DeDe McGuire Marks 1st Year In Dual Drives

         It would be difficult to find someone in radio who works harder than DeDe McGuire. Not only does she work a.m. and p.m. drives, but she also wears two different format hats. Celebrating her one-year anniversary in juggling both roles, she successfully steers the morning wake-up team towards an urban demo at Service Broadcasting KKDA-FM (K104) in Dallas, while catering to the urban AC crowd in her afternoon drive gig with the syndicated Doug Banks (“The Ride With Doug & DeDe”). DeDe does double demo duty!

And she just exudes exuberance. Add in her wealth of knowledge, experience and her all-American work ethic and no wonder she’s a winner. Her longevity in broadcasting, however, she readily attributes to staying true to her mantra: “Educate, inform and entertain.”

Her biggest challenge?

“Getting up so early every morning. People think you get used to it, but you don’t,” she tells BRE in an exclusive interview in between shows recently.

The Dallas-based McGuire gets up at 4 a.m., has her morning coffee and drives 35 minutes to K104. She watches the overnight news before she hits the airwaves “so I know what’s going on,” she explains. After being on the air from 6 until 10 a.m., she has an after-show meeting. Then she drives the 35 minutes home and may sneak in an hour nap. Then she’s back on the road to do the afternoon drive show with Doug Banks at another studio.

“I love working with Doug,” she declares in that perky upbeat style that comes so naturally to her. “We have so much fun on the air.”

With today’s technology, McGuire could actually do her dynamic duet with Banks from her home, but she chooses to be face to face with her on-air partner with whom she has worked for 15 years.

And, speaking of partners, McGuire recently married a businessman she calls “Baby Black.” And yes, marriage did have an impact on her single “cougar” style.

“That’s my character and my soul on the air,” she explains. “I went from being the single lady to the married lady. When I first got married, one of my listeners told me, ‘I’m so sure you are going to bring the ups and downs of married life to the air like you did the single life’. So I continue to grow up with my audience.”

Even though there’s some commonality between both her shows, there are also differences not only in the music but also the topics of discussions. “We do more adult conversations on Doug Banks, talking about everything from politics to relationships. It’s a little more adult focused. But the one commonality is that people want to be informed and entertained. I think that’s the key no matter what the demo.”

“And I have a great team around me,” she exclaims about both the young-end talent at K104 whom she describes as “amazing,” and then with Doug. ”We’ve been doing this for 15 years…what more can I say!”

Averaging maybe five hours of sleep a night, McGuire explains why she works so hard.

“I wanted to do it. I was stuck in that demo of 18-34. But I love R&B and the AC urban format too, so I thought, ‘Why couldn’t I do both… why do I have to choose one or the other.’ So now I have the best of both worlds.”

Besides, she adds, there’s no guarantee the same job will be available tomorrow. Radio has changed drastically over the last several years. Technology and syndication have caused a great loss of positions. Indeed, in Dallas alone, McGuire and her crew, which includes Lady Jade and Kevvy Kev of “The Crazy Azz Morning Show,” are up against no less than three nationally syndicated urban morning shows – Tom Joyner, Steve Harvey and Rickey Smiley.

“We have to work harder now,” she says. “I really admire people such as Egypt… she’s doing so many things. You have to constantly re-invent. Things are constantly changing. You have to change your game to stay in it.”

One of McGuire’s many attributes includes being able to attract major celebrities for interviews. Key, she says, is the approach. “There’s a way to talk to a celebrity… you can’t attack them,” she explains. “If they don’t want to talk about it, then don’t push it. I honor that and then they are also easier to get to next time. They will remember this person is fair. Working with Doug, I learned so much from him. I got that from Doug – never attack an artist.”

Her Do’s and Don’ts…

• Don’t attack.

• Make the artist comfortable.

• Always make sure to end on a high note.

• Pre-record – you can take out awkward moments.

McGuire has an admirable work ethic, but she also admits to a guilty pleasure. “I watch reality shows… I’m so addicted to them. “Housewives of Orange County”…all the Housewives, as a matter of fact. Anything reality, I watch. That’s how I relax.”

Looking back McGuire recalls how she got her start at a country station where she was initially hired as the receptionist. It wasn’t long, though, that management recognized her dynamic voice and personality and she went to work on air. He climb was swift, as she soon went on to program KIIZ-FM (Z92.3). She held down gigs at KTFM-FM (94.1) in San Antonio before taking on afternoons at heritage K104. Her career then took her to WPNT in Chicago, where she tried her hand at a late-night dating show for two years before heading to Top 40 WIQQ-FM (Q102) in Philadelphia as the midday afternoon drive personality.

In addition to co-hosting “The Ride With Doug & DeDe” and now doing morning drive on K104, she is also a popular television personality. She has successfully hosted two syndicated video programs and makes numerous guest appearances on top local and national talk shows.

And speaking of television, it’s too soon to tell, but word is that McGuire is about to announce another major gig, this one on television. Stay tuned!

“I have an incredible support crew… brothers and sisters, co-workers,” she says. “I don’t know how long this is going to last. This biz is getting smaller and smaller…but I’m going to ride it until the wheels fall off.”

 

KRIS LAMANS’ MULTIMEDIA ‘PLATTER’ OF SUCCESS Industry Veteran Helms Pearl Records Group and Filmworks

From the Red Sea to the Red Carpet…from the small screen to the big screen…from the son of a sharecropper to multimedia mogul…from student to star…from teacher to producer…from Mer Rouge to Hollywood…

By Hedi Butler

Cover Photo by Brian Lowe  Cover Imaging by Lawrence Fletcher  Photos by David Marshall

What do you do after you’ve traveled the globe performing for hundreds of thousands as a member of one of the premier vocal groups of our time?  And preceded that stellar chapter in your life with a solid career as a theater arts educator, producing and directing plays, and even taking to the airwaves as a television newsman?

For Kris Lamans, President/CEO of Pearl Records Group and Filmworks– one of four companies in his rapidly growing Los Angeles-based multimedia empire – his seven-year stint from 1970 to 1977as second tenor for the World Famous Platters was indeed transformative.  But what was to follow would transcend even his popularity as a part of that romantic era in music and the glory of an international spotlight.

With a fan base that crossed generations and geography, the group toured from coast to coast, as well as throughout Europe, Asia, Africa and South America. “My exposure with the Platters was phenomenal,” Lamans reflects, “but it actually helped to prepare me for what I’m doing today. I have developed five film projects just from that experience alone,” he explains. “I could not have had a better foundation for moving on to the next step – building my own entertainment company.”

For Lamans, it was the culmination of a long-held vision that one day he would have his own record label and film production company. He saw himself establishing a vehicle through which he could express his natural gifts and enduring passion for music, writing, directing and producing a diverse array of projects that, like the man himself, would not be confined by genres or demographics.

Today, the offices of his multimedia entertainment complex, prestigiously perched on one of the top floors at NBC/Universal Plaza in Hollywood, house not only Lamans’ music-making arm, PRG and Filmworks, but his other companies whose activities all complement and support each other:  Kris Lemans Production LLC (KLP), TAMDMultimedia Corporation, SAM PRODUCTIONS LLC, and FOCEN NETWORK Inc.

On the strength of his credibility in the entertainment industry, bolstered by impressive songwriting, production and acting credits accrued over the years, Lamans was able to secure a $250 million line of credit – green lighted for $50 million a year for five years – to finance his multimedia projects in music, film, television, video, publishing and other special projects.

But the savvy entrepreneur readily points out that he had previously raised $2.5 million, backed by the viability of two of his projects, to serve as development capital for his current operation.

While Lamans’ executive suite is tastefully and eclectically appointed with a mix of French antiques and bold modern art, it is far more than just an elegant showcase for a man with sophisticated tastes.  These days, it is a beehive of activity where he coordinates the companies’ ongoing and upcoming projects.

Currently, he’s enjoying the success of the most recent releases on his Pearl Records Group and Filmworks label through a major deal with LRT/INgrooves/Fontana Universal Worldwide Distribution. While following the latest industry trend of digital distribution, Lamans says his approach incorporates the best of the new and the old.

“We are using the newest technology to get our music out there,” he says, “but we are also committed to restoring the best traditions of R&B music with lyrics that are loving and respectful to women, that celebrate their beauty and the experience of falling in love. That never goes out of style.”

Not surprisingly, the label’s roster represents the company’s inclusive something-for-everybody philosophy. At the same time, the music is quality-controlled by the high standards the company imposes on its content and production values.

Leading the PRG artist pack is none other than the master himself, Kris Lamans. With his rich, mellow voice, described as a cross “between Johnny Mathis and Al Green,” the seasoned balladeer reignites the classic, “Close to You,” the debut single from his newly released CD, Dressed for Love

Sultry singer-actress Marva King, whose exceptional vocal talents have backed up a who’s who in R&B/Pop from Stevie Wonder to Michael Jackson to Prince, steps out front with an out-the-box winner, “Steppin.’” King’s hot new release, the first track from her upcoming album 360 Deal, is already soaring up the digital charts and anchoring PRG’s growing visibility in the music marketplace. King will be featured in an upcoming BRE cover story.

German-born Lisa Rine, whose model-svelte figure and exotic good looks complement her music, brings her European Rock background as a pianist-composer-vocalist to the label. With production assistance from Lamans, Kevin Dorsey, former music director for Quincy Jones and the late “King of Pop, as well as Jimmy Hunter, whose credits include working with the legendary “Doors,” Rine delivers a polished

A Country-Pop-flavored yet soulful sound that will appeal to a broad audience spectrum. War is Hell, her five-song EP, combines her singles with accompanying videos that add visual excitement to the music. Look out for “Do You Believe in Love,” “That Was Him” and  “Doing Him Really Good,” all of which are standout performances.

Rine has found a supportive musical home and mentor through her association with Lamans. “We share a passion as songwriters, performers and interpreters of music,” he confirms. “Lisa is not only very talented, but like Marva, she knows who she is and where she wants to go as an artist.”

Rine’s enthusiasm about her experience with the company is palpable. “I am so happy to be a member of the Pearl Records family,” she says. “I think it’s amazing and the best thing that’s happened to me in my career!”

As the company celebrates its musical successes, PRG’s partnership with Lisa Thomas of the LRT Music Group is providing the strategic link to getting their product marketed and distributed through a vast digital network.

“I am proud and excited that Kris Lamans’ Pearl Records is with LRT Music  Group/INgrooves/Fontana,” says Lisa Thomas, President/CEO. “Kris has brought back the soul, substance and romance that have been missing in our music today. I look forward to a long and profitable business relationship with Kris Lamans/Pearl Records and many hits!”

Thomas’s optimistic prediction may well be an understatement. During a recent BRE interview, she disclosed that the PRG sales figures were then in excess of 800,000 downloads. And this is just the beginning as the company releases more music and begins to build upon its own audiences.

While Lamans basks in the dramatic unfolding of a vision born during his early childhood in a hard-scrabble cotton farming town in Northeast Louisiana, he also reflects on the strengths he gained from his family – particularly his mother and father, Pearl and Talmadge Armstrong Sr. He has even immortalized his close relationship with his mother in the choice of her name for his company.

Indeed, the Armstrongs’ loving support and encouragement cleared the path for the long journey from his home in tiny Mer Rouge – which translates from the French as “Red Sea” – to the glamour of Hollywood’s Red Carpets.

Born Talmadge Armstrong Jr.–he is listed as “Tal” Armstrong in earlier credits as an artist and writer–he was the seventh of nine children in a close-knit family, seven of whom survive. Originally from Canton, Miss., where his musical bloodlines intersect with those of superstar Jennifer Hudson on his father’s side, the family relocated to Louisiana where his father acquired 23 acres of farmland and began the cotton farming enterprise that was the mainstay of their survival.

“When I walk into my office today and sit down at my desk, I think of my Dad and what it was like to share my vision with him,” he reflects. “Although I was charting a very different course, he understood my dreams of Hollywood and show business – and was with me every step of the way. He only asked that I never forget who I was, where I came from, or my responsibilities to the family that had always supported me.”

As a child, many signs pointed to Kris’s future.  He not only loved Westerns, he’d draw images and act them out, just as he did with the dashing characters of Captain Marvel and Zorro. He focused on his make-believe world even with the harsh realities of farm life ever before him, but that’s how creative people nourish their artistic souls.

While attending Delta High School, there was actually a paradigm shift in his life. His initial interest in sports was permanently diverted when he was cast by an English teacher in his first play, “Special Guest.” Kris won a “Best Actor’s Award” in a district theater competition and the die was cast.

As his graduation approached, decisions had to be made. Knowing the value of a son’s help on the farm, Lamans’ father took an unselfish long-range view and supported his desire to pursue higher education at Grambling State College (now University) in nearby Ruston. He was even instrumental in getting his son a Legislative Scholarship through connections with the Governor of Louisiana.

Grambling, which had one of the top Speech and Theater Departments among Historically Black Colleges and Universities, provided invaluable training, experience and exposure for the aspiring thespian. He was able to star in major theatrical productions from “The Rainmaker” to Lorraine Hansberry’s classic black drama, “A Raisin in the Sun.”

Under the mentorship of then Department head Dr. Floyd Sandle, who would be succeeded by his protégé and former student, Dr. Allen Williams, Lamans laid the academic foundation for the calling that would come to define his life and career.  His talent bloomed on stage as a performer, while he also mastered stagecraft – how to build sets, mount plays and ultimately, to direct.

When he graduated from Grambling in 1962, Lamans was well equipped to take on the world with a Bachelor of Science degree and multiple majors and minors, ranging from Speech and Theatre to English, Humanities and the Arts. It was also a triumphant day for the whole Armstrong family, complete with an emotional embrace from his father who had left his seat in the audience to join his son as he received his coveted degree.

A recommendation from Dr. Sandle led him almost immediately to a position teaching English and Drama at a high school in Beaumont, Texas. In short order, he had created a mini-theatrical training ground modeled after his experience at Grambling. Not unlike the competitive choir instruction in the popular TV show “Glee,” Lamans mounted first-rate productions, including “A Raisin in the Sun” to instill an appreciation for quality theater production in his students, who excelled under his guidance.

Lamans went on to earn a Master’s Degree at Beaumont’s Lamar University and achieved more visibility in the market delivering news and weather on the city’s KBM-TV. All the while, he was moving closer toward his dream as he made his way from Texas to California – and yes, Hollywood.

Before long, he was starring in an award-winning film for television, “One of the Missing,” as well as scoring roles in “The Evil Altar” and “Melinda.” The teacher had come to claim his own stardom and even more opportunities awaited him.

From the time Lamans was tapped to join the lineup of the World Famous Platters in 1970 to the ensuing years, his hard work began to pay off with a series of breakthroughs. He was actually making his mark in the highly competitive Los Angeles entertainment scene and was poised to accomplish much of what he had long ago conceived in his mind’s eye.

So it came as no surprise when he caught the attention of the late Harvey Fuqua, a former member of the legendary Moonglows and a much sought-after writer-producer turned record executive. Hearing him sing at a club with The Platters, Fuqua signed him to a recording and publishing deal at RCA and produced two albums on him.  Lamans went on to write or co-write a catalog of more than 250 songs under the RCA publishing banner.

But identifying and nurturing talent, from students to stars, has always been Lamans’ hallmark.  Today, he takes great pride in grooming his artists, each of whom came to the company in a more destined than deliberate way, while encouraging them to discover and appreciate that special gift that lies within them.

And it is that artist-to-artist understanding that allows him to run his own multimedia entertainment empire so effectively.  As PRG gears up to make noise in the industry on several fronts during the coming year, Lamans insists that it has all come together because the staff is united in purpose and support – a concept modeled after his own family dynamic.

He vividly recounts his father’s frequent reminders of Lincoln’s cautionary advice about the dangers of  “a house divided.” So his company has become a family in a very real sense, complete with “pet names” for each other.

The current Pearl Records Group and Filmworks team is led by Lamans, who serves as President/CEO of all four corporate entities. Sonja Dunson, the Treasurer, is as much a one-woman entertainment dynamo as the man who calls her his “sister.”  Dunson, a Detroit native, is a former television actress, Michigan and USA beauty queen, and independent filmmaker.  She has scripted and produced her own SBA-financed movie, “You Can’t Buy Love,” for which Lamans helped to write and record the soundtrack. “She is unstoppable, a remarkable talent,” Lamans says.

A more recent but integral member of the PRG family is Belinda Foster, Executive VP of Marketing and Public Relations. Foster, whom Lamans describes warmly as ”our staff motivator,” was also a former television actress before launching a highly successful career in entertainment-focused public relations.

The President of her own AWJ Platinum PR of Beverly Hills, Foster is fully committed to promoting PRG’s impact across its multimedia platforms.  Recently, she brought on board her associates at Rogers and Cowan to assist in the company’s international branding efforts.

“I believe in Kris Lamans and his vision for Pearl Records Group and Filmworks … and all the projects and artists we are so proud to work with,” Foster told BRE. “We are inspired daily by Marva King, Lisa Rine, Kris and all the wonderful PRG artists to create solid campaigns to market their goals to success.”

Other members of the PRG team include Selena Hutcherson, Corporate Finance; Pamela Azmi Andrew, TV Production (with Casting Director credits); and Kevin Dorsey, Executive Producer.

But the talents and experience of PRG’s non-music staff will soon come into play as scheduled projects in other media kick off. The recently taped pilot for the upcoming television series, “The Soul of American Music” (produced by SAM Productions LLC in association with PRG/KLP) was a stirring tribute to the legendary Sam Cooke, whom Lamans counted among his private circle of industry friends.

According to BRE founder and chairman Sidney Miller, who attended the taping, the pilot served notice that the series may well have blockbuster potential. “This show will add another dimension to the genre popularized by TV One’s excellent ‘Unsung,’” Miller said. “I applaud Kris’s efforts to bring more visibility to the giants of American music in such an entertaining way, particularly for the current generation.”

As Lamans and company segue from the small screen to the big screen, there is one upcoming film project that is unquestionably closest to his heart. “’Heat on the Delta’ is actually my fictionalized retelling of my family’s history, including my mother and father’s love story,” he reveals.  “It is set in a small Louisiana town between 1918 and 1948.”

The intriguing storyline follows the course of an unlikely friendship that develops between the black son of a sharecropper and the white son of a wealthy plantation owner – a relationship that survives, against all odds, the rampant bigotry and hatred of that era.  These characters are loosely drawn from the experiences of his father and a longtime white friend who was, in fact, the gentleman responsible for securing Lamans’ scholarship to Grambling.

In the synergistic way in which so many of his projects have come together, casting for “Heat on the Delta” has had a similarly organic flow.  “Of course, Marva King has it all and was a natural to play the character based on my mother,” Lamans says, “and we’re looking at Idris Elba to play my father’s role.”  What was really fated was finding Susie Oliver, a beautiful Canadian-born actress who Lamans knew immediately would be perfect as the white female lead to play opposite a Matthew McConaughey- type as her husband. “We’ll complete the casting and begin shooting in Canton this summer,” he says.

But the filmmaker also has other powerful non-urban stories to tell. “The Crowning Glory” is a biopic based on a book by Eric Root, Lana Turner’s longtime hairdresser, companion and confidante.  In a society still obsessed by the dark side of celebrity, Lamans plans to bring a more sensitive approach to Root’s riveting revelations about the glamorous screen legend, who was embroiled in a sensational murder and scandal involving her daughter and her mob-connected lover.

From a screen queen to the “The Empress of the Blues,” Lamans proudly announces, too, that he has acquired the rights to “The Bessie Smith Story,” and is looking forward to introducing one of the most influential but least known women in black music history to new audiences.

How does one man juggle so many projects?  Clearly Kris Lamans’ multimedia ‘platter’ is filled to the brim. But his drive is super-charged by the adrenalin of living the vision for which he started preparing himself as a child back in Mer Rouge, surrounded by the greatest teachers of all – his parents. Through the years, he has used their wisdom as a compass to guide him at every juncture of his journey from self-discovery to self-realization.

Kris Lamans sums up his philosophy boldly and succinctly.  “If you’re not successful, there is something you didn’t do,” he says. “You’ve got to be willing to go for it from your gut!”

From where we sit, there is no better example than his own success with Pearl Records Group and Filmworks that Lamans is walking his talk. All the way to the top of NBC/Universal Plaza.

WHUR GM Jim Watkins Named BRE Man of the Year

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Big Boy Tells An Extraordinary Story of his XL Life

Big Boy, aka Kurt Alexander, is bigger than ever and I don’t mean in size. Known for his over-the-top personality and sense of humor, the host of the consistently top-rated morning show that originated on Emmis KPWR-FM (Power 106) into a nationally syndicated show is talking in another medium as well. After being approached daily in grocery stores and on the streets about the entertainment business and fielding questions on his rapid weight loss, Big Boy decided to share the details of his story in a book. Describing it as his memoir, this BRE Drummer Winner of Personality of the Year talked to BRE about the life lessons he’s learned and the many layers he had to pull back in order to write “An XL Life: Staying Big at Half the Size,” released through Cash Money Content, the book publishing arm of record label Cash Money, via Atria Books, a division of Simon & Schuster.

“My book is not just about weight loss or a new you in the New Year,” promises Big Boy. “It’s about overcoming obstacles, believing in yourself and self-worth.  I didn’t go out of my way to write an inspirational book, but, if I can stand up and give some inspiration, I think I’m serving a purpose.”

Growing up in a family of seven wasn’t always easy, but Big Boy recalls always being a “big happy cat.” “My mom was a single parent and there wasn’t a lot of money so you entertained yourself.  I was never the sad fat guy.”

In his early teens, he took up deejaying and an unforeseen meeting with a radio station head honcho would ensure that his talents would not go unnoticed.  Big Boy quickly established a Power presence for Angelenos that would consistently rank the Emmis morning show in the top spot. When his nearly nude 500-plus pound image started gracing billboards around the city, Big Boy really blew up. And soon Hollywood came calling.  Ironically, he says he never really had a problem in his mind with his weight and has always been comfortable in his own skin. “I was already Big Boy when I was 15 years old and now I’m this guy that’s even more accepted. I could celebrate being this 500-pound guy and didn’t have to hide.”

He would occasionally play with the idea of losing weight, making countless promises to himself that he would start but then he would stop.  It would take a weight loss challenge from friend and superstar Will Smith to kick-start his health back on track. “It was a great opportunity because he said he would give $1,000 for every pound I lost to a charity,” shares Big Boy. “I was fine with that, but, I was also thinking this would be a great bit for radio.”  At the final weigh-in, Big Boy raised $111,000 for his charity. The moment the weigh in was over, however, he drove to his favorite Mexican restaurant and found himself eating more and more and soon the weight began to pour back. “I could see I was spiraling out of control with my eating habits and knew if I didn’t make a change I would be dead in a year.”

So why did it take him almost another year to really make a decision about his health? Was it the Big Boy brand? “I definitely thought about that. What’s the joke going to be? Where’s the funny?” he shares. “I only stuck on that for a second though because the reality was, it wouldn’t matter because I was gonna be dead.”  When he ran into an old friend who was once over 500 pounds and had slimmed down considerably with the help of a gastric bypass procedure, Big Boy watched in awe as he saw how easily his friend was able to get in and out of any seat he wanted at a movie premier.

On November 28, 2003 he flew to Murrieta, GA to undergo the Duenodal Switch procedure for himself.  Although 30 pounds lighter when he arrived back home, he said something was wrong. “I just didn’t feel right. I’m losing weight and looking a mess. I’m passing out and getting lockjaw. I went from morbidly obese to malnourished.” For another year, Big Boy fought to stabilize himself and to get settled into his new body all the while continuing to do his radio show, even if it meant literally lying on the floor at work to get through it.

In hindsight, Big Boy says he wouldn’t’ necessarily recommend gastric bypass procedure to anyone without doing the necessary research.  “I would tell someone if you can lose weight by going to the gym, then try that first.”  It was during the writing process of his memoir that Big Boy realized he had been in denial about the real issues with his weight.  “I started to really understand and really look at the root cause.  I had to find out what was behind it and why I was having a love affair with food.”

His love affair hasn’t been easy to end, but he has definitely learned a lot of great lessons along the way. “Anything you do in life is like a credit card. If you charge it up with unprotected sex, smoking or being morbidly obese…whatever is on that statement…be it heart attack, diabetes or death…when it comes due, we pay for it with our health.” That realization “wasn’t like a light turned on, but more like a dimmer switch that got brighter and brighter,” he says.

He titles the book’s prologue “If I Wake Up And See Biggie,” a realization that was all too close. Two surgeries and two blood transfusions later, Big Boy’s health has stabilized, but even at half the size, he is and always will be, Big Boy.  And by telling his story he hopes to change the habits of anyone heading down an unhealthy path because of a destructive relationship with food.  If he is able to save the life of just one person struggling with the side effects of weight-loss surgery and unhealthy eating, then An XL Life was well worth writing.

Having appeared in such film and television shows as The Player’s Club, The Longest Yard, and Entourage, Big Boy can be seen this February, in time for Valentine’s Day, in “Exit Strategy,” the first major film role since his weight loss and health have stabilized.  Executive produced by Big Boy as well, the film also stars Kevin Hart, Jameel Saleem, Kimelia Weathers, and “Q-Deezy” Harris relating the “un-romantic” story about a man trying to break up with the girlfriend with whom he recently moved in.

            At the Los Angeles book launch, Cash Money principals Slim and Bryan “Baby” Williams presented the book release at a special reception throwing down the challenge that if this book made the New York Times Bestseller list, they would deliver a red Ferrari with the drop down top to Big Boy, a statement Big Boy has videotaped that plays on his website for Big Boy’s Neighborhood.

BRE Michael Jackson Performer of the Decade BEYONCE

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Decade Timeline of Beyonce’s Solo Career

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2001
Featured in MTV’s Carmen: A Hip Hopera television soundtrack
At the Golden Globes
Performs at Essence Music Festival
ASCAP Pop Songwriter of the Year Award

2002
Starred in “Austin Powers in Goldmember” as Foxy Brown
“Work It Out,” first solo single from Goldmember soundtrack
Featured on Jay-Z’s “Bonnie & Clyde”
Voted #1 on VH1’s Hottest Hotties

2003
Starred in The Fighting Temptations releasing soundtrack singles “Fighting Temptation” and “Fever”
Dangerously In Love
#1 Singles: “Crazy In Love,“ featuring Jay Z, “Baby Boy” featuring Sean Paul,
“Daddy”
Featured on “The Closer I Get To You” with Luther Vandross
5 Grammy Awards
Jay-Z and B perform at MTV Video Awards
Beyonce performs with Jay-Z on his Black Album tour
Performed at Z100’s Jingle Ball in NYC
Performed at MTV European Music Awards where she won 2
Winner of Vibe Award
Essence Awards
BET Awards
Billboard Music Awards
American Music Awards
VH1 Big Entertainer of the Year
Wins 3 VMA Awards
Wins 2 MTV Europe Awards

2004
The Star Spangled Banner (Super Bowl XXXVIII Performance)
“Naughty Girl,” “Dangerously In Love 2”
Live At Wembley DVD released and later certified double Platinum
Released 4th and final album, Destiny Fulfilled, with Destiny’s Child
Introduced House of Dereon fashion line with her mother Tina
Wins Best International Female Solo Artist at The Brit Awards
Wins Artist of the Year Top 40 Radio at Radio Music Awards
Wins 5 Grammys, performs opening number with Prince
Wins 5 MTV Awards
Madame Tussauds introduces Beyoncé
People’s Choice Favorite Female Performer
Soul Train Award and Sammy Davis Entertainer of the Year
NAACP Image Award, Entertainer of the Year
TRL First Lady Award
Nominated for BET Outstanding Lead Actress for The Fighting Temptations

2005
“Check On It” (feat. Voltio) reggaeton release from the Bama Boyz
Disbands Destiny’s Child
Launch of her own fragrance True Star Gold
Launch of World Children’s Day at the Ronald McDonald House (“Stand Up for Love” by Destiny’s Child became WCD anthem)
Beyonce and Jay Z at Grammys
Pepsi commercial
Opening Samantha Thavasa shop

2006
The Pink Panther
Dreamgirls (earned her 2 Golden Globe Nominations)
“One Night Only”
B’Day
Hits “Irreplaceable” and “Beautiful Liar”
“Déjà Vu” featuring Jay Z
Video Triple Play
Beyonce Knowles and Eva Longoria L’OREAL Legends Gala Benefiting The Ovarian Cancer Research Fund, at the American Museum of Natural History, New York City
Jay-Z and Bey at Grammys
Celebrates her 25th birthday and album release of B Day

2007
“Listen” from Dreamgirls Motion Picture nominated for Academy Award
“Beautiful Liar” with Shakira, “Get Me Bodied,” “Green Light,” “Upgrade U” featuring Jay Z
Featured on “Hollywood” with Jay Z
Featured on “Until the End of Time” with Justin Timberlake
The Beyoncé Experience Tour begins at New Orleans Essence Music Festival
Jay-Z and Beyonce at Golden Globes
Sports Illustrated Swimsuit Selection
World Concert Tour sporting all female band
At VMAs with sister Solange
Performs at 49th Annual Grammys

2008
Starred in Cadillac Records as Etta James, releasing “At Last”
I Am…Sasha Fierce
4 major hits included “If I Were a Boy,” “Single Ladies (Put a Ring on It),” “Halo” and “Sweet Dreams”
“Ave Maria”
“Si Yo Fuera un Chico” (Spanish release)
“God Bless the USA” released for charity
Featured with Lil Wayne on “Love in this Club, Part II” with Usher
Featured on “Just Stand Up” Artists Stand Up To Cancer
Performs with Tina Turner at Grammys
Performing at Radio City Music Hall with Jay-Z
Seventeen Style Star of the Year
Marries Jay-Z

2009
I Am…Sasha Fierce (the Bonus Tracks)”Diva,” “Halo,” “Ego,” “Sweet Dreams,” “Broken0hearted Girl,” “Video Phone” featuring Lady GaGa, “Radio”
“Sing A Song” The WubbGirlz featuring Beyoncé as Shine
“Halo” (Single & Remixes)
Ego / Sweet Dreams (Singles & Dance Mixes)
I Am…Yours: An Intimate Performance at Wynn Las Vegas DVD/CD
Starred in Obsessed with Idris Elba in which she won MTV Movie Award for Best Fight Scene with Ali Larter
Sings “At Last” at Presidential Inaugural Ball for First Lady dance
Sings “America the Beautiful” at Inaugural Ceremonies
With Etta James, whom she portrayed in Cadillac Records
Star on the Hollywood Walk of Fame with Destiny’s Child
RIAA declared her the Top Certified Artist of the 2000s with more than 11.2 albums and 25 million singles in U.S. and 75 million records sold worldwide

2010
“Fever”
“Wishing on a Star”
The Beyonce Experience (Live Instrumentals)
Above and Beyoncé – Dance Mixes
I Am… World Tour
Telephone (The Remixes) with Lady GaGa & Beyoncé
Featured on “Put It In A Love Song” with Alicia Keys
6 Grammy Awards (breaking record for most Grammy Awards won by a female artist in one night)
Ranked 1st on Forbes 100 Most Powerful and Influential Musicians in the World
Ranked 2nd on Forbes 100 Most Powerful and Influential Celebrities in the World
Named VH-1 100 Greatest Artists of All Time
Opened the Beyoncé Cosmetology Center at the Phoenix House Residential Rehab Clinic in Brooklyn
Performed with Jay-Z at Coachella Music Festival

2011
4, executive produced by Beyoncé (became fourth consecutive #1 studio album as a solo artist certified Platinum)
Deluxe Edition released exclusively through Target
6th video release from 4, “Party” featuring J Cole with cameos from Solange and Kelly Rowland
Live at Roseland: The Concert DVD
Live at Roseland: The Elements of 4, 2-disc deluxe package
“Move Your Body” fitness video campaign with First Lady Michelle Obama to fight childhood obesity
2nd female artist and 3rd overall to have her first 4 studio LPs debut atop the BB charts
4 declared double platinum with end of year sales at 2.129 million worldwide
Launch of her third fragrance with Coty Pulse
At the Costume Institute Gala at the Metropolitan Museum of Art in NYC
1st female to head Glastonbury Music Festival in UK
Launched House of Dereon in the UK at Selfridges during London Fashion Week
Won Best Fragrance for Heat in Dutch Drugstore Awards
Billboard Millennium Award winner and performed “Run the World (Girls)” at Billboard Music Awards
Pregnancy announcement at MTV Video Awards where she performed “Love On Top” broke twitter records for most tweets per second for a single event (8, 862 tweets per second)
Won VMA for “Run the World (Girls)”
S o l d o u t 4 n i g h t s a t N Y C ” s R o s e l a n d Ballroom f o r a n u n p r e c e d e n t e d ” Intimate ” p e r f o r m a n c e
VH1 named “Crazy in Love” featuring Jay-Z #1 Song of the Decade

2012
Birth of Blue Ivy Carter
Nominated for 4 NAACP Image Awards
Nominated for Brit Award for Best International Female Solo Artist
A Star is Born

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.”

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