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Written by Administrator
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Prolific and renowned playwright David E. Talbert embarks on the Fall leg of his highly acclaimed play "What My Husband Doesn't Know" starring Morris Chestnut, Michelle Williams (Destiny's Child), Ann Nesby, and Clifton Davis.
Lena Summer is the envy of all her friends. Big house. Successful husband. It's the perfect life...or so it seems. But with her husband's demanding career as a construction mogul, the other side of her bed is too cold too often. When a handsome young foreman from her husband's company arrives to work on their home, the spark she's been missing quickly rages into a wildfire.
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Written by Kevin Benoit
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This past weekend the 2011 Urbanworld Film Festival brought celebs to the AMC theaters in NYC. The 15th annual event was founded back in 1997 by Stacy Spikes (pictured above). It is now, the largest internationally competitive festival dedicated to the exhibition of independent ciinema by and about people of color. The five day event featured 59 films this year, 17 of which were world premieres. Here is a recap of the films, pics and awards...
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Written by Devon Hyman
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Hip Hop is as Hip Hop does, and on this night it did exactly what it was supposed to; it brought people together; it entertained; it pleased, it was live. It's contributors, the Cool Kids, Chicago based rap tandem was held down by opening acts Blind Benny and Rocky Fresh, whom each did their part in serving HIP HOP, in serving the crowd.
The scene was Williamsburg, Everything that is good about HIP HOP was on display as die hard fans fell in line @ the Brooklyn Bowl (wythe street and 11th, Williamsburg)For the better part of 2011 I feel like I've been to every venue, heard everything worth mentioning. August 10th was different.
As I looked around I saw movement, not faces, I heard lyrics not rhetoric. Not a hand down in the place, or arms for that matter as the not only the Cool Kids but Rockie Fresh and Blind Benny kept the crowd in tuned and very responsive. Íf I could I would tell Nas Hip Hop was alive. So were his lyrics, "do the smurf do the wop baseball bat, rooftop like we bringing 88 back". 88, the mere thought of it seems so ancient, yet its influence was in decibals last night. I am not one for making too many suggestions, I'd rather substantiate. So If I may let me introduce to you my latest- Green Label Sound is like no other.
Artistry abound, mayhem in tow, a live band that without a doubt you should know. Is it Blind Benny or just Miss Jade, some what similar yes but the name still remains. How Fresh was Rocky? Yeah he was Gone (his newest single), and you could bet the house that the crowd wanted more; When it was his time to leave. Not only did Mikey Rock, but so did Chuck English; And I can't for the life of me choose between '88' or my original favorite cut, Pennies on the Ground. Apart of me was quietly wishing that the LEP Bogus Boys would appear and do Counting My Money.
No gimmicks, no commercials- that vibe that had you impressed, that had you feel like it was genuine; a little bit of everything that made you fall in love from the beginning with HIP HOP. Yes Hip Hop, that's what it was all about. No nonsense, no interruptions, just music and good times. Rumor has it that the duo will show face @ Brooklyn Bowl for another go around, which will be a MUST SEE. If you are a fan like me, then you know where you will need to be.
Hip-Hop is as Hip-Hop does, and on this night it did exactly what it was supposed to; it brought people together; it entertained; it pleased, it was live. It's contributors, The Cool Kids, Chicago based rap tandem was held down by opening acts Blind Benny and Rockie Fresh, whom each did their part in serving HIP-HOP, in serving the crowd.
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Written by B. David Zarley
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Tensions simmered through the night as the Atlantic City Summerfest threatened to boil over multiple times. Plagued by logistics issues and a seemingly unending string of un-billed, small time and no talent openers, it is a testament to the professional prowess of State Property, Meek Mill and Rick Ross that the event ended up breaking even.
Mill, the MC du jour out of Philadelphia, was a fan favorite. Coming out in all red, Meek stuck to a steady blend of older songs and new, Maybach Music Group backed tracks. He opened with the Jahlil Beats produced "Make Em Say." Mill operates best on hard charging tracks with driving beats, which "Make Em Say" and "Rose Red" have in spades.
Ross finally arrived to back his rapper on the thundering "Tupac Back." Taking the stage in a simple black tee, trademark sunglasses and a diamond chain brighter than the skyline behind him, the show was elevated to another level as soon as he took the mic. The spotlight on Mill ended with "Ima Boss", his version of "B.M.F" from MMG's Self Made Vol. 1.
Ross performed an interesting mix of his verses from recent guest appearances and Teflon Don cuts, and even dipped into Port of Miami with "Hustlin'." After his verse from the Lil Wayne powered "John", he tore through "9 Piece" and "John Doe" from the Ashes to Ashes mixtape. Ross's trademark baritone flow and distinctive "wu-uh" sound studio quality live, while his presence carried the small stage show. Despite being less animated than the other rappers, Ross seemed to exert a gravitational pull on the stage, drawing all eyes to him even while standing to the side. He was at his most animated on the coffin nail hammering "B.M.F.", steamrolling the beat with ease. "Aston Martin Music", a song that hinges entirely on Ross's delivery, had the rapper exerting the same power on the mic as he does in the booth.
Before Ross and Meek Mill arrived on stage, the State Property reunion assuaged the crowd and kept the show on track. Freeway and Peedi Crakk dominated with Philly favorite "Flipside", the first time the crowd seemed to finally get lost in the music and settle in since the doors had opened roughly six hours ago. Beanie Sigel took the stage to "Roc the Mic" and raucous applause. The Broad Street Bully then mixed it up, bleeding an a cappella verse into "Feel it in the Air", but stopping the song abruptly. The crowd dazed, Sigel explained his reasoning. "We can't go out like this," he told the crowd. "We do this for our kids." From there Sigel and Freeway brought the house down with "What We Do."
What could have been a second inspiring reunion was simply more water in a sinking ship, as the Diplomats opened the name acts by devolving into men with microphones screaming at the ocean. Sloppy, unintelligible and degrading to the art, "Dipset Anthem" was the only good song the Harlem rappers could manage to pull off.
The root of Summerfest's issues lay in its execution. Had it been billed as an all night festival, with the opening acts listed and the headliners slated to start at 9 p.m., instead of just opening the doors at 5, much of the frustration would have been eased. It did not help that most all of the amateur acts were at best forgettable and at worst juvenile and untalented. Atlantic City rapper Kilo was the one notable exception. Crowd frustration peaked as the reedy voiced and timid Antoine Bailey was booed from the stage. Constant pleas to clear the stage and VIP areas revealed how weak the organizer's security was, while DJ's replayed the same five to ten songs in-between the no name artists. I could not tell you how many times the emcee said Jim Jones is on deck or that so-and-so was the last local before yet another anonymous act took the stage.
Always referred to as "the first annual" Summerfest, the opening event was a castle made of sand and a weak foundation to build upon.
Tensions simmered throughout the night as the Atlantic City Summerfest threatened to boil over multiple times. Plagued by logistics issues and a seemingly unending string of un-billed, small time and no talent openers, it is a testament to the professional prowess of State Property, Meek Mill and Rick Ross that the event ended up breaking even.
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Written by Administrator
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The June issue. Volume 31 of Parlé Magazine makes its debuts next week featuring two covers with R & B artists Ledisi & Miguel. Check out the covers here.
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Spotlight Feature
Sometimes, it must fall upon the journalist to ensure that what they are hearing in an interview is clear enough that they can truthfully and accurately present their subject's words as quotations. This may require asking for an answer repeatedly, admitting you missed something that could have been important, or actively picking and choosing which quotes should be completely captured in a form of verbal triage. Other times, it may simply require asking the subject to slow down because your cell phone's speaker is woefully inadequate. Such was the case with Kirko Bangz, and regrettably, I did not follow the advice laid out above. The following is what I can transcribe from my conversation with the Houston hopeful, whose Drake on promethazine approach has been reverberating within the scene.
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