Name: Adam Bernard Home: Fairfield, Connecticut, United States About Me: Entertainment journalist w/ over a decade of experience. Lover of good music, fringe movies, day baseball & chicken shawarma. Nerdy, but awesome. See my complete profile
What happens when you mix one part hip-hop history with one part humor? You get CookBook's fantastic video for "7up." There's a ton of classic hip-hop imagery throughout the clip, including a nice NWA theme that ends up doubly funny when you add in the fact that CookBook doesn't curse in his lyrics, and tons of scenes where it's clear everyone involved wanted to have a good time and laugh at themselves. In addition to all that, you also get a great song, too!
If you’ve watched television at all in the past month there’s no doubt you’ve seen the McDonald’s commercials that feature emcees rhyming in public transportation vans. The ads are a glossy example of what Joe Revitte and his wife have been doing for almost a full year now with their brainchild, Dollar Van Demos. 30+ videos deep, Dollar Van Demos has worked with a number of former Adam’s World Artists Of The Week, including longtime B-Listers Dyalekt, iLLspoKinn, Kalil Kash, Hasan Salaam, Miz Metro and Poison Pen. “In some ways I call myself a MySpace director,” Revitte explains, “because they have amazing music on MySpace but there isn’t a visual component to their music, so I’m like why don’t you do a video with me inside this crazy Flatbush Avenue dollar van?”
Revitte likes to put the birthdate of Dollar Van Demos at February 28th, 2009, because that’s when they uploaded their first video, which featured emcee Crosby, onto YouTube. According to Revitte, “there was a tremendous amount of preparation before that, but I don’t think we existed until somebody saw us.” With their McDonald’s ad running during American Idol, which is inarguably the most popular show in the country, plenty of people are seeing Dollar Van Demos now. This week I caught up with Revitte to find out a little more about his venture, including how a company that focuses on the underground came to work with such a huge multi-national corporation, and what the reaction has been from their core audience, which isn’t necessarily one that embraces advertising or McDonald’s.
Adam Bernard: Let’s start off with some basic background info. When and how did you come up with the idea of having emcees perform in public transportation? Joe Revitte: I have a filmmaking background. I went to film school and used to work at New Line Cinema and Hypnotic Films. (Right now) I’m working with Matt Dillon on one specific project that we’re producing together. Over the last handful of years of my life, though, I’ve been stuck in development hell. I would tell people I’m a movie producer, but I’ve never been able to point at the big screen and say “that’s my production.” A little bit out of frustration, but also to prove something to myself and other people, I thought it would be cool if I could at least shoot some music videos and show people that I could produce. That’s what was important to me. I noticed that there was a trend in music videos to make them much more intimate than what had been the traditional music video. I liked how you could take a music video and make it very small scale, but at the same time do something creative with it. I live in Brooklyn, in Sunset Park, and I didn’t think I could do a yellow cab, but I knew there were a lot of dollar vans, so me and my wife went out one weekend and met like fifty of them. We were directed to a couple different companies that run a lot of the vans and pitched the idea like “would you mind if we tried making a music video in here? We’ll take care of the business side of it, but do you have any objections to people filming?” They said as long as you tell people and they’re happy with it then you can try it. That was last February. It just turned out to be this incredible experiment and it gave me encouragement to keep going.
Adam Bernard: You work with some of NYC’s finest underground emcees. How on earth did McDonald’s find you and what was their initial approach? Joe Revitte: It was the power of the internet. A staffer from an ad agency in Chicago subscribed to our YouTube channel. When people do that I always send a goofy letter back saying “hey, thanks a lot, it means a lot to us.” We’re trying to grow, and it’s easy to try and connect. I’m a big believer in social media. He, surprisingly, wrote back to me. He was like, “I’ve never gotten thanked for subscribing, but I like what you’re doing, would you like to talk to us further about doing maybe a campaign for McDonald’s?” That, literally, was the introduction. It was through YouTube. The best way for me to describe it; in the beginning of November we did some videos with Joya Bravo and Wordspit, we spent maybe $200, and then like a month later a union crew and teamsters and hair and makeup and two vans and six cameras and this huge Madison Avenue production recreated what we did. We were like, this is gonna be a surreal situation for all of us.
Adam Bernard: That sounds crazy. Anytime someone from the underground associates themselves with a major company, though, it can create a little tension with some people. Joe Revitte: Oh, absolutely, and I felt that, I see it everywhere, and Wordspit and Joya Bravo, we all went into it eyes open, but at the same time some of this backlash is coming from people who basically are on Facebook and Twitter and are watching TV, so we take it with a grain of salt that they’re just reacting to whatever stimulation is thrown at them.
Adam Bernard: Was there any trepidation for you when it was McDonald’s that was pitched to you by the ad agency? Joe Revitte: No. The way I see it is no matter what kind of artist you are, particularly if you’re in the music industry, you’re being broadcast somewhere, whether it’s on the radio or a cable television station, and it’s advertising supported, and if you’re a major major star you’re profiting, or drawing revenue, from this advertising money, so the fact that we sort of cut out the middle man and went directly to it shouldn’t look negatively on us at all. I’ll speak for myself, but I’m pretty sure for Wordspit and Joya Bravo, it was like this is totally worth it, we’re all nobodies and now let’s see where we can take this exposure from here. We all thought it would be a good way to put us on the map and it was.
Adam Bernard: How did Joya Bravo and Wordspit end up the artists featured in the ads? Joe Revitte: Everybody who was interested was evaluated and put through a background check. There was an audition process that included both their performing ability and also their musical ability and I think they liked what they saw with both of them. I think it also helped that both Wordspit and Joya Bravo had just made some videos with me and both of them were really energetic and unusual. I think that helped them a lot.
Adam Bernard: The ad has been running during some very popular shows, including American Idol. Have you seen a correlating spike in your website traffic? Joe Revitte: There’s definitely been an increase, but it’s not like the 30 million people who watch American Idol have visited my site since then. There’s no website listed (in the ad) for myself or Joya Bravo. I think we’re continuing to market and connect with people through social networks and a lot of people are completely surprised that it’s a real thing. I think a lot of people expected Joya Bravo and Wordspit to be actors. When they found out they really are performers and they have credibility and creativity, and that Dollar Van Demos is also like a music video show, we’re kind of surprising them. I kinda like that element of surprise.
Adam Bernard: Can you reveal one surprise before you go and let everyone know who’s going to be in the van next? Joe Revitte: Top $ Raz, Kid Lucky and AtLas.
Welcome to your weekly dose of pop world musings. Covering all things pop culture, this week Pop Shots is hitting you with thoughts on everything from Snookie getting her own dating show, to Simon Cowell’s new deal with Sony Music Entertainment, to Aerosmith’s search for a new member, and since it's Pop Shots you know everything is seasoned with a little bit of attitude.
Many people outside of hip-hop may have the opinion that the music of the culture is something that’s insular. Bridgeport emcee Chase Davis is quick to dispel that myth, though, noting “a lot of the artists I vibe with listen to other types of music, whether it’s rock, soul, or dubstep.” So even while every emcee has a long list of hip-hop artists that inspire them, they also have a list of artists from other genres of music that inspire and inform their music, as well.
This week I rounded up five of the state’s most prominent emcees and dug a little deeper into their personal inspirations and influences that have nothing to do with hip-hop in an effort to both find out more about the men who make the music, and possibly provide a connection between our local superstars and people who may not have otherwise thought to listen to their work.
Sketch Tha Cataclysm Non Hip-Hop Influence - Jeff Buckley
Why he’s a fan: “His vocal range was beyond impressive. On top that I’m very big on listening to his live performance recordings. He was able to do any kind of song and just go back to regular banter in-between songs, joking around with the crowd and doing impersonations.”
Influence on Sketch’s work: In addition to the between song banter, which Sketch says “I was already doing before I got into him, but I definitely felt like I was validated after hearing that,” he adds Buckey’s influence on him can be heard in his lyrics, “if I get really poetic with my wording, or I pull my whole vocabulary into it,” and song structure, “he did a thing where he didn’t really give a damn about verse-chorus-verse structure.”
Other non hip-hop influences: Radiohead, The Pixies, King Tubby
Chase Davis Non Hip-Hop Influence - Janko Nilovic
Why he’s a fan: Even though there are no lyrics in pianist/composer Nilovic’s work, Davis says “you can feel the soul in the music, you can feel his energy, you can feel the power in it. You just want to attack something when you listen to it.”
Influence on Davis’ work: Davis says Nilovic’s work has had a huge influence on the way he likes his beats built. “Let’s have a great intro, let’s change the music up so it’s not just repetitive, let’s add something different to the mix so if a band is playing it they can have fun with it.”
Other non hip-hop influences: Curtis Mayfield, Deodato, Baby Huey
The Rising Sun Quest Non Hip-Hop Influence - John Legend
Why he’s a fan: In addition to having the utmost respect for Legend’s ability to play an instrument and the fact that he writes his own music, Quest points to Legend’s live performances as a key inspiration. “Even if he’s just sitting at a piano and playing the keys he’s able to command the audience without having any big, grand, theatrics behind him.”
Influence on Quest’s work: “I know as long as I tune in to my music, and deliver it the way it is intended, and put all the heart and soul into my lyrics, it could just be me on the mic without any crazy stuff going on and I can capture the audience and have them feel my music.
Other non hip-hop influences: Maroon 5, Robin Thicke, Alicia Keys
Big Stat Non Hip-Hop Influence - Red Hot Chili Peppers
Why he’s a fan: “They’re honest with their lyrics, whether they’re talking about drug addictions, or whatever. I also pay attention to their melodies and the way they construct their songs. I listen to how they put their songs together, the formats and stuff like that.”
Influence on Big Stat’s work: “If I’m listening to the radio, I love whenever a song of theirs comes on, I’ll just start jamming out. It’ll put me in a good mood and get me excited to work on something new.”
Other non hip-hop influences: Evanescence, Bob Marley, System of a Down
Plus Non Hip-Hop Influence - Sade
Why he’s a fan: “Every time she comes out she looks great, she sounds great, and the music gets even better. This woman has been doing it since I don’t know how long and she still comes out and nails it every single time. Every song on the album, every album as a whole, is just unbelievable.”
Influence on Plus’ work: “In terms of drive it seems like she has the drive and a half to keep on going and I feel like I have the same thing.”
Other non hip-hop influences: No Doubt, Coldplay, Guns N’ Roses
Using these five artists as examples, it’s pretty clear an emcee’s influences can come from just about anywhere, which is why most people should have no problem finding something to connect with when it comes to their music.
I pulled out all the stops for the first Adam B Experience podcast of 2010. It’s a whole new decade and in honor of that I have a whole lotta new music. If you’re in need of some motivation you’ll definitely want to crank this up because it starts with some really high energy joints that will work to get you moving faster than ten cups of coffee mixed with Red Bull (which sounds like an absolutely awful drink now that I think about it). Enjoy!
Spills & Jesse Abraham w/ Pete Colon, Warren Britt, Cav, Premonition, Top $ Raz & Dyalekt - Double Time (rmx) Bisco Smith - Vibrations Cook & Uno - Set It Off Dessa - Dixon’s Girl Chilly S w/ Homeboy Sandman - Transurfing Tah Phrum Duh Bush - Energitis Vinnie Scullo - The Sign Amo-1 - What The World Needs Sketch Tha Cataclysm w/ Expertiz - Compartment Of Darts Billy Drease Williams w/ Richie English - Shut The Gates M-Tri - Silly Rappers Final Outlaw - Hip-Hop 4ever Floriginal - Hot Off Da Press
One is a rap group from the home of The White House, the other is a reggae singer who’s done plenty of work for The White House. Both are artists I interviewed recently for Diamond in the Rough features for 101Distribution.com.
To find out about the Washington, DC, rap trio of Fatal Sinz, check out one of their videos, and read about the time they were chased around the city by a gun wielding madman - click here.
For Jamaican dancehall artist Dondada’s story, which includes a lot of time spent in the Middle East, and a very scary incident of being reported dead at one point during his time in the army - click here.
Amo-1 can be quite the imposing figure. He’s certainly not small, he sports a huge parental advisory tattoo on his left arm, and he has some intense lyrical content. If he wanted to, he could be the type of guy to make you alter your course of direction if you saw him coming your way. I met Amo-1 outside of the Bowery Poetry Club before a Bondfire show. If an artist is at a Bondfire show, 99 times out of 100 they’re good people. Amo-1 turned out to be good people. He also turned out to be a heck of an artist, which is why this week I caught up with him to find out more about his music, his ink, and why he feels it’s important to bring the classic street vibe back to hip-hop.
Adam Bernard: Start me off with some background info. Where are you from and who were some of your early musical influences? Amo-1: I grew up in Brooklyn, NY. Bensonhurst to be exact. Growing up in the late 70's/early 80's I was raised on a pretty eclectic blend of music, anything from James Brown to Jefferson Airplane, The Doors to Tito Puente, but I didn't start getting influenced by the music until I started hearing artists like The Jimmy Castor Bunch, The Sugar Hill Gang, Africa Bambaataa, Run-DMC, Grandmaster Flash and The Furious Five, Whodini, and Doug E. Fresh & The Get Fresh Crew. I was a young b-boy, so all the artists that helped mold hip-hop music were a huge influence on me, not to mention the tons of breakbeats we would dance to.
Adam Bernard: It sounds like you have a bit of an old soul. I see you also have a parental advisory label tattooed on your left arm. What’s the story behind the ink? Amo-1: Well, I’m sure most emcees have been through it, but once people know that you rap they automatically ask you to kick something, no matter where you are or who’s around you, so I wanted to let people know that what you hear may not be suitable for your kids, so don’t get offended by what I might say, just read the label!
Adam Bernard: That’s dope. Speaking of dope, you just released an album titled Food For Thought. What kind of food are you serving up on this release? Amo-1: The food referred to on this album are the beats and rhymes. Throughout the days and nights people crave certain foods and most people also crave good music. This album was a way for me to help fans of good music satisfy their hunger for good hip-hop.
Adam Bernard: The album has a very street vibe. Do you consider yourself a street rapper, or am I way off base with that and do you define yourself in totally different terms? Amo-1: No, that’s actually a good way to put it. My lyrics are based on what I’ve been through in the streets and what I’ve seen in the streets. Hip-hop represents the streets, the struggles, the people, and the hardships of being an inner city youth, and this is what I represent as an artist. I don’t rap about things I don’t have, or haven’t been through. The artists that do are often questioned and ridiculed for their lies. I’d rather be true to myself and to my fans.
Adam Bernard: The street element of rap music has been slowly disappearing over the years. Where did it go and in what ways do you feel it’s disappearance affects the soul of hip-hop? Amo-1: I think the corporate takeover of hip-hop has forced the DJs to play music that’s more commercial than street. Nowadays the DJs are rarely playing the hip-hop the streets wanna hear, they’re playing the music they’ve been paid to play. Besides the classic stuff that you hear on a weekend mix, it’s rare to get an earful of something new and dope. It’s a shame that the artists who put their heart and soul into their music get no love from the DJs. Look at the mixtape scene. Just to get on mixtape with a known artist hosting, or a well known DJ putting it out, you got to come up out your pockets. That’s a big reason why the street element is gone and all it does is make these artists sound the same and talk about the same things cuz that’s all they hear. I cant tell you how many times I’ve seen an emcee live on stage talking about poppin bottles and they’re flossin heavy, fresh to death, whippin the Benz, but they don’t buy one drink at the bar, got bummy gear on, no jewels, and are going home in a cab.
Adam Bernard: A lot of artists front, HARD. Speaking of the other artists out there, NYC has a seemingly endless sea of emcees. In what ways do you feel you stand out from the masses of men and women on the mic and is there any crowd that you feel you could fit in well with? Amo-1: To be honest, I think I stand out because of my originality and my “Fuck You” attitude. I aint trying to sound like anybody. I don’t even listen to anybody who’s really out there and the artists that I do listen to, if I bit their style you’d know it! I only associate myself with the dope emcees. That’s the only crowd I could fit in with.
Adam Bernard: Finally, what are some of the things that have you most excited about hip-hop right now? Amo-1: The cycle in hip-hop seems to be coming back around and the frauds and fakes are finally being exposed. The pioneers are coming back and the lessons of the game are being taught all over again. My 5MH crew is being noticed for our contributions to the game throughout the years and the emcees that we came up with are finally getting the exposure they deserve. No more of this okey dokey pokey shit. It’s back to classic material.
For those who like their hip-hop with a little bit of a Latin flavor, Billion has somethin for ya. The song is called "Oye Jose!" and with it he manages to combine both his boom-bap and his Latin roots to create something funky and unique. Personally, I love the horns in the beat. I think they're ridiculously awesome. The video is also bright and colorful, making it feast for the ears and the eyes.
“Where dem bloggers at / where dem bloggers at / where they at, where they at, where they at?” It’s not exactly Shakespeare, but the lines from Rihanna’s latest single, “Hard,” always get a reaction out of me. Part of it is because the word blogger is such an unmusical word. It sounds extremely awkward when thrown into the middle of a song. But there’s also a much bigger factor - I can’t tell from the lyric whether she’s bigging bloggers up, or ripping us a new one. This is due almost entirely to what is either cleverly cryptic, or just plain awful, songwriting by The-Dream.
As a stand alone line, “where dem bloggers at” can be taken either way, although I’d lean towards negative as it sounds confrontational. Things get confusing, however, when one takes a look at the lines before and after it:
Where dem girls talkin' trash Where dem girls talkin' trash Where they at, where they at, where they at?
Where dem bloggers at Where dem bloggers at Where they at, where they at, where they at?
Where your lighters at Where your lighters at Where they at, where they at, where they at?
The first set of bars is clearly confrontational, which would lead one to believe the second set of bars are meant to be confrontational, as well. The third set of bars, however, are celebratory. People put their lighters in the air when they’re really feeling a song. So where do bloggers fit into this equation?
Are we right after the trash talkers because we’re supposed to be lumped in with them as someone she doesn’t like? That would certainly be a glaring example of an artist getting way too wrapped up in what’s being said about them. I mean, really, you care so much about the blogosphere that you’d mention it in a song? Talk about emo! (and talk about cutting off your nose to spite your face!)
Were we placed in the middle because she views us as some sort of middle ground between the evil of trash talkers and joy of Zippos being opened up? If that’s the case I think that would make us a “necessary evil” in her eyes, a group that is to be neither lauded nor scolded.
Or are we the positive lead in to the “lighters” line? Is she saying she knows there are trash talkers out there, but the bloggers are a group she derives strength from?
What are your feelings on bloggers, Rihanna?
Personally, after breaking it down, I think it’s just a poorly written song. Rihanna may be seeking out the girls takin trash, the bloggers, and the lighters, but they have nothing to do with each other. It’s the equivalent of singing your grocery list. Sure, all the items happen to be grouped together on the same piece of paper, but other than that they have absolutely no connection whatsoever. Regardless, the “bloggers” line will still grate on me whenever I hear it, because I’m not sure whether I should celebrate the lyric, or mean mug my radio, whenever it comes on.
Welcome to your weekly dose of pop world musings. Covering all things pop culture, this week Pop Shots is hitting you with thoughts on everything from Beyonce fighting with common sense, to record labels fighting with reason, to Jimmy Kimmel jumping into the fight between Jay Leno and Conan O’Brien, and since it's Pop Shots you know everything is seasoned with a little bit of attitude.
Connecticut’s hip-hop scene is filled with a bevy of talented artists, but being situated right in-between the mecca of hip-hop, New York City, and another large scene in Boston, hasn’t been helpful to the state’s emcees as they struggle to be heard hailing from the strip of I-95 between the two cities. Exposure is one of the keys to success, and our local talent is looking for just that. This is where local hip-hop showcases, such as the one that will take place at Toad’s Place on Wednesday, January 27th, come in.
“When you go to these showcases,” explains Broadway Dolla, who is one of the artists performing on the 27th, “you find different styles. It’s all hip-hop, but it’s different types of hip-hop.” That variety is one of the reasons he keeps coming back to perform.
Another reason Broadway Dolla continues to make return appearances is that he feels attending and performing at local hip-hop showcases has provided him with a huge leg up in the game. “I see a lot of hip-hop artists that I’ve never heard before, but in their own town they’re popular. That kind of puts my mind on another level like OK, you know what, I’m not the only one here, there are a lot of other hip-hop artists. It kind of connects us in a way.”
The complete lineup for the 27th includes Broadway Dolla, Box, DapDon, Live Lyricist Society, Toney-B and Wolf and the Wolf Pak. Docta Jones of Live Lyricist Society agrees with Broadway Dolla’s assessment of the scene, saying “people need to get together for common goals more often.” His partner in rhyme, White Cheddar, seconds this, adding “that’s how a movement starts.”
While that movement is starting, Toney-B notes that there are plenty of opportunities to be had along the way. He performed at a Toad’s showcase in October and it ended up netting him a feature in documentary. “Some people from New York were doing a documentary,” he remembers, “they saw my performance and actually threw me on their documentary right after the show. They liked my music and wanted a little freestyle from me.” With those kind of opportunities potentially at every show, Toney-B notes that even if an artist’s set is only 15 minutes, they need to bring it. “It’s not about how long you were on the stage, it’s about what you did with your time.”
Box is confident he’s going to give fans a performance they won’t soon forget, saying “I live for the stage. That’s my thing. I can create a lot of good songs, but I can make em come to life on stage. I really get into it.” For the 27th, which happens to be his birthday, Box plans on making a special guest a part of his show - his five year old son.
DapDon, who is known for his live performances, which oftentimes include dance crews as he has a close relationship with a female dance team called The FEDS and a longtime friendship with local dancers/dance instructors Double Up Dance Group, shares Box’s love of the live show. “I definitely plan on bringing someone on stage. It might not be the dancers. Maybe it’ll be another local artist who I have respect for. You never know.”
After all is said and done, success, according to DapDon, can be measured in a very simple way. “I want somebody to take something away and at the end of the day remember that act,” he says, “that’s the best feeling, when you leave the stage and people say ‘that was hot.’”
As two of the founding members of LA Symphony, CookBook and UNO Mas have had the West Coast buzzin for over a decade. During that time various members of the group, including CookBook, have released solo albums, and Cook and Uno have been releasing albums as a duo, as well. On January 26th they’ll be droppin their latest Cook and Uno album, C+U Music Factory.
Hip-Hop has a long history of two man tandems, and when I sat down with Cook and Uno I learned there’s quite the long history behind theirs. During my interview with the dynamic duo they also gave some food for thought on why we don’t see very many duos in hip-hop anymore, how they manage to voice things they’re passionate about without cursing, and how their ethnic roots, with CookBook being Puerto Rican and UNO Mas being Mexican, have affected their music. Here are some highlights from the interview:
CookBook on rhyming in English versus Spanish: We have a lot of fans who would always hit us up and say “you guys are Latinos, how come you don’t rap in Spanish?” We kinda didn’t see it like that, like we should be rappin in Spanish because we’re Latino. We’re like nah, we’re hip-hop. We grew up in LA.
UNO Mas on why he feels there's a lack of duos in hip-hop today: In hip-hop, and music in general, there’s a lot of arrogance and a lot of me me me. When you’re in a group there's a lot of give and take and you have to squash egos a little bit and listen to your partners.
CookBook on keeping curses out of his rhymes: I’m so used to the way I rap that it doesn’t even occur to me. I don’t write raps and say “God I want to say bullshit right here, but I JUST CAN’T!”
Every once in a blue moon a voice really impresses me. I mean REALLY impresses me, like snaps my head around to hear who it’s coming from because I can’t believe the amazing sound I’m hearing. When I clicked on Lara Johnston’s website and her song "Last Man Standing" started playing it elicited that kind of reaction from me. A hard guitar led things off and then the vocals kicked in. They were big and robust and undeniably soulful. One verse was exactly how long it took for me to know I wanted to feature her as an Artist Of The Week. The daughter of The Doobie Brothers’ lead singer Tom Johnston, 19 year old Lara comes by her musical chops honestly, and this week I caught up with her to find out more about growing up in the industry, developing her own soulful sound, and why she chose the indie route over some of the other opportunities that might have been afforded to her.
Adam Bernard: It’s become rare to hear a new artist who is in their teens and not have them associated with Disney, Nickelodeon, or American Idol. Why did you decide to go the indie route? Lara Johnston: I think that those are some great ways to get exposure, and obviously those are big machines to have behind you and that’s a really great thing, but I was just never really interested in doing it that way. I saw how with Disney and Nickelodeon artists, they kind of control what you do artistically, and I never wanted to be a puppet in that way. I’m not saying all their artists all are, but I think that can happen and I didn’t want that to happen to me. For American Idol, I think that’s another scenario where you’re kind of limited in terms of what you can do. I was sort of interested in doing it, but I did this other show called Rock The Cradle (MTV's show that featured the sons and daughters of famous musicians), and it was put on by the same company, Fremantle Media, and they said it would be a conflict of interest if I did American Idol. The indie way is harder, obviously, but you have a lot more control, and say, in how you want your music to be presented. You can write your own songs and say what you feel and really express yourself in an honest way. You’re not always gonna get celebrity right away, sometimes it never comes, but I think it’s worth a shot and I’m just tryin.
Adam Bernard: You are young and you have a BIG voice. I want to say it sounds “adult,” but I know that’s pretty vague. How would you describe your vocals? Lara Johnston: I guess I would describe my vocals as soul. I grew up listening to soul music and those are the artists who I’ve kind of modeled my voice after. Since I started really honing in on my vocals I’ve been listening a lot of people like Aretha Franklin and Chaka Khan, Gladys Knight, also Beyonce, I love Beyonce, I love Christina (Aguilera). I listen to as many great female singers as I can and really try and take what I can from them while also wanting to come up with my own sound. I also like a lot of funk music like James Brown. I like that really cool, fiery, percussive element to his singing.
Adam Bernard: With James Brown as an inspiration will we one day see you in a cape? Lara Johnston: That would be a blast. He did such a fun stage show. That would be really fun. Maybe someday.
Adam Bernard: How has being the daughter of a Doobie Brother affected your career? Lara Johnston: It’s been an amazing opportunity to witness firsthand some of the aspects of this business, and also just the power of music and what it can do. From the time I was very young I’ve been going on tour with my dad and watching his shows every night and witnessing how much power he can exert over a crowd and how he can move people, how the whole band can. It’s been inspiring to me and after so many years of being around that I can’t image doing anything else.
Adam Bernard: Is potentially being in your father’s shadow a big concern for you? Lara Johnston: That’s a constant struggle for me in terms of how I present myself because at this stage I’m still a new artist so people are gonna associate me with my dad and while I’m incredibly proud of him, I love his music and I love what he does, I do want to strike out on my own.
Adam Bernard: Alright, let’s talk about how you’ve been striking out on your own. Tell me about what you’ve been working on. Lara Johnston: I’ve been doing a lot of writing and recording lately and I recently did some great shows. In October I did a show that was a benefit for Project Angel Food in Los Angeles, which is a charity that brings food and supplies to people who are shut ins because of life threatening illnesses. That was a really great show, it raised a lot of money for the charity and people like Neil Patrick Harris, Deborah Gibson and Michael Chiklis were there. I also had two shows these past few weeks. I had one that was a holiday jam, and that was also a benefit. It featured Narada Michael Walden and Carlos Santana. Then I had a show at a club called Slims in San Francisco, which was my first club show.
Adam Bernard: OK, I’m slightly jealous. You met Debbie Gibson, who every guy my age had a crush on growing up, and Neil Patrick Harris, who I think is amazing. Lara Johnston: They’re really cool people. Debbie Gibson is one of the nicest people I’ve ever met. I might be working with her. We were talking about co-writing. I think that would be really fun.
Adam Bernard: You’ve been in the music world since you were born, so I’m wondering, in what ways do you feel like you’re a regular 19 year old girl? Lara Johnston: I feel I’m totally regular in that I’m a total goofball. I’m kind of a nerd. I love the show Lost, I love The Office. I love reading books. I’m sort of a silly person. Some people who are in the entertainment industry are kind of a little bit nutty and a little bit high on their own hype, if you know what I mean.
Adam Bernard: You mean like the artists who claim to need 74 scented candles arranged in a semicircle as part of their backstage/green room requirements? Lara Johnston: Right, what’s that about? Or only green M&Ms. It’s silly stuff like that. I understand that maybe those are people who are super famous, but still, I don’t think even if I made it big I would ever get that crazy.
Adam Bernard: Finally, speaking of making it big, when can people expect to hear an album from you? Lara Johnston: There isn’t a specific drop date just yet, but my demo is available and anybody who wants it can just send me their mailing address and I can send them a copy. My songs are going to be on iTunes very soon, but people should check my website for updates and I’m constantly posting live performances on YouTube, so it’s in motion.
Coolzey is one of the most dynamic artists in music today. He constantly stretches the boundaries of what hip-hop can be and with each project creates something truly unique. "Look" is one of my favorite songs off of his latest EP, The Honey, and the video for it features a trifecta of dopeness - masked wrestlers, gorgeous women, and great music. It also features a lot of people not taking themselves too seriously, which is a nice added bonus. Check it out.
Right now MTV's Jersey Shore is one of the most talked about shows on all of television. The exploits of over-tanned self described “guidos” and “guidettes” with names like JWOWW, The Situation, and Pauly D have hooked viewers like a powerful drug. According to filmmakers, and longtime New Jersey residents, Greg Santarsiero and Mark Bernardi, however, there’s little problem with the show - the vast majority of it has nothing to do with what life is really like on the Jersey Shore.
Santarsiero and Bernardi grew up together in the Jersey Shore area of Brigantine, NJ, right outside of Atlantic City, sharing mutual interests in basketball, hip-hop and film. They wrote their first script when they were in college and that script became the independent film Rise By Sin. “We didn’t go to film school,” Bernardi explains, “Rise by Sin was our film school.” Continually inspired by the storytelling aspects of hip-hop and the individuality of acts such as the Wu-Tang Clan, the two friends saw a community of characters around them with everyone going by nicknames and creating their own slang, and realized these were the stories they wanted to tell. Those stories became the basis for their second independent film, Ice Grill, USA.
Backed by a killer score that was done by The Roots’ manager and executive producer, Rich Nichols, and with a soundtrack that features the likes of Atmosphere, El-P, Kidz in the Hall, Bronze Nazareth, Big Noyd, Blu and Jake Lefco, the Ice Grill, USA story of one man’s attempt to make it in Atlantic City is striking a chord in the indie film circuit. This week I caught up with Santarsiero and Bernardi to find out more about the film, how their main character, Auggie Logan, represents a lot of America, and what it’s really like in Atlantic City and on the Jersey Shore.
Adam Bernard:Ice Grill, USA is your latest film. Why don’t you start me off by telling me about your inspirations for it? Mark Bernardi:Ice Grill, USA is basically a love letter to our hometown, our home area of Atlantic City, but it’s a love-hate thing, so we tried to cover the highs and the lows, the heroes and the villains. Greg Santarsiero: We come from a very multicultural background, a background that has people from all walks of life, multiple social classes, all interacting simultaneously in this melting pot that is Atlantic City. Ice Grill is, in many ways, a cross section of that life experience. People from various walks of life in these compromising situations and how some people make it and some people don’t. We witnessed that firsthand growing up and we always endeavored to be the guys that come out on top in the end and survive it. It’s very much an ode to the working class of Atlantic City and to the good people who struggle there every day. Mark Bernardi: Where we’re from people work from 11 o’clock at night till seven in the morning. That’s a regular thing. You work the night shift at a casino because the city never goes to sleep. That’s something that makes the city interesting. In accurate war movies there’s always humor in the trenches. Someone’s laying on top of their dead friend’s body and they have to make a joke because in those conditions it’s the only way to survive. I think out of the working class environment in Atlantic City there’s a witty sense of humor, and a colorful language, and it’s born out of that.
Adam Bernard: The film’s main character is Auggie Logan. What’s he all about? What’s his deal? Mark Bernardi: Auggie comes from a working class, blue collar family and he’s stuck in a bad spot, or just the status quo for Atlantic City, where he’s trying to stick to his principles, he’s trying to take care of his family, he’s trying to make sure his friends stay out of trouble and that he stays out of trouble, but at the same time he doesn’t want to be at the bottom of the food chain, he doesn’t want to work for minimum wage his whole life. He’s trying to balance his ambition and his goals with keeping everyone afloat. He’s a man of principle, but everyone he’s surrounded by is kind of morally ambiguous. Even the good people have to compromise their principles at times and he’s really trying not to bend or break. Starting from that point he takes two entry level jobs in two different fields; one is the black market pharmaceutical sales trade, selling pharmaceutical drugs at nightclubs, and the other is catering to the VIPs in the casino. He has a club job and a corporate job. He’s in those two worlds and he’s trying to stick to his principles, but they're constantly challenged, and he’s trying to learn to navigate the treacherous paths that are growing up and working in Atlantic City.
Adam Bernard: Now, from my understanding, which is purely from MTV’s Jersey Shore, New Jersey is only filled with stereotypical Italians who like to fist pump in nightclubs and occasionally knock out young ladies. Are you saying that’s not so? Greg Santarsiero: I am absolutely saying that’s not so. Those guys are from Staten Island, they’re from Brooklyn. They’re called Bennies in the Tom’s River area, they’re called Shubies down at the Shore, where we’re from. They’re the out of towners who have come in and injected this stereotypical vibe into the nightlife in these areas and much like you’ll see various ethnic groups represented in mainstream media, it’s the worst common denominator, it’s the worst possible stereotype. These guys are supposed to be Italians. That’s the same race that bore da Vinci, for Christ sake, and this is where we’re at right now as a people? I don’t think that’s necessarily fair.
Adam Bernard: So how do you define New Jersey? Greg Santarsiero: In all honesty, Jersey represents America. I think out of towners only know Jersey in-between Newark Airport and New York City, but it’s really one of the most diverse states in the country. There are spots where you can drop somebody in the worst hood in the world, but you can also drop somebody into areas that have sprawling mansions, and then there are also places that look like backwoods Arkansas. And we have beaches. Top to bottom I would say it’s reminiscent of California in so many ways, but people are only aware of the lowest common denominator. Mark Bernardi: In Atlantic City, in two blocks you can go from the casino and all these regal statues and things dipped in gold and bronze, to a pawn shop. A block from that there’s a mansion, and then a block from that there’s a crack house. Literally, within a half a mile you have all four of those things. Greg Santarsiero: At it’s heart, that’s why Ice Grill is such an aspirational tale, because it’s about being surrounded by the artificial glitz and glamor of the casinos, and the opulent wealth of the trust fund kids in Jaguars who’s dads are dentists and they can just hang out and chill all summer, and at the end of the day you’re the guy who has to go and work in the nightclub and throw these drunk assholes out, or you’re the one who has to wait tables to take care of these people, or you’re the one who has to park their cars, or mow their lawns, and I think there’s a certain amount of resentment that builds up. It’s that angst that comes with being the have-not, but being constantly surrounded by all of it and realizing that your only way to climb the social ladder is to channel your energies to catering to the upper class. I think that very much informed the central character of Auggie in Ice Grill in that he aspired for so much more but he saw that there were so few options to get there.
Adam Bernard: Ultimately, what are your goals for Ice Grill, USA? Greg Santarsiero: With Ice Grill it’s about a lot more than me and Mark as individuals. It became about our families. It became about the cast and crew and the people who worked so hard on the film. It became about kids who grew up the way we did who want to make something more of their lives than working at the casinos and what not. Mark Bernardi: We found a lot of really talented, hard working, people that we collaborated with to make the film and we want to pay each of them back by giving them a huge break in their careers. That’s the end game. That’s the goal.
Welcome to your weekly dose of pop world musings. Covering all things pop culture, this week Pop Shots is hitting you with thoughts on everything from Miley moving on, to Katy Perry becoming marriage minded, to Ashley Greene and Amanda Bynes’ magnificent modeling moments, and since it's Pop Shots you know everything is seasoned with a little bit of attitude.
It’s Tuesday morning. You’re driving to work on I-95, or I-84, at what feels like snail’s pace, alongside hundreds, perhaps even thousands, of others just like you. You’re in need of patience, sanity, and something to wake you up. While there’s nothing that can provide all three, if you tune your dial to WPKN 89.5 FM - Bridgeport (and 88.7 FM - Montauk, NY), one of the state’s most prominent DJs can take care of the latter as DJ Halo, going under his real name of Jeep Ward, is now coming to commuters live every Tuesday morning from 6am - 9am with Mornings on WPKN with Jeep Ward Behind The Board.
Ward is normally used to performing after sunset, rather than right at sunrise, but he knows what the morning commuter needs, “my motto is, traffic sucks, at least the soundtrack should be good.”
Providing a soundtrack is something Ward knows a thing or two about. He’s been doing it for artists on both local and national tours for years. As DJ Halo he’s the personal DJ for local hip-hop acts Workforce, Chase Davis and Plus, he tours regularly with Sketch Tha Cataclysm, and he’s one of the DJs in New York’s Mindspray crew. “At least once or twice a week somebody is calling me saying ‘hey, are you free on this night to be able to do a show?’”
The morning show on WPKN happened for Ward after he made the decision to go from being the station’s General Manager to a full time working DJ. The 6am - 9am time slots were just created at the station this past fall, and Ward notes WPKN’s morning shows are very unique in one key way. “You’re given some news, you’re given some traffic, we’re being mindful that people are on their way to work and they need information,” he explains, “but we’re still WPKN in the sense that we’re playing whatever music we want.”
Some DJs wouldn’t know what to do without a set playlist, but this is where Ward’s years as a professional DJ reap plenty of benefits for the listeners. “I try to keep it pretty varied because most people know me as being the hip-hop guy, if you will, on WPKN, but having been a live DJ for about twelve years now I have huge tastes in music.” His cure for the common commute? “Everything that’s upbeat.” For Ward this means creating a mix of music that has a much greater range than simply one genre. “I’ll go from a hip-hop artist like Drake, or Lil’ Wayne, into like a Chromeo song, into something that’s still hip-hoppy, but also dance oriented, like a Kid Sister.”
A bit of an internet junkie, Ward enjoys combing the web for rare remixes to play during his show, as well. “I have a blend of Rihanna’s ‘Disturbia’ with CeCe Peniston’s ‘Finally,’” he says, combing through his collection, “it’s a recognizable song, but it’s done to a different beat, so it’s cutting edge in the sense of it’s not something that you’re gonna hear anywhere else, but it’s also something that’s recognizable for people, so it has that pop appeal.”
Ward also isn’t afraid to pull out some indie rock, like Neutral Milk Hotel, or music from acts like Pearl Jam, The Lemonheads, or Bad Religion, and throw them into the mix. His only rule when it comes to the songs he plays is “I want them to have the same emotional feel during my three to four song sets.”
This is where DJing on the radio differs radically from DJing in a club. “With radio you’re taking a mic break,” Ward explains, “so that gives you a chance to reset your emotional clock as well as the bpm (beats per minute) clock. When you’re DJing live you’re very locked in, you want to keep similar bpms going. You don’t want to jar people because then you’re gonna lose the crowd.”
In addition to the Tuesday morning show, Ward also has a regular time slot on Wednesday mornings from 3am - 6am where he spins underground hip-hop, and he can be found working the turntables at Karma Lounge in NYC every Friday and Saturday night from 10pm - 4am. With a schedule that involves all that, along with his work with some of the most prominent emcees in the state, sleep is oftentimes at a premium for the Bridgeport turntablist.
If all goes well Ward might one day find himself at a major commercial radio station, on five mornings a week, at which point he will run on zero hours of sleep and copious amounts of sugar free energy drinks. Ward says that’s OK for now, though, because he sees the goal is within his reach. “I feel like I’m developing a new audience.”
Karma Response Unit Records is a growing indie hip-hop label based in Philadelphia that over the past ten years has become a highly respected David amidst a sea of Goliaths. Label founder Happ G came up with a plan in 2009 to release nine projects in ’09 and then ten in ’10. The thought was a good one, but it was a little too much to handle. “I got to the point where ’09 was quickly winding down and I had to say look, that’s ridiculous, 19 is ridiculous.” While the nine in ’09 didn’t happen, Happ G has KRU Records all set to release ten projects in 2010 and this week he sat down with me to talk about the bold endeavor, as well as the time he used dental floss to promote an album, and his predictions for the next decade in music. Here are some of the highlights from the interview:
On seeing KRU Records alongside Wu-Tang and Gangstarr on the cue sheet for an MTV2 show: That moment of looking down, and whether I felt like really in my gut at that moment that we belonged or that we sort of snuck in the back door, looking down and seeing our names mixed in amongst that company felt pretty incredible.
On releasing ten projects in 2010: Even if at the end of this year things haven’t panned out exactly the way I need them to, financially or otherwise, I can be proud that I personally tried to do something by putting these ten things out this year.
On his long term hopes for the decade: I’m hoping we get to the point where CDs become a throwback thing and they start coming back again and people start to see there is a value to a physical product.
One of my favorite things to do is talk about pop culture, so when Josefina Loza of the Omaha World-Herald contacted me about a story she was doing on MTV's Jersey Shore I was eager to contribute. Yes, I watch the show, and yes, I know far too much about it, but I think my perspective on the Jersey Shore phenomenon may surprise a few people. Check out Loza's feature and see.
Before I even spun M-Tri’s album, Max Talkin’ Real Ism, I had a distinct feeling it was going to be a little different from most of the other fare that had been coming across my desk as of late. His wife, DJ Leecy T, had passed me the album, and being that there aren’t a lot of wives in the scene, that instantly made M-Tri stand out to me. It didn’t take long before his album stood out to me, too. Max Talkin’ Real Ism is dope hip-hop. M-Tri’s lyrical content, and the way he delivers that lyrical content, are both top notch. That’s why this week I caught up with him to find out more about his music, one of his most memorable emcee battles, and what it’s like being married in the rap game.
Adam Bernard: Start me off with the M-Tri story. Where are you from and how did you come to the decision to pick up a mic and start spittin rhymes? M-Tri: I'm from the Gravesend section of Brooklyn, New York. I was introduced to hip-hop through the elements of graffiti and breakdancing. I started writing rhymes after being inspired by artists like Run-DMC, UTFO, Whodini, and LL Cool J. After hearing Rakim, Big Daddy Kane, Kool G Rap, and KRS-One, that really put the fire in me to start recording and performing. Shortly after that I started DJing and a few years later got into production.
Adam Bernard: I’ve been listening to your album, Max Talkin’ Real Ism, and there’s an impressive array of subject matter on it. What were some of the “Real-isms” you were hoping to cover going in and what do you feel are some of the more powerful statements on the album? M-Tri: Going in, besides the braggadocios emcee topics, I really wanted to cover the everyday life issues of people, such as work, relationships, addiction, self-improvement, money, and injustices. The more powerful statements would be about police brutality, how the government neglects disabled and poor people, and striving to achieve your goals by staying focused and positive in a negative world.
Adam Bernard: Who do you think the target audience is for this album and how do you hope it will affect them when they listen to it? M-Tri: I think my target audience would be people both young and old that love and respect the culture of hip-hop. I hope it makes them feel inspired as well as entertained through the lyrics, boom bap beats, and scratches.
Adam Bernard: You have one line on, I think it’s “Silly Rappers,” where you say emcees are nervous “like Mike Tyson at a spelling bee.” This leads me to believe that you, at one point in time, may have been a battle emcee. 1) Am I right? 2) If I’m right give me your best war story from you time battling. M-Tri: Yeah I definitely started out as a battle emcee, like most of us do. I have a few war stories, here's one... It was my senior year in high school and I was leaving school with a friend. I was showing him a press photo of my DJ at the time, our dancers, and myself. This kid overheard our conversation and jumped in with "you got dancers? You think you can rap?" By the time I was a senior most people knew I rhymed and I had quite a few battles at school, but I didn't know this kid and obviously he didn't know me, so he challenged me to a battle. There were a bunch of us on the corner and I set it off. He was definitely caught off guard. He kicked something and we went back and forth a few times. The crowd judged me as the winner. We shook hands and I went on my way. The next day while I was leaving school he ran up to me like "let's battle again!" He had some of his friends with him and by the time we started a huge crowd surrounded us outside of school. People thought it was a fight and the crowd got bigger. We rhymed back and forth a few times and then he started getting racial with it. I just kept hitting him with straight comedy. I had people cracking up and screaming. The crowd lost it on one of my lines and that ended the battle.
Adam Bernard: That’s a dope story. You know, your wife was the person who actually passed me your album. I know a lot of rappers who only rhyme to get girls, so how is it being married in hip-hop? Does it help you keep your focus knowing that who you’re going home with isn’t a question? M-Tri: My wife is actually my DJ now so being married in hip-hop is awesome! And she's DOPE, so what more could I ask for? We have a beautiful relationship on and off the stage. Being married and settled down works really well for me because I am definitely more focused now than I was in the past. Shout out to DJ LEECY T!
Adam Bernard: How do you feel the landscape of hip-hop would be different if you were a top selling artist? M-Tri: The landscape of hip-hop wouldn't be focused so much on materialistic things, violence, and sex. It would be more realistic and intelligent for the everyday person. Hip-hop would focus more on skills and creativity if I was a top selling artist.
Adam Bernard: When all is said and done, how do you hope the M-Tri chapter in hip-hop’s history book will be wrapped up? M-Tri: I hope it would be wrapped up by saying I was a sincere and dedicated artist to the culture of hip-hop as a triple threat on the set, that I gave back to the community, never turned away an autograph, and went triple platinum!!!
Every once in a while I hear a song that I just KNOW has to be a crowd pleaser at live shows. Rita J's "No Regrets" qualifies as one of those songs. From the call and response hook, to the true school, boom-bap, beat, to the fact that Rita J can actually spit, this one's a true motivator for hip-hop heads. Enjoy!
Just a handful of years ago I remember interviewing the likes of 50 Cent, T.I., Lil’ Wayne, Ludacris and Robin Thicke for online outlets, but nowadays the big names are doing less and less press and the few that are doing press seem to be doing only a select few publications and even skipping some interviews. It’s a little odd to me that in an age where the internet has become so responsible for creating buzz and, in many cases, stars, that major label acts aren’t putting in a little more work to maintain their status. The plethora of independent artists out there aren’t complaining, though, as the major label artists’ sloth has led to a fantastic opportunity the smart indie acts are already taking advantage of.
Last month I featured underground emcee Warren Britt as an Artist Of The Week. Not only is Britt a talented artist and performer, but I found out after the interview went up that he also has one heck of an amazing fan base. Britt, like any smart artist with a new interview online, jumped on Twitter and tweeted the link to the feature. This set off a string of re-tweets, including a few more by Britt himself who made sure that people would see the interview no matter when they signed on during the day. As of the last check I did on Topsy.com, the article had been re-tweeted 31 times. Let’s take a second to break down what that really means.
I have 500+ followers on Twitter. Britt has 700+ followers. Factoring in some potential follower crossover, had just the two of us posted the link it would have reached around 1,000 people. Not bad, but thanks to the support Britt has of his fans, and of his artistic community, all the re-tweets of the link resulted in it reaching five to ten times that many people (TwitterAnalyzer.com had the number from the first day at over 5K and there were re-tweets after that, as well). So, while big name artists aren’t scheduling interviews, Warren Britt is reaching over five thousand people with his message. The major labels still don’t understand how to play the Twitter game correctly and because of this are potentially reaching LESS people than the Warren Britts of the world.
The music industry is no longer a place where artists can do a couple interviews and expect those interviews to do all the work for them. They need to put in just as much promoting themselves as their publicists do because people want a personal connection with the artists they listen to. Warren Britt gets this. He’s part of a segment of the NYC hip-hop scene where everybody treats everyone like family and that rubs off on the artists. They understand the value of a relationship, and in the case of Britt he has plenty of evidence that it works - 31 re-tweets of an interview. His fans aren’t sitting idly by, they’re out there telling other people about him, not only because they’re passionate about his work, but also because it’s so easy to do it. It only take a few seconds to re-tweet a link.
Big name artists have significantly more followers than indie artists, and although a lot of them have Twitter pages and Facebook sites, they don’t seem to understand the concept of truly connecting with their fans. I’m not sure if they realize it, but if they don’t start doing more interviews, and then utilizing all the tools they have to get those interviews to people, pretty soon the only news we’ll hear about them will be from places like gossip blogs and TMZ. They all have the opportunity to be heard by not just A large audience, but by THEIR large audience. Few are taking advantage of that opportunity, though, and that’s just fine with all the independent artists out there, because while the major label artists sleep, the Warren Britts of the world will continue to gain momentum and show em how it’s done.
Welcome to your weekly dose of pop world musings. Covering all things pop culture, this first full week of 2010 Pop Shots is hitting you with thoughts on everything from Ke$ha’s impressive sales numbers, to Taylor Swift’s impressive staying power, to an impressive posthumous honor for Michael Jackson, and since it's Pop Shots you know everything is seasoned with a little bit of attitude.
One is a hard rock band from Arlington, Texas. The other is an R&B group that's representin Jacksonville, FL. The two groups have one thing in common - they both sat down with me for Diamonds in the Rough features for 101Distribution.com.
For all the info the Texas rockers who reject their hometown's screamo scene, and to read about their worst demo tape story ever - click here. (My byline is after the feature)
To get to know the young R&B crooners who are blowin up on BET, and read about their favorite wake up call, which damn near ever guy in the world would have loved - click here.
I like things that are funky, which is why when I first heard Living Proof, a band that’s self-described as “The Black Eyed Peas meets Earth, Wind & Fire,” I was immediately hooked by their vibe. The band consists of (from L to R) Leonard Patterson, Jeff Libby, Marc Latney, Jessica Patterson, Larry Beiswenger, Gary McCary and Teddy Patterson, and their mix of funk and hip-hop makes for some truly feel good music, which is probably why they named their latest album Feel Good Music. This week I caught up with three of the members of Living Proof to find out more about the group, including how they got together, how they nearly lost a member to a runaway golf cart, and their exploits in thievery involving Morris Day’s trailer.
Adam Bernard: Start me off with the Living Proof story. How did you all meet and come together as a group? Leonard Patterson: The roots of Living Proof actually go back to September 11th, 2001. I wrote a tribute song about the tragedies that day and started singing it at local churches, but I found it didn’t really have the right feel singing over produced tracks, so I asked some friends to get involved and form a small band. Two of those people were Jessica, our female lead singer, and Larry, our trumpet player. During that time I discovered a friend’s relative that I knew personally lost their dad at the Pentagon in the attacks. They started a memorial fund in his name and all of a sudden we had a purpose to play. I put together a six song EP in my home studio to sell at churches and concerts and donated all the proceeds to my friend’s memorial fund. We did 20 performances over the course of the next year, ending on the anniversary of the attacks, September 11th, 2002. By that time we realized we wanted to keep playing out. I landed us a spot on a local band showcase in town, and on November 2nd, 2002 Living Proof was born. We were playing all original music, but in the spring of 2003 we decided to start playing some covers to lengthen our set, broaden our fan base, and most importantly, get paid. Jessica and Larry were still down, but others started to drop out, so through auditions and replacements is how everyone has come to be a part of Living Proof. Jeff, our keyboard player joined in 2003. Marc, our bass player, joined in 2005. Gary, our drummer, joined in 2007. And Teddy, our sax player, joined in September of last year. Our soundman Joseph Dixon has been with us for a couple years, too, and makes us sound great every time we play.
Adam Bernard: With such a large group, do you ever clash creatively? If so, how do those disputes get resolved? Jeff Libby: Of course we do. None ever deteriorate to fist fights, but we have some heated discussions occasionally. Leonard is our leader and the Executive Producer, so when it comes to a final decision, he gets to make it. He is very good at taking in all opinions and making the best overall decision that advances the band’s mission - World Domination!
Adam Bernard: In your effort for world domination you just released an album, Feel Good Music. Break it down for people, why is this album going to make listeners feel good? Jessica Patterson: When you hear a solid groove paired with energetic horns and powerful vocals you have a combination that makes you want to move and makes you feel good. Jeff Libby: The band’s overall mission, when playing live, is to create a party, fun, leave your cares at the door, atmosphere. We have a very positive vibe that comes off the stage when we play and we tried to capture that positive vibe in the recording. All the songs have an upbeat message. We worked hard at not wallowing in any negativity. I think we’ve done a good job of representing the diversity and multiple talents of the band while capturing the fun, funky, vibe of Living Proof.
Adam Bernard: As you mentioned earlier, you also perform cover songs. What are some of your personal faves to perform and are you working on anything especially ambitious right now in terms of covers? Jeff Libby: My personal favorites to perform are “Deacon Blues” by Steely Dan, “My Prerogative” by Bobby Brown, and “September” by Earth Wind & Fire. We’re currently working on a Michael Jackson medley/tribute that I think will be particularly fun for the audience.
Adam Bernard: What have been your best, and worst, concert experiences as performers? Jeff Libby: My favorite was the Sky Concert a number of years ago. We started playing with just a handful of people in the crowd and as the evening went on, and it got darker, more and more people showed up to see the fireworks at the end of our show. When we finished there had to be 30,000 people screaming in the dark at our performance. It was a total surprise and very cool to have this wave of applause and appreciation come out of the dark night. Leonard Patterson: The best for me was a Battle of the Bands show we did several years ago. After we started playing covers we were labeled strictly as a cover band, which internally was a source of frustration, so we entered this battle in hopes of dispelling that stereotype. The night of battle had to be our tightest 25 minutes on stage. At the end of our set that night, the place ERUPTED! That several minutes of applause carried me for a while. Jessica Patterson: The worst was an audition for a big program. We all had our own individual mess-ups that multiplied into the worst two and a half minutes in Living Proof history. Wrong notes, lips busted on mics, keyboard stands collapsing, awkward brass vibrato... you get the idea. Leonard Patterson: In case you were wondering, we did NOT get the spot in the show from that audition.
Adam Bernard: It sounds like you’ve had some interesting times on stage. Why don’t you close out this interview by telling me about an especially wild moment that happened at one of your shows... or backstage after one of your shows. Jessica Patterson: Leonard almost got taken out by a golf cart. We were setting up at a show and all of a sudden a golf cart came charging towards Leonard who was standing at the front of the stage. He dove out of the way just in time for it to smash into a stone wall. Turns out, a tub of ice had slid off the seat onto the gas pedal. A golf cart might not sound that scary but that thing was moving, in fact, it actually caused a couple thousand dollars in damage to the building. Jeff Libby: Another time we opened for Morris Day & The Time and meeting Morris after the gig was pretty cool. He is a character. Leonard Patterson: We stole some cookies from Morris’ trailer. I’m sure he’s “Cool.”
For my first Vid Pick of 2010 I have something special for ya; Sketch Tha Cataclysm performing "Rebel Music" live with Seme Rock providing the beat with his beatboxing skills. You know how some people like to debate about what "real hip-hop" is? This clip is part of the definition.
For more on Sketch and Seme check out my features on them in the Fairfield Weekly.
B-Listers are a select group of artists that were featured in my Artist Of The Week series that ran every Monday from April of '06 to April of '11. All of these artists have two things in common; extreme talent, and a flight path far too under the radar for my liking. They took on the title of B-Listers as they embraced being featured by me, Adam B. Check out the AOTW Archives for all the interviews.
To find out about the Washington, DC, rap trio of Fatal Sinz, check out one of their videos, and read about the time they were chased around the city by a gun wielding madman - 
For Jamaican dancehall artist Dondada’s story, which includes a lot of time spent in the Middle East, and a very scary incident of being reported dead at one point during his time in the army - 
For all the info the Texas rockers who reject their hometown's screamo scene, and to read about their worst demo tape story ever - 
To get to know the young R&B crooners who are blowin up on BET, and read about their favorite wake up call, which damn near ever guy in the world would have loved - 
