Lost in Translation; Making Sense of the Far East Through a Western Prism

By Hal Bringman and Elias Bustos, November 1, 2011

We’ve lost track of the number of trips we’ve taken to China at this point. One thing that remains the same, however, is China’s ambivalence about the web. Between the many meetings with the Shanghai Media Group spanning the last several years, to the most recent TechCrunch Disrupt Beijing, it seems we take one step forward and two steps back, as China grapples with the Internet. Just as the historic inaugural TechCrunch Disrupt in Beijing wound down, rumors of a tightening of the Internet began swirling.

Indeed, within days, China’s IT chiefs agreed to tighten their clamp on the web even more. With various Western startups struggling to get off the ground to bring music into China in an effort to both create a music industry, and further bolster an IP economy in the region, the government’s moves creates more uncertainly for investors in the West.

Financial Times reports the heads of China’s leading information technology companies have pledged to censor Internet content more strictly as the local government tries to tame a boisterous online media.

The chief executives of 39 Internet, telecom and computer groups have reached a “consensus” that Internet companies “must strengthen self-control, self-restraint and strict self-discipline”, the official news agency Xinhua said on Sunday.

“[They must also] determinedly contain the tendency of spreading online rumors, pornography, fraud and other illegal, harmful information on the internet,” it added.

The government has made gestures to open up in the past and use the same censorship tools to combat piracy and bolster the sale of content, especially through the mobile ecosystem where nearly $3b is collected annually in mobile music revenues.

Next week, the preeminent Mobile Asia Congress event takes place in Hong Kong. From mobile money to mobile applications, the executive level conference examines the growing app-shaped world and how to adjust to it as quickly as possible.

As divergent senior level executives from Facebook to China Mobile and the Chairman of the FCC deliver keynote speeches at the event, the future of mobile in China, and around the world, will be a trending topic.

At TechCrunch Disrupt Beijing last week, Google’s John Lagerling, Director of Global Partnerships, Android at Google, wouldn’t give any insight as to when the company’s application store, Android Market, might be launched in China (currently, Android phones shipped officially in the US have application stores from handset makers or third parties pre-installed instead).

When asked at Disrupt whether Google is making an effort to launch Android Market in China, Lagerling would only say the company is always working with its partners, without elaborating. Google, as many other Western corporations, has retreated from China in the past due in part to government interference and partly caused by their own misunderstanding of how business is done in the world’s second most powerful economy.

Ultimately, speakers on the panel agreed that many opportunities are being explored on how to make more money in the world’s largest mobile market, and that things may change dramatically as advertisements in applications are rolled out, and cheaper tablets (1,000 Yuan or less) begin to sell in China in 2012, reports WSJ.

One hopes that China’s desire to squash rumors, pornography and other undesirable content doesn’t also squash investors’ zeal to help startups emerging from the East’s rising sun.

Stormy Biopic ‘Thunder Soul’ On Horizon

It’s such an entertaining and inspirational story that touches your soul and awakens the human spirit in the way that only love and the power of music can.—Jamie Foxx

It’s already rumbling in the distance. Not due out until September, the motion picture “Thunder Soul” is already receiving a major buzz. Presented by movie and music star Jamie Foxx, the movie follows alumni of Houston’s storied Kashmere High School Stage Band. Years of victories against racial strife and overcoming obstacles mark the flick, which was inspired by many of the band’s members who return home after 35 years to play a tribute concert for their 92-year-old bandleader. Conrad “Prof” Johnson was their beloved bandleader who broke the color barrier and transformed the school’s struggling jazz band into a world-class funk powerhouse in the early 1970s.

Indeed, the 83-minute film (rated PG for brief “colored” language and smoking) is earning rave reviews. “Thunder Soul” won Best Documentary at the Pan African Film Festival and was also recognized with awards at SXSW and the Los Angeles Film Fest. It won Best Documentary Feature at the 2010 Indie Memphis Film Festival and it’s also been nominated for an Indie Spirit award. It won the Heartland Film Festival’s 2010 Crystal Heart Award and was also nominated for the International Documentary Association’s Music Award.

The theatrical release date of “Thunder Soul,” which was directed by Mark Landsman, is September 23.

“Thunder Soul” tells the true story of Conrad O. Johnson, known by his students as Prof, and the legendary Kashmere Stage Band in Houston in the 1970s. The film follows the aspiring musicians and their charismatic bandleader as he turns them from a mediocre jazz band into a legendary funk powerhouse. And now, 35 years later, these same students are preparing to pay tribute to the man who changed their lives. Some haven’t played their horns in decades, but many will still dust off their instruments, determined to retake the stage to show Prof and the world that they’ve still got it.

During its time, the Kashmere Stage Band gained notoriety at numerous student competitions and music festivals (winning 42 of their 46 competitions), but they also gained success in the commercial music world as well. Count Basie once said of them that they were the best school band he’d ever heard.

Dubbed as a music documentary, “Thunder Soul” is being hailed as a heartfelt celebration of funk and the transformative powers of a great teacher.

Exec producer Jamie Foxx is presenting “Thunder Soul” to help bring attention to the Roadside Attractions release. “I can’t wait to share ‘Thunder Soul’ with the world so that everyone can enjoy this one of a kind experience,” Foxx says proudly. “It’s such an entertaining and inspirational story that touches your soul and awakens the human spirit in the way that only love and the power of music can.”

Even the story behind the story is touching. According to insiders, Landsman raced to Houston to get the film rights after pulling his car to the side of the road one day when he heard an NPR story about how the legendary ‘70s Kashmere High School band was reforming to honor their teacher. Landsman Googled the band leader’s name and went through some hoops to finally reach the man the kids called Prof. Insiders say Landsman scored a coup, as other filmmakers were trying to get the rights too. Initially, Landsman, who is an award-winning independent filmmaker, researched the movie as a fiction piece, but as he shot the unfolding story, it became obvious it would work best in a documentary format.

Jamie Foxx, a Texas-native himself and an outspoken advocate of music education in schools, heard about the film after its SXSW premiere and wanted to be a part of it and bring attention to it like Oprah Winfrey and Tyler Perry did for “Precious.” Foxx also serves as executive producer, along with his FoxxKing Entertainment partner Jaime King. Snoot Entertainment’s Keith Calder and Jessica Wu produce.

“Having Jamie Foxx on board with us is incredible,” said Roadside Attractions co-president Eric d’Arbeloff. “And his enthusiasm and excitement for the movie is palpable.  We couldn’t be happier that he’s mentoring the film in the same way that Prof mentored his Kashmere High music students to greatness.” Roadside Attractions’ credits include Chris Rock’s comedic “Good Hair,” Morgan Spurlock’s “Supersize Me” and the Academy Award-winning “The Cove.”

New Black TV Network Launching This Fall

Ambassador Andrew Young, MLK III Behind Major Move

A new television network, based in Atlanta, aimed at Black-oriented audiences is set to launch this fall. Although the project was been in the works for some time, its timing is on point, as a study, just released in April, indicates that African-American households watch more TV than the national average.

According to Nielsen Media, Blacks ages 18 to 49 watch televisions at a pace of seven hours and 12 minutes a day. That’s more than two hours per day above the national rate of five hours and 11 minutes and just shy of four hours per day more than the amount of TV watched by Asian-Americans, who clock in a relatively meager 3 hours and 14 minutes a day.

Bounce TV is being spearheaded by political icon Ambassador Andrew Young, Martin Luther King III (son of the late civil rights leader, Martin Luther King Jr.) and Young’s son, Andrew “Bo” Young. Other principles include the trailblazing duo of Rob Hardy and Will Packet, founders of Rainforest Films, and Ryan Glover and Jonathan Katz, formerly of Noontime Records and Turner Broadcasting. And leading distribution efforts is former Sony Pictures Television exec Jeffrey Wolf.

“I am proud that our network will deliver free programming exclusively for our under-served community and be accessible to all homes around the country and not just those who pay for television. We look forward to Bounce TV entertaining African American viewers for many years to come,” commented Ambassador Young.

The new network already has commitments to debut in more than 30 markets, thanks to deals struck with Raycom and LIN TV. The Raycom deal, which put Bounce in major markets such as Cleveland, Cincinnati, Birmingham, Memphis and Charlotte, among others, represents 10 percent of all U.S. households and 19 percent of African-American television homes.

In addition, the LIN TV deal was just inked days ago to carry Bounce TV in markets Indianapolis, Norfolk, Mobile, Hartford and Dayton. Bounce TV expects to be in at least 50 percent of U.S. television households at launch time, with more distribution agreements forthcoming.

The new network’s rivals are BET and TV One, which can be found on Comcast and DirecTV.

A Bounce TV press release indicated that programming will target African-Americans primarily between the ages of 25-54 with a mix of theatrical motion pictures, live sporting events, documentaries, specials, inspirational faith-based programs, off-net series and original programming. Bounce TV will be on air 24 hours a day, seven days a week.

Bounce has already gained the television rights to nearly 400 motion pictures through multi-year licensing agreements with NBC/Universal Domestic Television Distribution, Sony Pictures Television, Codeblack Entertainment and Image Entertainment. The network also inked a multi-year rights agreement with Urban Sports Entertainment Group (USEG) to televise both football and basketball games from the nation’s largest African-American athletic conference – the Central Intercollegiate Athletic Association.

Rob Hardy and Will Packer are co-founders of Rainforest Films – one of the top African-American production companies in the world. The duo created Rainforest Films in 1994. In three short years, they had three highly successful films open: “Stomp The Yard,” “Obsessed” and “Takers.” Their successes have landed them amongst the Top 25 Entertainers and Moneymakers, according to Black Enterprise Magazine.

At Bounce TV, Hardy will serve as chief content officer, while Packer will be chief strategy and marketing officer. Ryan Glover and Jonathan Katz will serve as executive vice presidents.

“There are nearly 13 million Hispanic television households that are served by dozens of Spanish and Spanish-language versions of networks,” Glover, who is also a former record label executive, said in a statement. “Yet, the more than 14 million African-American TV households have just a few dedicated cable channels and no over-the-air networks – until now. Bounce TV will fill the void for people who are hungry for more African-American related programming, stories, characters, sports and events.”

The network is leveraging the marketing, digital, post production and operational resources of Atlanta-based CSE, one of the country’s leading independently-owned sports, entertainment and television production agencies. CSE, among other things, offers content development, remote production, studio production, post-production and motion graphics. Its client list includes major international corporations, such as AT&T, Southern Co., Sharp, Kellogg’s and numerous major sports teams.

ARETHA TALKS ARETHA – AND HER NEW ALBUM

A Conversation with Dr. Don Mizell

After sharing the worldwide concern about the health of one of our greatest artists – Aretha Franklin, the Queen of Soul – I could not believe that a mere eight months later, the lady with whom I was conducting a special BRE interview could exude such grace, peace, warmth and wisdom. I wondered how she had found the strength and perseverance to produce, write, arrange, perform and release a fantastic new album, A Woman Falling Out of Love. As usual, she was candid and forthcoming in a far-reaching conversation that covered her life and music today.

DM: First, congratulations on giving us once again another sample of your greatness as an artist. But I must ask how you turned your personal situation around so rapidly?

AF: Well, all glory to God! It is by God’s grace! Of course, I’ve been taking better care of myself. I’ve changed my diet and my attitude about it. I don’t eat like I used to anymore. Yes, I still love those things, but since they don’t love me back I’ve let them go, pretty much. Sort of like certain people and other romantic situations I may sing about. I think about nourishment, not just taste. Now it’s Whole Foods… more vegetables… organic foods. Less meat, less dairy. I’ve gotta watch that cholesterol intake. Trim the fat and watch the portions. And exercise. Lots of exercise.

DM: Sounds like a lot of discipline to me. Well, your singing on this album is sublime. Even though you are sometimes conveying romantic disappointment, you don’t sound really angry. You sound like everything is wrapped up in a big dose of loving kindness.

AF: Well, you learn to cool out. You develop a better understanding of people’s capacity…what others can be and do. You can’t make people be who you want them to be. They are who they are. They can’t be whom you might like. Accept that or leave it alone. People don’t own each other…you can just go ahead and fall out of love, you’ll be alright, and they will too. Don’t try to stay in love when it’s not the real thing. Learn to let go of things that are not the real thing, the whole thing…and know that it’s okay to go ahead and grow out of love.

DM: The album is called A Woman Falling Out of Love, but it sounds to me like there is a lot of love in this record… it’s very lush and dreamy…the kind of record you could fall in love to, and not just with.

AF: Well, I picked the songs I love. Just songs that have real meaning to me. Songs from my youth like ‘A Summer Place’ and my duet with Ronnie Isley, ‘The Way We Were’ have always been favorites since way back when. The lyrics are so beautiful. And Curtis Boone wrote a really gorgeous tune, ‘When Two Become One,’ that I think will really catch on.

DM: That BB King song, ‘Sweet Sixteen’ is truly sweet.

AF: Well, it’s funny, because the first time I heard that song I was around sixteen. It was my dear friend Ronnie Isley who was singing it in a club in Brooklyn called the Town Hill, and he was around that same age too. I wanted a blues song on the album and I chose it because I tried to have a little something for everybody.

DM: Your son’s original tune (“New Day” by Kecalf Franklin Cunningham) has a nice touch of hip hop to it. It’s very contemporary.

AF : Thank you, I’ll tell him.

DM: And your son Eddie sounds really good on the gospel track, ‘His Eye is on the Sparrow.’ It brings a pure traditional spiritual to the mix.

AF: Yes, I’m proud of him, and all my children, for that matter. I am going to release his (Eddie’s) album later in the year on my label. (Her son Ted White Jr. is the music director and guitarist in her touring band.)

DM: The album has a nice flow and feels kind of like a mood experience. Was that deliberate?

AF: No. I was not focused on my moods, or creating a mood, but more on my tastes, and the songs I like. I wanted to make a really musical record. It’s been a long time since people have heard some REAL music, not just something aimed at being commercial. Not a whole lot of artists are still all about real, whole music, although there are still a few doing it. This is for my fans who prayed for me and who have been there for me over the years. I love singing, I love recording, I love performing. It’s a gift from God and I love to share it.

DM: You wear a lot of hats on this record. You served as executive producer, produced and wrote some of the tracks, and released it on your own label. Why did you put yourself through so much work?

AF: I learned a long time ago about the importance of creative and business control, and the value of proper credit. When I was young I did a lot of the producing in the sessions, but I was not given the proper credit for my contributions. But one day I sent a friend of mine to go talk to Atlantic about it and since then I’ve kept that in mind. At this point I figure I should have complete control. I know enough, I’ve done enough. And sometimes too many spoons spoil the soup. And this is definitely Aretha’s soup and I’m a good cook.

DM: Well, it’s delicious.

AF: Next time, I will have a few more uptempo tracks. But otherwise, I’m just so thankful I’m receiving such a positive response from the industry, the press, and the public. It’s very gratifying.

DM: And so satisfying. How about radio, Black radio, you’ve got some radio- ready tracks. And your voice is in top form, classic Aretha.

AF: I still listen to radio myself. In fact, I love listening to Tom Joyner, Steve Harvey, Michael Baisden and others. I know the biz has changed, but for the good, in my opinion. There are lots of places artists can go now, other routes to get out there. The Internet has had a big impact and it’s actually easier for artists who want to do their own thing. Not just established artists like me, but all artists now have ways to develop their own opportunities. It’s a good thing. You don’t have to be a star to have creative control and make the music you want. Go for it, it’s a new day, and there are new ways to get out there.

DM: You included “My Country Tis of Thee,” the song you sang at the Obama Inauguration?

AF: I re-recorded it so people could finally hear it the way they were supposed to hear it then. I wasn’t too happy with my performance because it was just too cold to sing as well as I wanted. It was a part of American history, a crowning moment, and I so appreciate President Obama asking me to sing it.

DM: Speaking of that moment, how about that now infamous hat you wore? What is going to be its destiny?

AF: The chapeau? Well, the hat took on a life of its own. I’m going to donate it to the Obama Presidential Library when he leaves office.

DM: Well, you may be giving up the hat but certainly not your crown. When folks hear how good you sound and the stellar production on this record, your fans and supporters are going to love it!

AF: I hope so. I love singing for them with all my heart and soul.

MAN OF THE YEAR: MICHAEL’S UNIVERSE

Black radio, the medium upon which Black Radio Exclusive Magazine (BRE) was founded, literally grew up with Michael Jackson, and it has been through those eyes and ears that the little kid from Gary, Indiana not only heard his first James Brown licks but also his own music as it fanned the world. The professionals in radio and the music industry who were welcomed aboard and helped contribute to the MJ phenomenon recall many of those moments when they learned firsthand the work ethic, discipline, passion and pursuit of excellence through which Michael defined not only his artistry but his very lifeform—a template upon which to build a better world.

The video is a tribute to all that Michael stands for–life, in all its permutations…love, and its power…. A video of memory, healing and joy.—Mark Pellington, director of video for “Hold My Hand” (duet with Akon)

In 2007, I co-wrote a song called “Hold My Hand” with Akon. A good friend and dope engineer, Exit Goodchild, made it sound like magic. My idol, Michael Jackson recorded it and made one of my lifelong dreams come true. It was slated to come out…what happened next the whole world knows. It’s now 2010, and although the circumstances are bittersweet, I am still honored and proud that “Hold My Hand’ will have its day in the sun. Grateful.—Claude Kelly, co-writer

It was a blessing and a dream of mine since I was a kid. Ever since I was 11-years old, I knew I wanted to be a producer and I knew I wanted to work with Michael Jackson. He played a big part in me learning how to publish my music. I knew a little about publishing when I came into the game at 16, but when I started working with Michael, I was 20 and he taught me about buying publishing and acquiring a catalogue at a young age. So I started buying other people’s catalogues and I am still buying people’s catalogues and it was because Michael taught me the system.

Michael was quiet with people he didn’t know, but Michael and I used to kick it in Miami and we kicked it in New York all the time. When “Rock My World” came out, he actually let me test the single at the Ruckers in New York before the single was released; that’s how cool he was.”—Rodney Jerkins, DarkChild, producer and BRE Man of the Year 1999

My first personal encounter with Michael Jackson began early in my career. He actually was the first big star I had the opportunity to interview live in the studio on-air followed by a chance to MC the Jackson’s Concert while in Hartford at WKND in the late ‘70s. I also had a chance to work with him in the studio directing and recording his voiceover to be inserted into a Jackson’s Concert radio spot. During that session I witnessed first-hand Michael’s discipline for perfection. The collective time I was able to spend with him formed my initial respect and admiration for an artist who would soon become the King of Pop. I found him always to be a consummate professional, very cooperative, genuinely friendly, with a good sense of humor.

As his solo career ascended to superstardom, there have been special occasions that have led our paths to meet again along the way. I remember in the ‘80s having exclusive access to broadcast live from the sold out Victory Tour Concert at RFK stadium on the Top 40 station Q107 where I did evenings in DC, reporting all the onstage action and excitement to those unable to be there. It was there I really observed and felt the powerful force of Michael Jackson.

It was at rehearsal in the ‘90s the day before the Soul Train Music awards–the year Michael was to perform and to be honored–where Don Cornelius happened to introduce me to someone in Michael’s camp. Before I knew it an impromptu private invitation had been extended to me and my family to join Mr. Jackson inside his personal luxury motor home parked backstage. We were greeted by a very cordial, jovial and mild mannered Michael Jackson. He seemed very relaxed yet very professional. It was an enjoyable visit. He told me he invited me in to express his appreciation for the support I’d given him in the past and as Program Director in New York. He also said he was thankful to all of Black Radio for all the support provided to him and his brothers through the years.

You may recall, later that evening while practicing some moves in his hotel room he broke his leg. However the next day his passion and strong tenacity earned even greater respect by all as he performed live in a wheel chair.

As a groundbreaker, passionate musicmaker, dance master and trendsetter… Michael Jackson changed the game worldwide and continues to do so with his new album Michael.

As a fan from the days of the Jackson Five, it’s been a privilege to know the world’s greatest entertainer and humanitarian. I wholeheartedly salute BRE’s Man Of The Year, Michael Jackson!—Vinny Brown, Executive Vice President, Taxi Productions UAC KJLH-FM (102.3), Los Angeles

Thank you Michael, because of you, the world’s a better place.—Dick Gregory

I still can’t get my arms around the fact that he is gone.—Quincy Jones

I can still remember the first time I saw the Jacksons on the “Ed Sullivan Show.” I said to my brother, “This little kid Michael cannot be from this planet!—Doc Wynter, Clear Channel Sr. VP Urban Programming

This album really stands up in terms of showcasing Michael and his amazing voice and creativity. Songs like “Best of Joy” are right up there with his best work. I think time will show that.—Brad Davidson, SONY Music Sr. VP Promotions

It was a great privilege and honor to work with Michael and Quincy on the

Thriller album. I promised Michael when I first came over to CBS that I would fight to make certain that the company marketed, promoted and distributed his product the way they did their Pop acts. I believe I kept my promise and in doing so we forever changed the parameter for what a Black artist could become. I am very proud of my contribution to the legacy of Michael Jackson.—Larkin Arnold, Esq., entertainment attorney, former Sr. VP CBS/Sony Music

Growing up with the Jackson 5 and then being in radio when Michael Jackson got on the scene has been a high point for me in radio! I remember meeting The Jacksons at Tavern on The Green in NYC when they announced the Victory Tour. It was so exciting for me because I was just beginning my radio career and this was one of many reasons I got in the game–the Music! Michael Jackson was the ultimate entertainer and music perfectionist. I look forward to continuing to play his music on the radio.–Terri Avery, Operations Manager/Program Director, CBS Radio (WBAV-FM/WPEG-FM), Charlotte, NC

Simply, Michael Jackson broke all the barriers: Radio, MTV and World appeal. He crossed over to mainstream white America like no artist ever did before him and hasn’t done since. Black radio was there from the beginning starting with the Jackson 5 phenomenon and we have followed Michael all the way.–Phil Michaels-Trueba, PD Cox UAC WHQT-FM (Hot 105), Miami, Florida

You couldn’t have chosen a better person to honor as Man of the Year…..MICHAEL JACKSON….I’ve been playing Michael’s music since 1972 and to this day WDIA is probably the one station in the country that plays at least three to four Michael Jackson/J5 songs a day. I know of no other performer who did it on record and on stage as good as Michael did it. My wife and I saw Michael Jackson in 1987 at Madison Square Garden. That was the first and only time I saw Michael perform live. Michael was the thriller……he was bad and you know it.—Bobby O’Jay, PD and morning show host, Clear Channel UAC WDIA-AM (1070), the heart and soul of Memphis, Tennessee

I was press director for the Bad tour. Michael Jackson was simply the greatest performer ever. And as great as he was as a performer, he was an even better human being.–Michael Mitchell, Tour Press Director Bad Tour, currently Vice President Marketing and Strategic Partnerships New Product Development, TIME LIFE, Fairfax, Virginia

Anytime you see MJ live it’s a treat. But I was in the audience at Motown 25. It was the first time the brothers had performed together in years. Then MJ did his solo dance number with the moonwalk. What an entertainer, what a night! –Tim Watts, PD Radio One UAC WWIN-FM (Magic 95.9) Baltimore, Maryland

The measure of a man is what he gives back. Through all of Michael Jackson’s endeavors he was the ultimate humanitarian.–Joe Gorham, Music Director Howard University UAC WHUR-FM (WORLD 96.3/HD2), Washington, D.C.

After seeing two of Prince’s incredible shows over the weekend I couldn’t help thinking what life would be like had MJ been able to make the comeback we saw glimpses of in the rehearsal footage. Aside from Prince and a few others who live on, we’re quickly running low on the art of putting on a show. One only has to spend 10 minutes watching any TV/cable awards show these days to know this. All the explosions, nakedness and poorly choreographed steps we see today couldn’t replace ONE of Michael’s “moonwalks.” All I can say is Michael, the WORLD misses you! Your time, dedication, sacrifice and financial support will never be forgotten. Your life itself was a gift to all of us!—Skip Dillard, PD Inner City Broadcasting UAC WBLS-FM (107.5), New York City

All praise to the Jackson Family! There has never been a family in the world who has achieved what they have. When we say Michael Jackson is the greatest, he has to have come from a great family, a caring mother and father who taught him skills.—Rev. Jesse Jackson

I’ve been very fortunate to work with some of the best, from Frank Sinatra to Elton John, Dylan to Garth Brooks…and, then there was Michael. Mike was more fun than Barnum and Bailey, exciting, incredibly smart, with unbelievable and unequaled gifts. There is no doubt he was the greatest entertainer of all time.—Norman Winter, More Than the Norm

The thing I admired most about Michael was what a hard worker he was. He was a perfectionist who gave his all to whatever he did, writing, dancing or singing. I remember reading that he was so concerned, almost obsessed, with Prince’s success and it always drove him to do better. We all need something that drives us and pushes us into staying on top of our game, no matter what it is. Michael worked so hard that he’s still making money even though he’s no longer with us! He only wanted us to have his best.—Tom Joyner, host of the nationally syndicated “Tom Joyner Morning Show,” founder of REACH Media, Inc, the Tom Joyner Foundation and BlackAmericaWeb.com

I had the pleasure of meeting Michael Jackson a few years ago at BET CEO Debra Lee’s home. Down to earth. That sums him up, and he deserves every accolade bestowed upon him!—Rosalind R. Ray, Esq, Co-Manager The O’Jays

I remember in 1975 as a “lil girl” I won a Jackson 5 ’45 from the legendary AM 850 WRAP in Norfolk, Virginia. OMG! Still today I can recall my excitement. At the time Michael Jackson had all the potential to be a musical genius–a star in the making. He became that and more and I will always treasure the fact that from the beginning I would live to see the entire legacy of this musical genus as a fan and professional. The world has not yet grasped the true loss of this icon. With his solid encore performances in “Michael,” we get to hear musically what was on Michael’s heart and the message that he wanted to give the world. His trademark sound is heard throughout the project, but I wonder what it would’ve sounded like if it had Michael’s final touches on it, a promotional tour to see this giant at his best with his signature style and dance performances… we can only dream, but thank God I have an archive of music and memories to last me a life time. Kudos to BRE for selecting Michael Jackson The Man of the Year…he is the only choice.—Frankie Darcell, syndicated host of the “Mid-Day Mix” and “Sunday Morning Talk of the Town” on WMXD-FM (Mix 92.3) in Detroit, Michigan

On the occasions that I talked with Michael, I found him to be very attentive, a very good listener, and he was very much in control of that group even though he was the youngest member. He knew his place on stage, and as quiet as he seemed to be with his soft-spoken voice, when he was on stage, he was in command…There was something about him that was attractive. He had two decades of greatness, and it’s easy to see that staying power was not going away. When he walked into a room, even CEOs of major companies acted like groupies, running to the stage, doing everything they could to get autographs. His persona was gigantic, and his talent matched that. Michael’s music is his legacy…–“Super” Jay Johnson, ABC/Citadel Media, Dallas, Texas

When I first met Michael Jackson, he was 10 years old. A friend of mine, Mavis Staples of the world-famous Staples Singers, introduced me and said, “You are not going to believe this.” She was right…I was knocked off my feet. Without a shadow of doubt, Michael Jackson was the greatest entertainer ever to grace the face of this earth. The pop culture world is measured by this man—a man who had a good and kind soul. During one of the tours, he wanted to visit Haiti. When we arrived, it was a cultural shock for all of us, but to see the hurt on Michael’s face—at these poverty-stricken people—it was devastating to him. He was real quiet all the way back.

I have been very fortunate to be raised with James Brown, to work with Elvis Presley and to know Michael Jackson. It just don’t get no better than this, to know Michael Jackson—the man, the pioneer, the humanitarian. There are so many who owe this man so much.—Lonnell “King Ro” Conley, Announcer and Blues Director Jazz City Radio

Michael should be the Man of Every Year! He was truly a nice person who put his everything into everything he did. He was more gifted than anyone I’ve ever known.—Ron Isley

Michael has always had a big heart. One time he came to Atlanta at the request of me and then President Jimmy Carter and his appearance enabled us to immunize some 37,000 pre-school kids. He was phenomenal.—former UN Ambassador and Atlanta Mayor Andrew Young

Some people spend their lives loving Michael as a fan.

Some people fulfill their life’s dream working with Michael as a colleague.

Some people were blessed to know Michael as a friend.

I have experienced all three and my life is enriched because of it.

There are a million beautiful and personal memories of Michael worth more than the most precious thing the world has to offer.

I will cherish those memories forever. –Greg Phillinganes, musician, artist

Though it ended way too soon, Michael’s life was beautiful. Sure there were some sad times, but Michael Jackson accomplished everything he dreamed of.

My memories of Michael are of a 10-year old, whose passion was to be the greatest entertainer in the world and he was willing to work as hard and do whatever it took to become what he indeed became—the undisputed “King of Pop” the world over. What kid wouldn’t give his right arm to fulfill his wildest childhood dreams? Michael loved it all…every moment on stage, every moment in rehearsal. Michael loved creating what had never been done before. He loved everything and everybody. Especially his fans. Off stage Michael was shy, soft-spoken and child-like. But when he took that stage in front of his screaming fans, he turned into another person, a master, a “take no prisoners” showman. It was kill or be killed. I mean, Michael was awesome!!! Totally in charge. In fact, the more I remember and talk about Michael Jackson, the more I feel the “King of Pop” is not big enough for him. I think he is simply the greatest entertainer that ever lived.–Berry Gordy, Founder of Motown

Michael was truly the greatest performer. When he hit that zone, no one could touch him. I remember him doing three shows in a row and Justin Timberlake was supposed to join him onstage, but when Justin came out, he just froze and Michael was poppin’! Awesome! He didn’t need the special effects or anything else; he was the real performer.

And you could see him going into that spiritual zone backstage when he was getting ready for a show. He was always calm, relaxed, smooth. He would do his own makeup and take a few minutes alone in his dressing room where he had a picture of The Three Stooges that he liked on the wall. Then he would very calmly emerge and just blow the audience away. Even in Japan on his comeback tour when he was a little nervous about how people felt about him then, he always had the utmost professionalism and was always on time, and again, just blew them away.

I’ve had the opportunity to talk with people like Nelson Mandela and Oprah Winfrey, but the relationship with Michael was very special. Every time I left him, I’d be sad seeing him standing on the porch waving good-bye. He was always so welcoming, so hospitable. He was never about selfishness or harming anyone. He was always about trying to be closer to God, to be Christ-like. He loved more than he was loved and was always trying to get closer to God, to do the right thing even though it wasn’t always what he wanted to do. And whenever he was tested, he looked for his strength within, from bringing God into his body and putting him first in his life. Michael was really very spiritual and put God in control of his life.

He was truly blessed by God.

Japan has more orphanages than any place in the world and Michael wanted to do something for them while he was there so we picked one to visit that just so happened to be supported by Bill and Melinda Gates. Michael would arrive with no publicity and with multiple toys for each child. His own kids would go with him and he would be educating them as to what was going on. The kids were delighted, but Michael would also take the time to personally shake the hands of each of the nuns at the orphanage thanking each of them for taking care of the children.

And people just melted around him. One time when he was taking his kids to Disneyland, word had gotten out that he was coming and everyone knew his favorite ride was Peter Pan, so there was gridlock by the time he arrived. But he just held his hands up and the crowd opened up like parting the Red Sea. Then he would watch the parade from the Main Street rooftop and eat hot dogs and French fries with his kids. I thank God everyday that I was graced by this angel and am reminded even moreso that we can’t take our time here for granted. There is no tomorrow promised and you’ve gotta let people know you love them. That’s what Michael was about.—Qadree El-Amin, Southpaw Entertainment

KADIR NELSON’S DATE WITH DESTINY The Story Behind the Cover Art for Michael

For a writer, stories often intersect in interesting ways. Witness the segue from Sid Maurer, one of the first painters hired by a major label to create original cover art during the vinyl era, to Kadir Nelson, a young man who is currently attracting widespread attention for his outstanding work on Michael, the pop icon’s first album of new music released since his untimely passing in 2009.

In fact, Sony Music and the estate of Michael Jackson may well have had the easiest decision of the entire project when they chose art for the cover. They were immediately drawn to the highly stylized yet charismatic portrait of Michael that is the centerpiece of an imposing 9 feet wide by 4.5 feet tall mural depicting with meticulous detail key events and people spanning a half century of the life of arguably the greatest entertainer of his time.

Nelson, whose painting is titled “The King of Pop – The Life of Michael Jackson,” is an award-winning San Diego-based artist who has been honored for his exceptional illustrations of children’s books, including those by celebrity authors Spike and Tonya Lee and Debbie Allen. Among his previous cover art credits is uber-producer Swizz Beatz’s Ghetto Stories album

Nelson spoke to BRE about how he came to create the epic artwork that has been compared by some to the ancient Egyptian tradition of visually memorializing the lives of royalty. For a man like Michael Jackson who embraced the splendor of antiquity, even as he broke new ground as an artist and performer, this approach seems particularly fitting.

As it turns out, the hand of destiny was a key part of the back story. Nelson still vividly remembers the telephone call in 2003 that would change his life. And like many fateful encounters, it came out of the blue. Busy at work in his studio, Nelson answered the phone one afternoon and was shocked to hear the unmistakable voice of Michael Jackson.

“I really love your Marvin Gaye paintings,” Michael told him. “I want you to do one about me, but I want it bigger.” At the time, the icon had been working on songs for his compilation album, Number Ones, at Marvin’s Room, the legendary Los Angeles studio founded by the R&B great who had once been a part of his Motown family.

Jackson had been deeply affected by a pair of paintings that hung in the studio and depicted highlights of Gaye’s life. Struck by both the quality and emotional impact of the work, Jackson felt that this artist would be uniquely equipped to take on the challenge of creating a broader scale chronicle of his own life on canvas.

So the call, arranged by the manager of the studio, was to be the commission of a lifetime for the young up-and-coming artist from no less than Michael Jackson himself. While he never spoke to Michael again, his reputation for storytelling through his art would prove to be a perfect fit for capturing the elusive magic of his subject.

Nelson recalls that the moment was filled with dramatic ironies. “I was not only a serious fan of Michael Jackson’s music,” he says,” but I had long considered it a personal soundtrack.” He had even honed his artistic skills from about the age of eight through his college years by drawing ever-changing images of his idol.

Anxious to get started, Nelson dutifully followed Michael’s suggestion that he read his autobiography, Moonwalker, and began extensive research on the singer’s life. He wanted to ensure that the final product would accurately reflect the singer’s momentous journey from Gary, Indiana, to the world – with all the significant people and stops in between. The painting was to hang in Michael’s home and become a focal point of his extensive art collection.

As with so many Jackson projects, however, the momentum was lost in the maze of competing professional and personal priorities over the years. “After things stalled,” Nelson says, “I just couldn’t afford to dedicate the time needed to do the painting, although I knew it would be the fulfillment of a lifelong dream.”

Fast forward to 2009. Like the rest of the world, Nelson was stunned by Jackson’s death in late June. Then came another life-changing phone call, this time from John McClain, Michael’s close friend and co-executor of his estate.

“It’s time for you to do that painting Michael always wanted you to do,” Nelson recalls McClain saying to him, adding with his authorization to proceed, “ Don’t worry, we’ll figure out what to do with it later.” Nelson was initially hesitant until he realized that fate had somehow intervened again to give him another opportunity to complete the project.

Despite the six-year lapse since Michael first spoke to him, the artist found that his desire to find a way to creatively document such a full life on canvas had only intensified. “I felt that I owed it to him, his family and his worldwide fans to give it my all,” Nelson said. Especially since it would now become an important visual tribute to Michael for the ages – “a panoramic celebration of the life, music and career of the King of Pop.”

The selection of milestones from a life filled with them, as well as so many intriguing sidebars, was no small order. The family story alone was artistic fodder for a spate of books and movies, so he was grateful to have Michael’s eldest brother Jackie working closely with him over a five-month period. With invaluable family input, combined with his own sensibilities and research, Nelson painstakingly created a massive mural that combines both realism and symbolism.

It is, as intended, a spectacular “illustrated biography” of a once-in-a lifetime talent. Nelson was particularly gratified when his completed work won not only Jackie’s enthusiastic approval, but a thumbs-up from his brother Marlon and McClain.

From the outset, Nelson wanted the painting to fulfill the one specific request Michael asked of him: “Make it bigger.” In Jackson’s world, bigger was always better. But even the unprecedented size of the mural proved inadequate to capture fully such an eventful life.

But Nelson drove himself with the same quest for perfection that Michael exhibited in everything he did – from his recorded music to live performances to barrier-breaking videos – even changing his own technique. “Usually, I’ll do a sketch before I begin a project,” he says, ‘but for a painting of this magnitude, I had to conceptualize as I worked.”

Not unlike Michaelangelo’s fabled devotion to painting the ceiling of the Sistine Chapel, Nelson totally immersed himself in the project “from August 2009 until January 2010 and then again on and off until October.” And his focus and attention to detail are clearly evident.

The painting draws viewers into the same contemplative, image-deciphering mode as Nelson’s Gaye paintings that first attracted Michel’s attention. “I wanted to include key moments in Michael’s life that fans could immediately identify,” he says, along with those that were represented more symbolically.

Reviewing pieces from Michael’s own art collection, the artist carefully observed his subject’s preference for the regal and ornate in the classic French tradition. “This was incorporated into the overall themes of royalty and pop I used throughout the painting to commemorate his status as the King of Pop,” Nelson explains.

The central image of the work is a portrait of Michael clad in “a prince’s Victorian blouse with a high, ruffled collar” and a king’s golden suit of armor softened by velvet draping on his shoulder – a reflection of the two sides of his personality – with a silver-gloved hand placed over his heart, and a jewel-encrusted crown hovering over his head.

The position of his hand, says Nelson, “shows that Michael always put his heart into everything he did.” He’s also being crowned by two cherubic angels, one black and one white, signifying not only the song, but that his music crossed racial boundaries – as well as genres and generations.

Surrounding the portrait of Michael, only one-third of the full-size mural, is a mosaic of 50 images that symbolize not only the years of his life, but the number of shows he was scheduled to perform on his concert tour.

So biographically authentic is the painting that viewers are taken on a visual journey beginning with his family in Gary, where his parents Joseph and Katherine Jackson and his brothers and sisters are shown. He even depicts Joe Jackson’s broken guitar that his sons had been secretly playing before launching their own musical career, as well as trophies the group won in local talent shows before their emergence as the Jackson Five.

The visual story continues with the Jacksons’ relocation to Los Angeles; the family home in Encino; his professional mentors Berry Gordy and Diana Ross; key musical influences (Smokey Robinson and Marvin Gaye, among others); his beloved children (Paris, Prince Michael and “Blanket”); the landmark Motown 25 where Michael debuted the moonwalk and then danced away to CBS and a solo career where Quincy Jones helms the production of Off the Wall and the record-breaking Thriller – all key passages in Jackson’s lifelong passion to create great music and dazzle the world with his showmanship.

Nelson’s mural also evokes iconic career images ranging from Michael’s leather-clad “Bad” persona to his gangster-hip “Smooth Criminal”; the faces of Naomi Campbell and Michael Jordan from “Remember the Time”; water gun fights at Neverland Ranch with his children; his famous chimp “Bubbles” blowing bubbles; his nickname “Applehead”; a beetle representing his purchase of the Beatles catalog; key female figures in his life from Liz Taylor, Madonna, and Jane Fonda to former wife Lisa Marie Presley; tabloid-fueled items such as the infamous “elephant man’s bones” to the “hyperbaric chamber” where he allegedly slept – and, of course, his defiant musical response to all of it: “Leave Me Alone.”

But perhaps the most striking and symbolically significant depiction in the painting is a golden throne atop a mountain – The King of Pop’s throne. “It’s empty,” Nelson explained, “because no one will ever sit in it now that he’s gone.”

Kadir Nelson’s mural, which has been on display at the Marvin’s Room studio, will soon be available in limited edition prints at www.michaeljackson.com. For more information on the artist, visit www.kadirnelson.com.

Celebrating Teena Marie (March 5, 1956-December 26, 2010)

Teena Marie was amazing in so many ways. If you heard her, you dug her. If you saw her perform, you fell in love. And if you met her, you loved her even more.

“This was the most amazing woman I have had the pleasure of meeting in my 27 years in radio,” declares Jay Alexander, PD of WBTF-FM (107.9 the Beat) in Lexington, KY. “She had one of those engaging personalities… you were just interested in what she was going to say next. You could just see the glow about her. She was never a stranger to anyone, always accessible and ready to talk. You could see and feel her love and passion of making music, and she was not shy at all telling you her thoughts of the business. When we first met, I told her that as a young kid I always had a crush on her… she just put that big smile on her face and hugged me. That was the type of person she was, and I am gonna miss her!”

Everyone loved Lady T. And so the accolades poured out at her recent memorial service in Los Angeles. Music icons, legends, celebrities and executives alike expressed nothing but admiration for the songstress labeled the Ivory Queen of Soul. Folks such as Berry Gordy, Smokey Robinson, Stevie Wonder, Queen Latifah, Shanice, Sinbad, Shirley Murdock and more used phrases such as “Black music’s white darling,” “pioneer,” “deeply talented,” “amazing spirit” and “the coolest person” to describe this amazing artist.

Gordy, whose Motown Records released Teena Marie’s first four albums reflected on his relationship with the soulful R&B singer. “I am horrified by the sudden death of my darling, Teena Marie. She was my ‘baby,’ always true to herself, always true to her heart. When I first auditioned her, she was so awesome… she blew me away. She had so much soul – the only thing white about her was her skin. She was a powerhouse performer, writer, producer and arranger. Anyone who ever saw her perform, alone or with Rick James, will never forget how exciting music can be. My heart goes out to her sweet, sweet daughter, Alia Rose, her family, friends and fans. Teena Marie will always be a part of the Motown family. We will all miss her.”

Platinum producer and artist Narada Michael Walden, who worked on “Out On A Limb” with Tee, recalls how complete she was as an artist. “Outstanding,” he described her. “She had the moves, as she sang, while recording, and she sang in tune! She had a lot of rhythm and soul in her. I asked her where she got it from and she told me she was part Portuguese. She had so much fire, she blew my mind.”

Jerry Rushin, market manager/VP of Cox Media Group in Miami, adds that Teena could have excelled in any genre. “Teena Marie was a little lady with a big voice who could have sang Jazz, Blues or Rock ‘n Roll. A lot of people mentioned the color of her skin over the years, but the reality is that that had nothing to do with her success. Bottom line… that big voice just came through song after song after song.”

For one thing, Teena Marie had perfect pitch, so it’s no wonder few are able to cover her songs. The Fugees sampled her “Ooh LaLaLa,” however, and that song – “Fu-Gee-La” – turned into one of their biggest hits. When it came to hits, Teena Marie had many, far more than people may realize. And they were also diverse, from the classic lover’s lament “Fire & Desire” (with the late Rick James) to what arguably could be the first hit rap record, “Square Biz.”

Tee put out 13 albums and several compilations. She released 30 singles and 29 of them charted, the most successful being “Ooh La La La” (which charted No. 1), “I Need Your Lovin’” (No. 2) and “Square Biz” (No. 3). Seven hit the Top 10. She had six albums go Gold and two went Platinum.

She also did a lot of movie and television soundtracks, as well as collaborations. Her work was featured on the “Top Gun,” “The Goonies” and “Tap” soundtracks, as well as hit television shows such as “New York Undercover.”

Whether it was a ballad or a jam, she rocked it with lush instrumentation, beautiful melodies, prolific lyrics and that signature voice. Signed to Motown at the age of 19, it wasn’t long before she was writing, arranging and producing her own albums. She played guitars, keys and the congas. Although her talent was obvious, Motown worried about her image: a white girl doing Black music. Little did they know, Black audiences, and Black radio, would embrace her for decades to come.

“Teena Marie was a true example of how music can make us color blind,” explains the renowned “Fly Jock” Tom Joyner. “Black America loved and embraced her because of her music. I would always joke at how everyone gave her a pass… even sisters. There was no attitude, no judgment, no hate over her relationship with Rick James… of course that could be because it was Rick James. But I think it was also because she was so soulful. She was full of love and always was a great guest on our show, on the Fantastic Voyage, in the studio, wherever. She always gave her all. She was one of the best.”

Adds Mark Dylan, KOKY-FM program director and KIPR-FM operations manager, “I remember being a part of KOKY-AM (Little Rock) back in 1977 and hearing Teena for the first time ever. We knew immediately that she’d be huge at Black radio. Later, when they finally showed her image, we were all blown away that someone that soulful came in her packaging (LOL). Teena became a huge inspiration to anyone wanting to pursue R&B regardless of ethnicity. That says everything and more about her talent.”

After several albums with Motown, the honeymoon was over and she wanted to move on and had to challenge the iconic label. The result of that quiet battle has been a significant legal precedent for many major and indie artists that still stand today.

“Even though we will most remember Lady T for her funky music, the little lady was a force to deal with when it came to the business – the square biz,” explains legendary promoter and COPE head Libby Anthony. “When she sued Motown to get out of her contract, the courts inevitably passed ‘Teena’s Law’ – making it illegal for a record company to keep an artist under contract without releasing new material on that artist. Many artists have benefited from her fight as we continue to love her funk. Her love was for her music, and her daughter.”

Ironically, some of her best works weren’t even singles. True Teena fans know some of these: the duet with protégé DeDe O’Neal “I Love Him Too;” the brilliant and delicious lady version of “Secret Garden” with saxtress Pamela Williams and R&B icon Patti LaBelle; and from her Cash Money released album, “My Body’s Hungry.”

Over a career that spanned more than 30 years, she collaborated with a slew of top music names in a variety of genre: Smokey Robinson, George Duke, MC Lyte, Common, Faith Evans, Gerald Levert, Howard Hewett, Shirley Murdock, Kurupt, just to name a few. And even more benefited from her vast knowledge and kind spirit. When no one else would listen, she saw the gifts in Lenny Kravitz and took him in. He went on to become a rock/pop favorite and eventually collaborated with her on the Passion Play album on the track “Main Squeeze.”

Mary Christine Brokert, aka, Teena Marie, may have passed on December 26, 2010, but she is not done with the music world by far. In addition to some of the most memorable hits in R&B music that will live on and be cherished, she left behind a beautiful and gifted daughter, Alia Rose, who also has the voice of an angel. And… Teena had just re-signed with Cash Money and was set to release her 14th album this year.

Celebrating Teena Marie

I first heard Teena Marie’s music when I was in high school and then bought my first Teena album when I was in college.  As a wide-eyed co-ed, her music was at the center of my youthful happiness and innocent heartache. For me, she sang to the spirit of both. Her sound was unique, powerful and timeless. In those days I had no idea that our paths would cross professionally, but once they did, I got an inside understanding of that raw musical power and the unbelievable beauty of the artist and the woman. (How grateful I am to include that in my life journey!) Teena Marie had ‘it.’ She never disappointed in a live performance. She gave all she had when she poured out each note and you felt every decibel of it. Music is a living entity and hers will always be a part of a rich, full legacy as well as part of my own personal musical adventure. –Helen Little, former major market PD On Air Personality, WLTW-FM (106.7 Lite-FM), New York City

Lady T paved the way for many of today’s big stars. She broke through the color barriers with her sultry voice and performances. I was blown away the first time I met her, listening to this petite woman with a powerhouse voice. She will forever be with us through her collection of hits, from ‘Lover Girl,’ ‘Fire & Desire’ and of course ‘Portuguese Love.’ It was a pleasure and honor to work her last No. 1 record, ‘Still In Love.’–Travis Nuckles, SE Radio Promotions, Motown/Universal

I first heard Teena Marie’s ‘Square Biz’ when I was a kid and I knew that she had that thing. I was a fan right away. Then years later we signed to the same record label. That blew my mind. It was such an honor for me to meet and go on the road with her.–R&B legend Tony Terry

I was just a 16-year old trying to sing demos when I first encountered Rick James, who was in the Motown studios working with this little bushy-haired white girl. He hit the playback button and I heard, ‘I’m Just a Sucka For Your Love.’ This Teena Marie girl was the real deal! Several years later, after leaving Epic Records and striking out on her own, Teena asked me to come and arrange an a cappella intro to her remake on the R&B standard ‘Hypnotized.” I was honored by her request. And now that she’s not physically here, the strains of that intro are my everlasting memory.–Kipper Jones, Singer/songwriter

Whatever musical legacy Teena Marie left behind, I feel fortunate to have been a part of it. When an artist leaves a part of their soul behind through their music, it makes them truly immortal. So Teena, I hope that you are wild and peaceful whereever you are and that you are singing with the angels.–Jazz ‘saxtress’ Pamela Williams

Teena Marie was an artist I recently got to know personally but have been blessed so many times over the years by her amazing talent and soothed by her soul-piercing voice. She was such a regal woman, and she always paid tribute and respect to the greats who came before her in music and the leaders of the Black movement. The world has lost a great artist and a woman who always spoke what she felt in the depths of her soul.–Ernie Singleton, Industry Consultant

This was a talent that can never be replaced or duplicated. She was one of a kind. I will never forget the time I met her… way back in my early radio days. I had an invite to attend her Halloween party. It was crazy and yes, Rick James showed up and they both performed to a small group in some warehouse in Hollywood. I remember thinking how little she was and how powerful her voice was, especially for such a tiny lady! She was one of the most awesome vocalists of our time…another great star, shining on in the heavens. A voice like that doesn’t come this way often. –Terry Bello, Esq. Senior Executive Producer, The International Soul Music Summit BSoul.Tv – The Beautiful Side Of Soul

While I was PD at WSHA in Raleigh, during Teena’s performance at Dorton Arena, she fell off the stage before at least 5,000 fans. She jumped back up on stage and gave the crowd a rousing performance. I greeted her as she came off stage and she could hardly walk.  Many years later we were at a party at the home of mutual friend, actress Rolonda Watts’ home, and I brought up the evening in Raleigh. We had a good laugh. The first record I gave to my younger sister was the 12″ of ‘Square Biz.’ Teena was a real down to earth sista.–David Linton, former major label executive, D Curtis Music, Music Publishing & Management

As much as I’ve been a fan of Teena since ‘I’m Just A Sucka For Your Love,’ my only regret in my 25+ radio career was not seeing Teena live when I had the chance back in July of last year. I have seen Teena many times on TV but never live in person. I enjoy the lovely musical memories Miss Teena has given me as well as the world.–Bobby Holiday, PD/middays – WDZZ-FM (Z92.7), Flint, MI

I remember bringing Teena Marie to perform at a big Valentine’s concert presented by a station that I once programmed. The 20,000 people in attendance as well as myself were in awe of Teena’s heartfelt performance. I said to myself that I wished that I had made her the headliner, because I felt terrible for the artist that followed Teena Marie. Her music is sultry, powerful, sensual, relatable and will sustain forever. –Elroy Smith, OM, Radio One Philadelphia

Experience It: Steve Harvey’s Freedom Party

Photos by Patrice Tudor, PT Photography

Premier Syndicated Radio host Steve Harvey partnered with the Ford Motor Company to create a unique party experience that launched a four-day fundraiser for his Steve Harvey Foundation Mentoring for Young Men at AmericasMart in downtown Atlanta. Carried on Radio One urban AC WAMJ-FM (Magic 107.5) in Atlanta, Harvey also used the occasion to show appreciation to his listeners in the area.

Commented Crystal Worthem, Multicultural Marketing Manager, Ford Motor Company, who had the new 2010 Ford SHO on hand for listeners to experience: “We are extremely excited about teaming up with Steve Harvey and The Steve Harvey Foundation for an event that is geared toward empowering young men. By taking part in this event we are able to continue in our efforts to empower and educate our youth within the community while simultaneously teaming up with an organization who shares our vision for giving back.”

One-hundred young men, ages 13-18 enrolled in grades 8-11 from a single female head of household family from around the country, will be pre-selected to travel to Dallas, Texas with a parent or guardian for a weekend of mentoring.

Doug E. Fresh performed for the fans, who were joined by celebrities that included NBA greats like Dr. J and Kevin Willis, actor Emmanuel Lewis, 100 Black Men of America’s Thomas Dortch, and WSB-TV anchor Jovita Moore.

Harvey, who launched this mentoring aspect of his foundation earlier this year, explained: “Our mentoring program for young men is designed to give boys the blueprint to manhood and to open their minds to enable them to envision and one day realize their dreams.”

HARNESSING THE WILD, WILD EAST THE MAKING OF A MUSIC INDUSTRY IN CHINA

Unlike the U.S., where copyright conundrums abound, China has a chance to create a music industry with a completely fresh approach to copyright consumption.
I was recently invited to join the American delegation attending the International Creative Industries Summit in Shanghai, China.  The intensive two-day summit, which occurred April 21-22, 2009, was   poised to be a historic event to witness.  For me, it was rife with irony and provided a fascinating contrast to the “established” western music industry.
For perspective, one only needs to study the rise of the Shanghai skyline to understand the marked difference between its humble past and burgeoning future.  As recent as the ‘90s, the Huang Po River, which dissects downtown Shanghai, wasn’t much more than the embankment of a shantytown; whereas today, Shanghai boasts skyscrapers that rival anything Manhattan has to offer.
Similarly, the would-be music industry we were there to help shape, could have the same kind of meteoric rise.  In fact, it could quickly become the largest music market in the world.  After all, it has nowhere to go but up, and China itself is the world’s largest start up.
I was among a handful of digital media and traditional music industry experts who came to listen to, and help steer, the first steps of a Chinese music industry where, despite infrastructure and a booming population, no music industry exists to date.  Massive piracy, however, is readily rampant.
This point was driven home by Mr. Xiaofeng Xu, Researcher, Peking University, Institute of Culture Industry, who made a forthright presentation entitled “The New Money-making Model within the Culture Industry.”  Poignantly, as his presentation began, he commented, “I am supposed to come here and speak with you about the new business models in the music industry here – but I am not even aware of an existing, old model.”
Having attended more conferences, summits, courtroom show downs, and symposiums on copyright in the digital realm than I could ever recount, it sometimes felt like a déjà vu hearing the same issues addressed repeatedly. I kept thinking, “Whatever you do here, don’t replicate the mess created in the western world” where copyright conglomerates have stymied innovation since digital music came onto the scene with the launch of MP3.com in 1998.
In an earlier column this year, I explored how at MIDEM in January there were many examples of how this is finally beginning to change – after a decade lost to mindless litigation and DRM dogma.
Moreover, as Jingming Qu, General Director of the Music Copyright Society of China pontificated, “Innovation is being driven here by a developing economy.” He illustrated the primary challenges to their agenda to build a music industry include piracy, a perceived lack of value for music despite mass consumption of it, and the potential for monopolies to be created that would ultimately be unfair to artists.
Mr. Qu argued that — without music — everything from discos and radio stations to search engines, wouldn’t exist, or would have significantly less value.
Thomas Reemer, CEO of CUGate, explored this point during his presentation where he demonstrated that Google’s recent digital music foray in China, in partnership with the major labels, is supposed to include a revenue share from the MP3 search activity at its search engine. One only needs to go experience it to realize his point that the experience is completely absent of any potential revenue sharing and, furthermore, there are no ads to click or albums to buy.  Google’s partnership with the major labels in China was widely dismissed as a misstep by most attendees, though some argued it was better than nothing.
Mr. Reemer added that studies show P2P users actually possess a high level of respect for copyrights, but not for the business models in place to date.
CUGate’s offering, he asserted, affords the “feels free” experience but still monetizes the frenetic energy associated with file sharing. CUGate shares the Chinese government’s inclination towards an ISP based solution to monetize the feel free model, which is finally gathering momentum in the Western world, if only philosophically.
At the recent hopping, San Fran Music Tech Summit, this topic was hotly debated on a panel aptly titled “Monetization – Idealism in Practice” where long time advocate Jim Griffin was pimping Choruss, a major label backed approach aimed at the college market initially and  – potentially – to ISPs, if successful.
Regardless of the rhetoric, what’s clear is that nearly 40% of Asian youth are listening to even more music than they were a year ago, according to Synovate Music Matters Survey, and there are more than 300 million broadband internet users in China – a 42% increase in only two years, as cited by China Internet Network Info Center.
In 2008, China Mobile reported US$2.4 billion in revenue from mobile music downloads and ringtones alone, according to JLM Pacific Epoch.
Hopefully, China will embrace the unique opportunity that it is faced with in a timelier and more progressive manner than the Western world did, especially since our futures seem inextricably tied.
The International Creative Industries Summit will occur again next year and this month, Music Matters will host a unique Asian forum for uniting the world’s creative and technology industries.
Just as the music industry in the West begins to intelligently grapple with digital in a meaningful way, the East is recognizing that the potential for an industry even exists.  It’s an astounding paradox and an amazing opportunity that I look forward to being actively involved in for years to come.

About the Author: Hal Bringman, founder of NVPR, is a communications strategist and digital media expert. Long before Steve Jobs ever figured out what an MP3 file was, the firm has been guiding the digital music revolution since launching MP3.com, Napster, and many other major digital media brands. The company has launched and built many of the biggest or most talked about brands in mobile entertainment and digital media. Based in Los Angeles and Buenos Aires, the team is actively dedicated to launch global PR/marketing campaigns, accelerate business development and revamp websites.  Reach Hal Bringman at hal@nvpr.com, or follow on Twitter @halbringman.

NABOB Celebrates 25th Awards Dinner

After an impromptu but welcomed blessing by Chaka Khan, NABOB Chairman of the Board, Pierre M. Sutton literally burst into words of support for President Obama. And a good thing since Obama-nominated 82nd Attorney General Eric H. Holder, Jr. was among this year’s honorees during NABOB’s 25th Annual Communications Awards Dinner at the Marriott Wardman Park Hotel in Washington, D.C. This year’s honorees included Chaka Khan, Mo’Nique, Andrae Crouch, Keyshia Cole, Jerry “The Ice Man” Butler, Eric Holder, and Cicely Tyson. MoNique was unable to attend due to the death of her grandmother. Steve Harvey hosted the gala that included Music Hall of Fame legend Kenny Gamble and gospel pioneer Hezekiah Walker among the presenters.
Following the traditional dinner, NABOB winners Patti LaBelle, Nona Hendryx and Sarah Dash—LaBelle–took the stage, performing songs from their current disc Back To Now. They ended with the trio’s 1974 hit “Lady Marmalade,” which really got the crowd to dancing. “I am not just an entertainer,” Patti LaBelle told the crowd. “We’re in a depression and things are happening to us that we never thought would happen to us. People are losing homes, losing cars, losing the health

benefits. We have to be real up in here.”
Fellow honoree Andrae Crouch told the crowd he felt blessed to be recognized and thankful for his good health. “I’ve had cancer four times,” he related. “And God healed me every time.”
Actress Cicely Tyson accepted her award, saying, “The first word that struck me in the name of the organization was Black broadcasters. The second thing was that it was national. The third was that it has been in existence for 26 years. That tells me that for 26 years they have been telling us who we are, what we are and why we are. It is the only group of people that brought us news about ourselves across this country.”
Keyshia Cole thanked the audience and said she didn’t want to cry because of her “hard girl” persona. “But you are such a great inspiration to me and I thank God because He’s given me the knowledge and I’m gonna be married to 60 years one day.”
Chaka Khan expressed that God gave her a voice “not just so that you could hear me sing, but for you to hear me say that we need to save our children.”
The National Association of Black Owned Broadcasters (NABOB) is a non-profit corporation of African American owners of radio and television stations across the country.

Next Page »