days, Devyne Stephens is being called the Berry Gordy of his generation. A visionary, whose special gifts help make people’s dreams come true.

“He has talent and passion and knowledge of music. He sees a very big picture,” according to Steve Rifkind, Founder and CEO of SRC Records/Universal.

Devyne’s first job when he meets a new artist is identifying that timeless attribute called “star” quality. A star, he says, is “a person that is able to attract and has a certain glow, a certain flair and style about themselves that makes people gravitate to them. Either you got it or you don’t,” says the man who knows the real thing when he sees it. Stars are born. Celebrities are created. “We have a lot of celebrities nowadays, but not a lot of superstars.”

Devyne is an admitted perfectionist. And that can be a challenge. “Sometimes that can be very frustrating,” says Upfront A&R man, Leon Lee, “because you feel like ‘you’re there’, and then he still sees something and says ‘no, that ain’t it.’ We can make this better.”

“Devyne comes in and ‘fine tunes’ the situation,” says indie label owner, Slim, formerly of 112, “so if you’re not coming up to par, then you have him to deal with.” Jazz speaks for all of KRAVE when she says, “He can see certain things that the average person wouldn’t see. His imagination, his creativity, he’s so in sync with that, that sometimes I’m like ‘D, are you sure?’ It’s just so left field. But it’s just so beautiful when it happens.”

“He’s not only a perfectionist at what he does, he wants the people around him to be perfectionists as well,” says Upfront General Manager, Steve Lucas. “It runs from him, through his staff, through everybody he works with; it just flows that way. That’s why you get great things out of great people.”

Devyne says another well-known artistic perfectionist, Michael Jackson, has influenced his personal standard of excellence. Long before they met, Devyne was impressed by Michael’s famous attention to detail and genuine humility. When they did meet, Devyne says, “it was a defining moment for me in terms of my mission and what really makes you a star.”

As far as Devyne’s own bright future is concerned, music mogul, Michael Mauldin says, “Devyne has the ability to continue to reinvent himself… and he seems to usually do it at a time when the industry is in need of innovation. He does it in a way that seems to catch folks by surprise.” So just stand by and watch for fireworks.

After a fleeting mental pause to wonder where he got his name, the first thing you notice about Devyne Stephens is that he’s such a nice guy – the kind of well-mannered, soft spoken, well-dressed, accomplished young man you want to introduce to your sister.

A real standout in a world known for excess and self-centeredness, he doesn’t smoke, doesn’t drink, helps the poor, loves kids, goes to church and has a great job. Everybody’s fantasy big brother.

But this is no ordinary nice guy. This guy is Devyne.

In case you’re still wondering, the name came from his grandmother, who saw something so special in him, even as a child, that she constantly called him “divine.” As he grew up, the spelling changed, but the name, and apparently the impetus, stuck.

Life is good for Devyne Stephens these days. He thoroughly enjoys the perks that come along with his success. But he stays truly humble in the midst of it all. He says the best part of being him is being able to serve and teach others the ins and outs of the business. The rocky road to his success has been filled with hazards, challenges and detours. But he says, “I wouldn’t change anything that I went through.” When it’s all said and done, if you ask him who his heroes have been, Devyne answers quickly, “The struggle is my hero.”

Says the ‘behind the scenes’ superstar, “Everyday I wake up, there’s a struggle. Everyday I have a purpose. If I have 100 problems…and if I could just get one thing right in a day, I had an incredible day. That’s my outlook. I think that’s my purpose… to help and to solve as many problems as I possibly can.”

Problem solver. Star Maker. Innovator. Visionary.

No, he’s not just any nice guy. He’s Devyne.

Michael Jackson, King of Pop, Dead At 50 (August 29, 1958-June 25, 2009)

Michael Jackson was rushed to UCLA Medical Center today from his Bel Air home via ambulance in response to a 911 call from the singer’s residence. Paramedics who arrived on the scene at approximately 12:30 pm today report they were unable to revive him from an apparent cardiac arrest.  Jackson was pronounced dead at the hospital.
His sister LeToya Jackson was among the first of the family members to arrive at the hospital. His father Joe Jackson is enroute from Las Vegas while his mother Katherine Jackson was being rushed to the scene as well.
Jackson, who had been preparing for his upcoming 50-date sold out concert tour at the O2 in London, had recently pushed the start date back from July 8 to July 13 because of reported poor health. There was a lot riding on the AEG tour which Michael had consented to do, reportedly he said, mainly so his children could see him perform one last time and, as always, for his fans.
Jackson’s Visionary, the Video Singles box set, was recently released. The limited edition 20 dual discs—CD on one side and DVD on the other—were packaged in sleeves featuring an exact replica of his original 7“ and 12” artwork.
Michael is survived by three children: Michael Joseph Jackson, Jr., Paris Michael Katherine Jackson and Prince “Blanket” Michael Jackson II.

Prophetically, Michael has posted on his website announcing his “This Is It” tour the following: “The time has come. It is now I see and feel that calling once again, to be a part of a music that will not just connect but, make all feel one, one in joy, one in pain, one in love, one in service and in consciousness.”

Chrisette Michele On How To Say Good-Bye ‘And It Comes To Me…Like An Epiphany’

 

The room is abuzz with industry chatter, as record label executives and staff, retailers, press and some other chosen few enjoy libations and each other’s company. They are patiently waiting for a rarity in today’s fickle music industry: an artist with a sophomore album. She is Chrisette Michele and her new Def Jam album is called Epiphany.
Debuting at #1 with her new album on Soundscan with first week sales of more than 83,000, the Grammy Award-winning songbird proves label head Antonio “L.A.” Reid right: she has staying power. She’s a keeper. Her single, “Epiphany,” had already been the precursor of this fact, topping both UAC and Urban playlists and charts.
Indeed, as she elegantly takes the stage, the room comes alive with the sudden realization that this is a star. There is something about this young lady and the way she wraps her rainy-day voice around a song, soaking it with a fresh yet old school flavor. Her live performance draws you into an intimacy with her that is compounded by her voice of experience that knows how to elevate each note into its own choir of recognition. That’s her magic: she compels you to listen and, inevitably, to enjoy.
The debut single, “Epiphany,” showcases her unique style inside a springy tune with precocious percussion and a compelling rhythm that allows her festive voice to shine in ‘spring forward’ sparkly colors. Star songman Ne-Yo produces and writes a variety of the album’s cuts, but Michele is without question the star of this show, as she takes cuts like “Playing My Song” and bounces them along with a sweetness while at the same time filling them with passion and fervor. Her style is different than the current crunch of lightweights driven by hip beats – it’s not ‘churchy’, it’s not urban… it’s very sexy and laid back. Sometimes scintillating, sometimes sad.
And she’s not afraid to take chances, as on “Blame It On Me,” where the story she so gracefully weaves takes a journey into heartbreak. That song is actually an amazing collaboration between Claude Kelly and Michele writing, with Chuck Harmony producing. A producer/songwriter who is part of Ne-Yo’s production collective Compound Entertainment, Harmony has worked on projects with Mary J. Blige, Janet Jackson and Celine Dion.
Michele’s debut album, I Am, earned her a Grammy and was certified Gold. Despite its success, Michele felt she needed to step up more for her next LP. “I felt like I was a little too shy and laidback my first time out. On my new project, I wanted to raise the bar and step out of my comfort zone. I wanted to make songs that were more edgy, youthful and urban.”
Encouraging her to stretch her vocals as well as the topics in her lyrics, Ne-Yo and Harmony provided the right combination of keyboards and beats to set off the LP at a perky pace. “Ne-Yo took out time from his crazy schedule to talk about direction for some of the songs, including the pain of break-ups and the joys of new love,” she explains, adding the significance of the title track. “That word ‘epiphany’ just meant so much to me because it was during the time that I was preparing to record that something clicked in my spirit.”
Singing the praises of her collaborators, Michele identifies her favorite song on the album. “Another One,” also written by Ne-Yo and Harmony, opens with a lovely and languid acoustic guitar. “That is my favorite song on the album,” she admits. “Nobody captures New American music like Ne-Yo and the Compound crew.”
Epiphany continues where I Am left off, laying out the organic evolution of this artist whose talents promise much more depth and longevity.  Super producers Rodney Jerkins and Claude Kelly (Kelly Clarkson, Britney Spears, Leona Lewis) started that evolution with I Am, and Ne-Yo and Harmony elevate Epiphany with new pop wizardry that further establishes Michele as a career artist.
On top of a media blitz on television in May that had her appearing on the top three networks from CBS’s “The Late Show with David Letterman” where she performed her single “Blame It On Me.” to NBC’s “Late Night with Jimmy Fallon” (5/22) and CBS’ “Early Show” (5/23), she was also featured in a first of its kind intimate concert on VH1-Soul And VH-1 Soulstages called “Chrisette Michele Presented by Infiniti,” which re-aired May 18 and May 21.
Having gained valuable experience touring with a live band and fellow singers Raheem DeVaughn and Solange Knowles, Michele says she loves performing live because it allows her to feel feedback from fans. “To me, nothing is more important than touring. Communicating with the audience through song can be magical. Singing in the studio is one thing, but you must be able to bring it to the stage, too.” And she kicks off a new tour with soulmates Anthony Hamilton and Musiq Soulchild on May 28th in Houston at the Reliant Arena that promises to feed that hunger for communicating directly with her audiences. At a recent two-evening special at the King of Prussia Mall outside Philadelphia, presented by leading beauty retailer Sephora, Michele proved she’s ready to bring her brand of beautiful music to soulstages across America.
Also interested in an acting career, Michele says she caught the bug after appearing on an episode of “Girlfriends.”  “That experience was amazing because they allowed me to have so much input and led me to write my own scenes.”
Fans, both old and new, are logging in with such declarations as “fan for life” (tpearson) and  “blown away!” (ChocLitFactory). “It’s this album that is getting me through my situations,” blogs ChynaBlack, “Keep doing it girl!” For the artist who initially turned down “Irreplaceable” that Beyoncé later blew off the charts, Michele is now espousing the new female empowerment anthems for 2009: “I think I’m just about over being your girlfriend.” Bringing both elegance and edge to her new ‘epiphany,’ she coos good-bye with the touch of an iron hand in a velvet glove.

Where to Find Chrisette Michele On Tour
With Anthony Hamilton and Musiq Soulchild

M a y 2 8    H o u s t o n ,   T X            Reliantt   A r e n a
2 9    Dallas ,   T X            Nokia Live   G r a n d   P r airie
3 0     S o u t h a v e n ,   M S         D e S o t o   C e n t e r
3 1    S t .   L o u i s ,   M O        F o x   T h e a t r e
J u n e 0 4    L o s   A n g e l e s ,   C A        Nokia  Live Theater
0 6      O a k l a n d ,   C A              P a r a m o u n t   Theater
11    C o l u m b u s ,   O H        Palace   T h e a t r e
1 2    Detroit ,   M I              O p e r a   H o u s e
1 3     Chicago ,   I L            Arie  C r o w n   T h e a t r e
1 6    Newark,  N J             N e w   J e r s e y   Performing   A r t s
1 8    N e w   Y o r k ,   N Y        W a M u   T h e a t r e   a t   M S G
1 9      Washington ,   D C        D A R   Constitution Hall
2 1    Baltimore ,   M D        Pier Six Pavilion
2 5     A t l a n t a ,   G A              F o x   T h e a t r e
2 6     A u g u s t a ,   G A             Ball Auditorium
2 7    Birmingham ,   A           B J CC Concert Hall
2 8      Charlotte ,   N C         O v e n s  Auditorium

Bo Benton Turns It Up

Poised as the next ‘Don Diva,’ daring enough to step outside the box, singer, songwriter, producer Bo Benton exemplifies the annotated lyrics below to her next single “Blue Flame (Turn It Up).”

Temperature rising…(turn it up)

On fire…(turn it up)

Hot, hot, hot…(turn it up)

Blistering…(turn it up)

Boiling point…(turn it up)

Ignite my soul/give it all you’ve got

It ain’t hot enough

Take me to the blue flame!

Turn it up!

In preparation for the July 28 release of her pop/rock/R&B/dance-infused debut album, Queen of the Night, exclusively on her own Gold Starr label through Bungalo/Universal Music Group, the electrifying vocalist is already riding the airwaves of urban from Chattanooga’s WJTT-FM  to Chicago’s WGCI-FM,  rhythmic and Top 40 from Tucson’s KOHT-FM to Salisbury, Maryland’s WOCQ-FM, and urban AC from Fayetteville, NC’s WCCG-FM to Augusta, Georgia’s WIIZ-FM.  Hot on her current single, “I Know You Want It,” radio is spreading the sound of what’s in store.

Backed by a stellar production team that includes producer Lil Ronnie (Bow Wow, Nelly, R. Kelly, T Pain), writer and Gold Starr labelmate Pusher Deville, and mixer KD aka Kevin Davis (Pink, Usher, NSYNC), Benton personally assembled the right ingredients to satisfy any musical thirst. “I have great producers,” she says confidently.  “This is a very exciting album. I wanted to make a classic album and that’s why it took me so long to complete. I did 40 songs, but I only chose ten for this album.”

Formally trained at the Chicago Sherwood Conservatory of Music, the Southside Chicago native began performing as a child.  A writer and producer as well, she also plays the piano and isn’t too bad with a guitar. “I was always a natural performer,” Benton shares. ” My father is a bass player and ran a small record label in Hollywood back in the ’70s.  My mother is a pianist and my grandmother was an opera singer. It’s in my DNA.”

“This is the first song that I ever made where I’m outside of it.”

Expect the unexpected on Queen of the Night. Cameos with Raekwon of Wu Tang Clan on the cut “Baller” with a rare appearance by Too Short. ” There are one or two slow songs and I’m rapping on this album as well,” says Benton. “Sometimes I might hear a track that motivates me or I might be in a certain mood and I want to write about what’s happening in my life. It’s not one particular thing that happens at one particular moment. The continuity, however, between everything is that it’s always in the moment, whether it’s a beat, the mood or just in the studio having fun. We capture those moments in time.”

These moments manifest in one of Benton’s favorite songs, “Blue Flame (Turn It Up).” “This is the first song that I ever made where I’m outside of it,” Benton exclaims. “It’s like wow! I’m a fan of this song. I knew when I was getting ready to record “Blue Flame” that I had to come out of myself. It wasn’t about Bo; I had to let it go.”

Letting go seems to be just one theme in many of the tracks. Empowerment is another. The title track, “Queen of the Night,” is a power anthem that aims to motivate women to rise above and live their own lives.  Inspired by a personal experience, Benton wrote the lyrics to “Queen of the Night” in 15 minutes during a stay in room 403 at the Magic Castle in Hollywood, California. “It’s a rock song. It’s a hellified song,” she explains, “about a girl getting her heart broken, but she finds the power in herself to not only move on, but also, not be bitter and to cherish what they had.  It’s like she’s saying, ‘Thank you for that, it’s going to make me stronger and better.’” Produced by Jason Edmonds (Michael Jackson, Jon B., Sisqo), Mark Tabb and Ansone and mixed by Rob Beaton (“Devil Wears Prada,” “Batman Begins”), the song radiates the heat and passion that radio and clubs can feel.

Referred to as the “hot chick on rollerskates” on one blog for her first single “Bounce” that independently surged to the top spot on YouTube.com and MySpace.com in December 2006 knocking out both P. Diddy and Jay-Z for the number one spot, Benton showed she had all the moves visually as well. Her second single, “Make That Move,” confirmed the buzz was real. Leaked to servers, it quickly attracted more than 3.6 million viewers.

“I strive for a perfect blend of style and substance,” she was quoted as saying about her early releases. “Style definitely has its place, especially since my album is upbeat fun music to be played in the clubs. People going to clubs are usually stylish and hot-looking.”

“Style definitely has its place, especially since my album is upbeat fun music to be played in the clubs. People going to clubs are usually stylish and hot-looking.”

But ultimately, she describes herself as “a hybrid of yesterday and tomorrow… I feel like I have a unique sound and do not sound like another artist. And that is the way I’d like to keep it.”

Inspired by such diva legacies as Diana Ross and Whitney Houston, Benton has been on a mission to establish and maintain her own identity. With an industry saturated with cookie-cutter starlets that many times are left to compete for a space on the charts through vamping up their image of seduction, Benton takes pride in discovering and signing herself to her very own label–Gold Starr Records. Described as “the female Jay-Z” because she both runs the label and is at the same time its main asset, Benton says she is very hands on.

Although analytical in her decisions as president of Gold Starr, Benton, nevertheless, sees the stuff of legends in herself as the artist Bo Benton. “Music has to be raw human emotion. It’s the purest art form for me,” Benton the artist explains. “I can be a glamour doll one day, be grungy the next and rock and roll, or go hood on you and street. I don’t think you can be a real artist unless you are making the art you’re feeling. How is somebody going to tell me I don’t want you to rap, I don’t want you to do a country song, I want you to do R&B? The industry is changing rapidly. It’s like the wild, wild west right now.”

And, with all guns blazing, she’s foraging her own path…doing it her way.

Applying the same standards for other artists as she does to herself, as a label executive she has also been building Gold Starr into an artist-friendly entertainment company.  “I have two super dope rappers–one from Atlanta and the other from Miami.” Pusher Deville, the rapper from College Park, is featured on Benton’s single “I Know You Want It” and already has his own release, “Bodies In the Club” on the streets.  Rapper Live Wire, whom she describes as “extremely talented,” is currently in artist development and almost ready. ” We have a pop female artist too,” Benton adds. “She’s 16 years old and very well-versed. Her mother is a trained opera singer and she’s been singing since she was four.”  The label’s website is open to more new artists and invites them to contact the label with the opening, “Are you ready to be a Gold Starr?”

“I met Roberto Cavalli in Milan and he promised me at the time, ‘Whenever your record comes out, find me and I will make you stage outfits.”

Looking at the long term, Benton is bent on building a career for herself as the artist and for the artists she is selecting to develop under her brand. “If it weren’t for the love of music that I have, I wouldn’t be doing this,” she assures us, “but music is in my heart and soul.”

Her planning and hard work are now paying off. With almost deadly precision, she has orchestrated the unfolding of herself, the artist Bo Benton. A 12-city promo tour kicks off in the coming weeks as radio continues to pump her singles. Her online presence at www.bobenton.com and myspace.com/bobenton add fans daily and she’s all atwitter on the Internet’s sites from blackhollywood to ca.askmen, celebritywonder to sumotv. People are calling in to find out more about Bo Benton. It’s heating up! The momentum is building for the album release on April 21.

“I’m finally feeling excited,” she exclaims. “I met Roberto Cavalli in Milan and he promised me at the time, ‘Whenever your record comes out, find me and I will make you stage outfits,’” Benton gushes. “I’m looking for Roberto Cavalli.”

BRE founder and Chairman of the Board Sidney Miller recalls the confidence and charisma Bo exuded when they first met. “When I first met Bo about two years ago at the Black Enterprise Oscar party at the Beverly Wilshire Hotel in Los Angeles, she came up to me and said, “Mr. Miller, you don’t know me, but one day I’m going to be on the cover of your magazine.” I asked her what label she was on and she replied, “My own.” I thought at the time this was someone who was going to make it.

Written by Tanisha Williams, freelance journalist/reporter and publisher of
Renaissance Women magazine. www.renaissancewomenmag.com

A True Messenger

Heather Headley inspired millions with her performance of “Jesus Is Love,” her duet with Smokie Norful that appears on both artists’ new albums, in Washington, D.C. at the HBO live concert special during the presidential inauguration activities.

 

 

 

 

 

 

 

 

 

 

I’d give you the moon

But you’d never know the warmth of the sunshine

I’d give you the world

But exactly what would that do

I’d promise you wings to fly

But how would you ever learn to run

So I wish you all you need

To be than I could be

This is what I wish for you

                                    –I Wish

 

            Heather Headley inspired millions with her performance of “Jesus Is Love,” her duet with Smokie Norful that appears on both artists’ new albums, in Washington, D.C. at the HBO live concert special during the presidential inauguration activities. Dubbed his “favorite singing partner” by classical star Andrea Bocelli whom she joined as a featured artist on his international tour, his “Live In Tuscany” PBS special, and his “Under The Desert Sky” live concert DVD, Headley reached millions more. The accomplished Tony-award winning Broadway star has also wowed audiences daily in her long runs in “Aida” and “Lions King.” But her performance at the Harvard Bible Chapel she attends in Chicago registered just as resoundingly when she sang from her new EMI Gospel album Audience of One. 

Joining songbird Heather Headley at the refurbished Roosevelt Hotel in Hollywood where she had recently returned from a jazz cruise, I knew I was in the presence of a beautiful child of God.  BRE has interviewed the multiple Grammy nominated R&B songstress (This Is Who I Am, In My Mind) before, but this new incarnation of Headley on EMI Gospel was just another barometer of her many talents. Comfortable in any setting whether on the world stage or performing for presidents, Headley remains grounded and balanced, beautiful on both the outside and inside.  And what you hear in whatever form is really who she is.

Her performance at President Barack Obama’s inauguration weekend on the HBO special of her single “Jesus Is Love” touched many that day when so much hope was manifest. But she’s actually performed for four of our U.S. presidents. In addition to Obama, she had performed for both Bushes and Clinton. “It was probably the coldest I have ever been in a performance before,” she offered, still recovering from the effects. “The rehearsal day was 10 degrees. We had tents but they had not yet installed the heaters. After I got back to my hotel I had to jump into a hot shower to warm-up. My toes had actually turned purple. The actual day of the performance warmed up to a toasty 22 degrees, but whatever the weather, it was worth it to just be there for such a momentous occasion. It was quite uplifting for me as well.”

This uplifting song may seem a change in genre direction for Headley, but recording a gospel album is a natural transition for her. “I spent most of my life in and around the church,” she explains. “My father was a preacher at a one-room church in Trinidad, and I lived either next to the church or above it most of my life. In fact, it was there where I first began to sing. I used to go in the church when no one was there, close all of the doors and windows and sing to the empty pews,” she confided. “My mother always told me I should do a gospel album and I would say, ‘Maybe someday.’ Now I felt the time was right.”

 

 

Actually, the concept for a gospel CD became concrete after label executives heard her breathtaking performance of the spiritual “I Know The Lord Will Make A Way” from the EMI Gospel/Vector compilation album, Oh Happy Day. They were so impressed that they suggested she record an entire album of songs of faith. Her 2006 CD In My Mind also contained the inspirational song “Change,” co-written with producer Warryn Campbell and Eric Dawkins. “God is such a big part of who I am, who I want to be, and what’s in my mind,” she had declared then.

 

Joining with Grammy award-winning producer Keith Thomas (BeBe & CeCe Winans, Yolanda Adams, Gladys Knight, Luther Vandross, Whitney  Houston), Headley says it was time to give back some praise for all her blessings. “This is my gift to God,” she declares. “I want to make sure God is happy. This album is for Him.”

Whether it’s the song “Ordinary Me,” inspired by her pastor James MacDonald’s sermons, that starts out, “Looking for an answer, trying to turn the page/but always holding onto the past,” or when she asks “I am a Christian/do you know what that means?” on “Simply Redeemed,” Headley addresses faith concerns that are both personal and universal at the same time. And when she goes astray, she always finds solace and forgiveness in a cover of one of Commissioned’s songs “Running Back To You” or “I Know The Lord Will Make A Way.”  From traditional hymns like “Here I Am To Worship” to the orchestral heights of “Power of the Cross,” Headley gives her all.

 ”Today I still transform myself mentally back to my father’s church in Trinidad by closing the doors and windows to my bedroom and turning the lights out to recreate those conditions,” she confesses. “It makes it easier for me to go back to that little church, the place of creative comfort for me both physically and mentally.  That’s where I went to play, that’s where I learned to play the piano and would use my brush for a microphone. Today, when I record I always request they turn out all the lights.”

Both Gospel and Urban AC radio formats have welcomed the inspiring songs from Audience of One. “My colleagues and I agree,” says Alvin Stowe, Program Director of Radio One’s UAC WQNC-FM (92.7) and inspiration WPZS-FM (Praise 100.9) in Charlotte, NC: “This rendition of ‘Jesus Is Love’ is as good, if not better than the original.”

The accolades continue for this little girl from Trinidad with the angelic voice and full range. “I grew up in the church and that’s where my roots are,” she contends. “If the sincerity of my performance connects, then I have won a true new fan. And even though it would be an honor to be invited to perform in some of the mega churches around the country, that is not a part of my promotional campaign to sell product.”

Indeed not, this truly gifted artist finds her ministry most fulfilling when she is singing to God. When she was talking to her husband about how she used to turn the church into a sanctuary, she says he told her that she was not singing to the empty pews but to God. An audience of one.

Change is Now: Renewing America’s Promise

Music and the President

Let’s face it, our young, brilliant new President makes history every time he steps out or speaks out.  For real, there was a history collision goin’ on in D.C. during Inauguration Week. No other American President has listened to his i-Pod or had a day-to-day “Music Guide” to his Inauguration. No other American President has had a grass roots movement or such a size-boggling Internet presence for his campaign. Social networking sites fueled the grass roots movement. There were new videos up on YouTube all the time from anybody with an idea. A recent survey says will.i.am’s “Yes We Can” video has been seen almost 30 million times online. Almost daily from one name artist after another, there were email chain letters telling us why we had to get involved in the process of making Barack Obama the 44th President of the United States. Then there was the first of its kind ever — an Official Presidential CD-DVD inauguration collector’s item from Hidden Beach Recordings, in collaboration with the Presidential Inaugural Committee (PIC).

When the Inauguration was about to happen, D.C. turned into the center of the world for a shining, breathtaking time.  It was cold and it was crowded beyond anyone’s imagination—look at the photographs from space of the Swearing In.  The captured shots from a zillion miles away gave us scope and breath but it was only up close, snuggled up against loving strangers that those in the crowd and at home felt the true humanity of the day—impossible to describe, although thousands of talking heads in hundreds of languages were describing it for their listeners and viewers back home.

In D.C., people were both crying and smiling at being part of history, grabbing up souvenirs of the event to someday show their grandchildren. Among the tickets, banners, flags, stickers and tee shirts, there was this official Presidential Inauguration Collection Commemorative CD-DVD, Change is Now– Renewing America’s Promise.  It was available for purchase at some stores around D.C. as well as on-line, at the PIC and some lucky celebrants got it as take-aways from the high-end parties.  In short, Hidden Beach was all over Washington, D.C.

 

Probably never before in modern history has a political campaign inspired so many artists to create art in the reflection of the themes, hopes, aspirations and ideals embodied in the movement that was created in its wake. This first of its kind album inspired by a presidential campaign and its supporters’ quest for a more perfect union contains performances by some of the most talented recording artists alive today expressing themselves through instruments and voice. 

 The eighteen artists on this album truly represent how our differences can come together to celebrate our common purpose.  We are grateful for their creativity and their musical contributions.”—Presidential Inaugural Committee (PIC)

 

And there was no more appropriate home for this project than Hidden Beach. The Santa Monica-based boutique label from its inception had its own audacity of hope and its own “yes we can” state of mind. They followed the road less traveled from the ones populated by the behemoth record labels. There are many parallels in what HB was trying to do and the ambitions and hopes of the young Illinois Senator claiming Chicago as his homebase.  In fact, it could be something in the water in Chicago.  Obama and HB’s Steve McKeever are fast friends from back in the day when they were dreaming of making the world better through community activism, Harvard Law School and music that made a difference.

             McKeever admits this project “might be the hardest thing” he’s ever done. But early on there was a mandate to struggle through the Herculean task of being able to get all the ducks in a row with clearances, schedules, legalities and other impossibilities. Clearly many people of good purpose needed to do something.

McKeever spins the years backwards to recall, “The early believers tried to figure out a way to make the Obama dream a reality and that included music makers of all kinds, with new songs and old songs that mysteriously seemed to speak of hope and promise.” People on the campaign trail were forever having CDs and song lyrics thrust into their hands.  In the first set released, Yes We Can: Voices of a Grassroots Movement (inspired by Barack Obama and His Movement for Change), McKeever talks of trying to put a collection together years earlier after receiving a call from Hans Reimer, then a youth field rep for the Obama campaign who wanted to brainstorm about marshalling the burgeoning grassroots movement which was beginning to express itself musically. But the obstacles and legalities seemed “insurmountable” so they decided to keep in touch and speak again if a brainstorm solved some of the inherent problems in such a project.

 Finally, there was the first CD, no doubt a baptism by fire for the package to come. Right above its track listing are these words: 

“Probably never before in modern history has a political campaign inspired so many artists to create art in the reflection of the themes, hopes, aspirations and ideals embodied in the movement that was created in its wake. This first of its kind album inspired by a presidential campaign and its supporters’ quest for a more perfect union contains performances by some of the most talented recording artists alive today expressing themselves through instruments and voice.”   

The first part of the mission was underway big time.

            McKeever, with emotion in his voice, recounts his own struggle and the battle of his “Team Mission Impossible” to deliver the CD, what they wanted to do and the timeframe of having it ready for the Inauguration.  Just sorting through the thousands of submitted tapes and the thought process of what songs would actually make it onto the CD was hard to wrap their heads around. Then came the actual recording process.  “It was unbelievable trying to get everything finished on time. We had artists in every studio, flying in and out on such crazy schedules that I actually took a nap on the bare carpet in places.”

 The list of credits and accolades is long. McKeever cites his long time associate and invaluable project manager Bruce Walker whose name kicks off a roster that reveals double duty for Walker and many such as Meaghan Burdick and Kim Alfred for PIC and the Change Is Now Squad; Ron Gillyard for half a dozen credits in the A&R and Talent categories. Right there too is Bonnie Greenberg and PamRobinson who show up in the Art Squad and Talent divisions. Erik Steigen is listed as Precinct Captain and in Talent.  Dale Voelker was big in the Art and Design credits. On a somber note, listed in a different color from all the other names is the Project Angel: Jheryl Busby (May 5, 1949-November 4, 2008). Candace Bond McKeever is on the Change Is Now Squad and there’s a note that Berry Gordy provided Special Inspiration and Advice. There are also about 300 thank yous and then the big one–Special Thanks to Barack Obama, Michelle Obama, Joe Biden and Jill Biden.

            The artists included on this official inauguration collection are enough to give you hope and let you know that HB believes in inclusion. This is a once in a lifetime, instantly collectible package. Did you ever think you’d see a compilation featuring both Jennifer Hudson and Death Cab for Cutie or Ozomatli and James Taylor?

            Was the Senator involved from the beginning?  No, McKeever quickly says, “I’m not sure at what point he even knew about it.”  Tracing any given point might be difficult, but what McKeever does know is that it’s never been done before. But the people involved with President Obama, back when he was still just Barry, seemed to be instilled with an elixir of daring dreams.  I remember McKeever calling me to come to a fundraiser at least five years ago. He was in it early and was rooted in his knowledge that this man was going to be President. 

“Just listen to him, Ruth,” he said. 

Ok, now it’s your turn. Listen to him here. There are nine iconic speeches starting with the campaign announcement for President in Springfield, Illinois on February 10, 2007. Next is the Iowa Jefferson Jackson Dinner in Des Moines on November 10, 2007. Thenthere’s the Iowa Caucus Victory Speech on January 3, 2008. In New Hampshire on January 8, he delivered his Primary Speech.  Next is the speech most often called the “Race Speech” given in Philadelphia on March 18, 2008, actually entitled “A More Perfect Union.”  And who thought a man who wasn’t even the nominee yet could draw hundreds of thousands to Berlin on July 24, 2008 for his “A World That Stands As One speech?”

Brilliant, brilliant strategy. 

The last two are “The American Promise” delivered in Denver, Colorado on August 28, which was chilling in its power, and lastly is the Election Night Victory Speech in Chicago. Listening to him again brings back the memory of a weeping Oprah, the sea of faces and the sobbing of those who could only gasp, “I never thought I’d live to see this day.”

            The speeches time out at three hours, but watching evokes so many personal emotions, the time hardly seems that long.  There are even excerpts from some speeches included in the song selections, such as will.i.am’s “It’s a New Day,” Melissa Etheridge’s “God is in the People,” Maroon 5’s 2009 version of “Pure Imagination” and a bonus track by Lionel Richie called “Eternity.”

Many of the 18 songs on the CD-DVD are newly recorded. Highlights include Stevie Wonder’s “All About the Love Again,”  BeBe Winans’ “Born for This” and Death Cab for Cutie’s “Grapevine Fires.”

            PIC made the comment, “The eighteen artists on this album truly represent how our differences can come together to celebrate our common purpose.  We are grateful for their creativity and their musical contributions.”

            This Obama victory has been music to the ears of countless millions. This special collector’s CD and DVD provide the opportunity to savor again and again the Change that Has Come to America.

Marvin Sapp Awarded 8 Stellar Gospel Music Awards

 

 

The 24^th Annual Stellar Gospel Music Awards knew what they were doing when they lauded Marvin Sapp with eight Stellar Awards at its recent January 17 awards show that returned to the Grand Ole Opry House in Nashville, Tennessee for the fourth consecutive year.

 

The outstanding Zomba Gospel artist and his award-winning album Thirsty racked up most of the coveted awards including “Artist of the Year,” “Song of the Year,” “Male Vocalist of the Year” and “CD of the Year.” Passed over by the Grammys this year because of a technicality in its time parameters, Sapp, whose inspirational single, “Never Would Have Made It,” set 2008 records as the longest running No. 1 single on radio across all genres, was indeed vindicated with the multiple Stellar wins. And the Grand Rapids native flew in three generations of his family to Nashville to join in his moment.

 

 

Other winners included Zomba Gospel labelmates Dorinda Clark-Cole for Female Vocalist of the Year,  The Canton Spirituals for Traditional Group/Duo of the Year and Kirk Franklin for Urban/Inspirational Single or Performance of the Year.  Kingdom Records’ Shekinah Glory Ministry claimed Praise and Worship CD of the Year, while Integrity’s Jonathan Nelson featuring Purpose nabbed Group/Duo of the Year, Habakkuk Music’s Jessica Greene claimed New Artist of the Year and NuSprings/EMI Gospel’s Ricky Dillard & New G took home Choir of the Year honors.

Don Jackson, Central City Productions Chairman/CEO, welcomed performances from Tye Tribbett, Stellar winner Kirk Franklin and Rap Hip Hop Gospel CD of the Year winner, Da’ T.R.U.T.H., who can be seen on the show that airs nationally on WGN America on March 7 and exclusively on cable on the Gospel Music Channel (GMC) on March 1, and on RushmoreDrive.com, the show’s official search engine that also airs, for the first time ever, the awards pre-show as well. Photos by Moses Robinson

 

 

Sherri Shepherd, Marvin Sapp and actor Clifton Davis

Da Truth performs "That Great Day"

Jor'el, Evin and Torrence of 21:03 perform "You"

Jessica Green wins New Artist of the Year

 

 

 

 

 

 

 

 

 

 

 

 

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