Truth Universal: The Ambassador of Conscious Hip Hop
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Category: Music

Truth Universal
The Ambassador of Conscious Hip Hop

The path of Truth Universal has always remained a solo journey through the testimony of message music. Getting serious, he says, began with his market presence in 2000. Mixtapes, EPs, and 12" pressings affirmed his quest for spreading the truth, universally. When asked about the digital age and its effects on the music industry, Truth said it's just another vehicle for sales. He does like liner notes and appreciates physical product though. In fact, he's hung up on analog too, while you're at it. He's a head and a crate digger at heart. To see real DJs, cats that throw down with vinyl, rocking Serrato, is disheartening to him. But changing times won't stop him from speaking on the present and future, while preserving the old school. 

 

NOM: Your music is both politically and socially inspired. What message are you trying to get across to your listeners?

 

T: My main line is human rights for all people. I'm advocating equal justice for all people of color. I want to put things into perspective and convey those issues. I strive to make the best hip hop; traditional hip hop. The things that have happen and will happen, that affect our community are all included. You have pertinent lyrics over some very good sound-scapes forming substantial content.

 

NOM: That's important. The part that I'm interested in seeing be borne out of New Orleans is consciousness, because we're all blinged out. And they're on the radio these days telling me how they spent the money I paid for their CD. We touched on this over the phone, but I want our readers to know about this. How is it that a musician gets a national distribution deal but still battles to get into stores?

 

T: My music is accessible to most chains, but chains only carry top sellers and artists who have paid for product placement. It's just like radio stations charging for spins, or 'advertising' as they call it. Everytime I call the stores to ask about my CD, "there's a few on order". And when I call Select-O-Hits they have the CDs in the system as requested but they haven't shipped them yet. It's especially hard right now for the lack of 'mom and pop' record stores. Right now, the only local stores that have my stuff is Nuthin But Fire Records and The Mushroom.

 

NOM: Well what are you saying about Select-O-Hits then? Have they become another obstacle in your path?

 

T: No, they're doing their job. They've made the CD available to stores. I've called around and a lot of small stores in other states have my CD. The chains are what make it hard. And we haven't offered Select-O-Hits an ad budget either. That would encourage them to push harder. It's a grassroots thing. I try to do as many shows as I can, hit up the social networks. I'm getting spins on college and community stations all across the country right now. I'm just not getting spins on stations like Q93.

 

NOM: Do you find that college stations are more receptive to independent music, as opposed to stations like Clear Channel and Citadel?

 

T: Certainly for independent hip hop. We decided to put the money we had into producing the work and getting it out. Recording and pressing were our focus, with college radio and street promotion being second. That's where it needs to be. That's where the people are that are interested in what's going on. I'm not saying that I'm not trying to get to where people in a different arena can hear what I'm doing. When you're making music and you're local it's funny to hear people ask you "Where y'all from". Not all the locals tune into WTUL or WWOZ.

 

NOM: Who are some of the people you have been performing with?

 

T: I've done shows with Talib Quali, Fat Lip, The Roots, Pharcyde, Evidence, Dialated Peoples, Partners in Crime, Dizzy, Gates, D1 and others with 2 Cent, Doodle Bug from Digable Planets, Bionik Brown, Tandre Kemp.

 

NOM: As far as performing with artists from other genres to expand your market, is this something that's important to you? Or do you prefer to stay within the realm of your own genre?

 

T: I feel like the song I did with Doodle Bug, Cee Know, and Wise Intelligent, called 'Black Culture', explains it all. The gist of that song is that the hip hop nation ignores the origin of this whole movement, which is black culture. To not respect or appreciate our aspects of it, I think, is doing the art an injustice. This music is the amalgamation of everything that came before it. "American" music started down here; blues, jazz. Etc. And that started with the people that were brought here; Africans, Carribeans, etc. This all fed into what we call hip hop today. It was formulated and cultivated elsewhere. To alienate myself from that, would be incorrect. I see myself as part of music in general, and there's elements of black culture in it all. We have different categories, specifics, etc. But I'd like to say that I'm traditional and I'm preserving hip hop as it was taught to me. I love when I see cats doing their own interpretation of it; like the Houston thing choppin' and screwin'. It's the DJ giving his own interpretation of a new style of music. We're taking this thing now, that went to the Bronx, and incorporating the elements of our upbringing into it. You listen to Juve and Lil Wayne and you can here the second line cadence in there. No Limit, Manny Fresh… I FEEL New Orleans in it.

 

NOM: What do you see in rap music, in general, today that you can't appreciate? Do you feel that it's headed in the wrong direction?

 

T: I don't agree with the expressions in some music. It's their point of view, different from mine. You might hear cats degrading women, you know, and if they weren't doing music their take would still be the same. I don't think media should be flooded with this stuff and conscious material not have as much of a presence.

 

NOM: You've said you consider artistry or musicianship a responsibility of some form, because you are standing on a podium.

 

T: Right, I see it as it is, and I treat it as such. It's like with literature… Barnes and Nobles, or most bookstores, wouldn't exist if it weren't for bullshit. They have a lot of good stuff. But the thing about a book store is that they put all the bullshit on front street. Posters, romance novels, and other garbage get stuffed down peoples throats. They want to keep people dumbed down because that's what makes money. But as much as I don't agree with what some people are saying, I do agree with freedom of speech. At the same time, I think we should all be mindful of children. No child should be hearing "back that ass up". We are all responsible to a degree including these big corporations. As far as my position goes, I take it as a responsibility. The ambassador of conscious hip hop… I welcome the responsibility.

 

 

 

Most recent album: "Self Determination", on sale now nationwide.

 

Distributed by Select-O-Hits, Inc. Memphis, Tn.

http://selectohits.com

 

Marketed & Manufactured by Dragon's Breath Records, Chicago, Il.

http://dragonsbreathrecords.com

 

Check out Truth at:

http://truthuniversal.com

 

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Elliot Luv
Category: Music

Elliot Luv

  There's a new melodic marketing master in town, and his name is Elliot Luv! Neworleansmusicians.net scored a CD before it hit shelves and is fast becoming a fan. His 70's / 80's soul music debut sports four original songs, including an accapella version of what is destined to be a number one hit, "The Ringtone Song". Elliot is no stranger to the music industry. His father, L.S. Tolbert, and his uncle, Lionel Tolbert, are both prominent singers from the Magnolia Projects. Cannon Jones, his grandfather, sang gospel music and hand built the family church, Holy St. Mathews. So it's only natural that Elliot finds himself on his way to music stardom.

   Backed by independent label, R.E. Music Group, Elliot seeks to create a solid network in New Orleans that will both entertain and allow locals to socialize and share ideas. And he need not tell you this, for it is evident in his current efforts. He is co-owner of his label, and will continue to do business in New Orleans. He is currently hosting his open mic night the first Sunday of every month at Ray's Boom Boom Room on Frenchman St. And Elliot has been well received by crowds at The Hookah Café. He teamed up with local rapper Jack Spratt and delivered a hurricane Katrina anthem, entitled "Brand New", in New York at the Apollo Theater. He also won the Morris Brown College talent show in Atlanta, Ga. with an original ballad, "Love Kisses". He has represented New Orleans while away in a manner that should make us proud! And he has always come back home.

   And now for the meat and potatoes! The demo itself is a lazer printed, black matte finished CD. The black matte finish tends to stick when sliding in and out of CD players, as opposed to a glossy finish. I hope the official release has a gloss coat to smooth things out. The first song, "The Ringtone Song", really caught my ear. It starts out with just the beat and the strike of a few synth keys. I'd like to see those keys turn into an actual acoustic guitar for the official release. The synth on there now just sounds too simple. I was worried about what I was about to hear until the rich base, melody, and Elliot's smooth, echoed voice graced the speakers. I could hear a little bit of  the vocoding that has become popular in R&B genres, on the voice. But it wasn't too noticeable and you could still hear the talent. It's a slow song, professing the love for his girlfriend, bound to put listeners in the mood. The song is fantastic! And the mixing and mastering are crisp and clear. But I have to point out what I like most about it.  Do you know what search term is ranked amongst the most popular today? 'ringtone'. I can't stress the fact enough that you have to bring it all to the table; not just the talent, but business as well. If you can't manage to stand out amongst the growing swarm of would-be successful artists, you'll never survive. Elliot has a style all his own and an obvious flair for marketing strategies.

   "Only You" is a bit more up beat. Keeping with his soulful style, this track reminds me of  Dwele. Head bobbing, inspirational beats string us along while Elliot explains to his girl that he only wants her. Midway through the track though, he breaks it down into what can only be known as the N.O. clap. Now, it's still an R&B song, don't get me wrong. But he takes it up a notch clapping, talking about being up in the club in his white Tee watching the girls back that thing up. In other words, Luv put the New Orleans right smack dab in the middle of the song. Much props!! There are more tracks on here, each well worth your time. I want my readers to check out this cat. He's had two mix tapes out so far and his new, self titled album comes out mid June under R.E. Music Group. As I said before, Elliot is destined for stardom because he stands out amongst the would-be's in talent, and in business.

Open Mic Night at Ray's Boom Boom Room is on the first Sunday of every month. Cash prize for best performance. Soon to be on Cox 10, and channels 78 & 79 under "Elliot Luv Presents"

Booking: 1-800-796-0958 ext. 2

Recorded at:

Small World Studio

Felton:  504-821-3070

Final mix & master:

Blair: 504-256-8440

Check out Elliot Luv: www.myspace.com/elliotluv

To book Elliot: booking@remusicgroup.com

6:53 PM - 0 Comments - 0 Kudos - Add Comment

4 Shoes in a Dryer
Category: Parties and Nightlife

   Some of you may have heard of him before. And if you're in the late night scene then you know exactly who I'm talking about... DJ Frenzi! This guy has literally played thousands of shows across the nation, and he calls New Oreans his home. Ampersands in New Orleans, Studio 54 in Las Vegas, Club Four in Chicago, The Station in Alabama, Space in Miami, Club Euro in Houston.... I could go on for days. Playing the club circuit, he has amassed a strong following, filling dance floors wherever he goes. Fifteen years in the making has postitoned him to enjoy a broad fan base and a comfortable standing in any state.
   The main focus on DJ Frenzi right now is a Birthday Bash he has scheduled for April 5, 2008. Forget scheduled though, it's on lock! He's , bussing, cabbing, flying in 35 DJs from all over the world! To add to the ambience, those in attendance will see fire breathers and a live ethnic purcussive circle. Also, something you wouldn't want to miss... a DVD VJ set. Translation- DJ Frenzi and Lovnlife mix video for video, record for record, in and out of your favorite movies, on 3 projectors! You WON'T see this anywhere else in the world! The party will go down on two floors in three rooms at Dragon's Den at the end of Esplanade in New Orleans, Louisiana. The party starts at 9 '0 clock and isn't officially scheduled to end until 6 am. You can get an address and phone number for Dragon's Den by clicking on the show schedule at myspace.com/neworleansbands. Below you will find a list of some of the DJs gracing the stage that night and the link for more info.

Check out: myspace.com/frenzi4life

~~~Some of the DJs in Attendance~~~

David Quest & J-Pitch                       Fox Valley, WI
Mr. Malone & Tony V.                      Miami Fla.
Proppa Bear & Resin                         New Orleans
DJ Snow & Cricket                            New Orleans
DJ Steel & Wes Kane & Miss Able    Birmingham, Al.
DJ Zen & DJ Daleki                           Moscow, Russia
Redbone & J Groove                         Gulfport, MS.

This is just a taste of what's in store! Neworleansmusicians.net will be out there. We can't wait to party with YOU!!!

4:54 PM - 2 Comments - 2 Kudos - Add Comment

Big Chief Alfred Doucette
Category: Music

                                         
  Through a chance meeting at DBA's on Frenchman, I had the honor and privilege of sitting down with Big Chief Alfred Doucette and getting to know a man that has worn so many hats over the years. A bit of an un-sung hero, Mr. Doucette has performed with other local stars such as Trombone Shorty, Dr. John, and Cyril Neville to name a few. He's graced the stages of this city at countless venues, always well received. He strives to continue the legacy of Marie Laveau, the Mardi Gras Indians, and authentic New Orleans music. Through the years, his club, The Nite Cap Lounge, has seen the likes of James Brown, Bobby Womac, The Neville Brothers, and more. In meeting him, and in listening to the stories of a man rich in the history of this great city, it was plain to see that I was in the presence of a living legend.

NOM:You were a racecar driver, a night club owner, a thoroughbred breeder and racer, so many things… Tell us about some of the things that you've done over the course of your life.

D: You know, I've done some of everything in my time son. My people were tradesmen, I latched onto my people's culture and rolled with 'em. I did carpenter work, my uncle taught me body and fender work. His cousin taught me mechanic work. I built race cars from like '53 until about '83. From '73 to '80 I owned and operated Nite Cap Lounge. I got into the Mardi Gras Indian culture through my brother. I started designing and making Indian suits. One day I made a Big Chief Indian suit. My brother put a crown on me and named me Chief of the Flaming Arrows that year. I got involved with Marie Laveau. She woke me up three nights in a row back in '92 and gave me the lyrics to three songs on my first album "Marie Comin Out". I've been on a pretty good roll with my music ever since.

NOM: Where did you live growing up?

D: I was raised in the 7^th Ward, downtown. You know, making music was kind of a neighborhood thing. Three or four guys would be hanging around, making music, just beating on shit. They're doing something else now, waiting, cooking, putting them axes down. That's a sad thing. Since we've all been relocated from Katrina, we've explored our options. The Musicians Village was one that was presented to us. They sell little houses down there for 120,000 dollars. And you have to be a musician making 300 dollars a week. Now I can count the number of musicians I know making that money from performing on one hand. You understand? That covers very few musicians and all for a 1200 square foot track house; all of them alike, with 10 by 10 bedrooms.

NOM: I've seen them. And in building these bland constructions, we lose our architecture, part of our heritage. You mentioned that part of your heritage was steeped in the Mardi Gras Indians. As far as becoming an Indian, what is required to become one?

D: These types of things are passed down from generation to generation. And I began sewing Indian suits with my brother. Eventually I was sewing and designing my own suits. That staff you see in the picture is part of that suit "Strange Fruit" ( an allusion to the Billie Holiday song dealing with the lynching of African Americans). After Katrina, I nailed it up on my front door of my house. Chris Rose and his people came through the neighborhood, took a picture of it, and put it on the cover of his book. Sap sucka didn't contact me or pay me a dime. I told him I was gonna get mine. I was going to sick Marie Laveau on his ass. Shortly after, he tried to get his book on the Oprah Winfrey show and they refused. I think my shit is workin! Hahaha

NOM: Haha! Watch out na! But hey, your new CD is out now. Tell us about the song "Louisiana Pray" on your latest CD. We heard it mention our New Orleans Saints.

D: Yeah that song is about the Saints. I've been trying to get the Saints organization to adopt that song. But they won't adopt it. I found out WWL is their marketing director. They have "Bless You Boys" and "Who Dat". My song is more appropriate for what the Saints need now. I've been trying to get on with WWL for about four years now. I was on there once before with James Andrews and I sang "Marie Laveau". That was thanks to James though. But thank god for WWOZ! Those guys play Louisiana's music.

NOM: Well, I see and hear more of it in every interview we do. For the most part, Louisiana's media does not support its artists. Most artists have to shop local college radio just to get their foot in the door when it comes to media exposure. Have you encountered anything like that in your trials as a musician?

D: Well, you have Q93 and others that won't touch local music for the most part. I had brought my CD out to the Saints training camp trying to get it noticed. And someone gave me Benson's granddaughter's phone number. I called it, left a message, and she returned my call. I told her what time of day it was, you know, what I was trying to do. She said they only used music from BMI or ASCAP. I said my music is copyrighted and is listed with BMI. She said she would get it to the person that it needs to go to, but promised nothing. That guy called me and told me that they would accept one million dollars, "they" being the Saints organization. If had a million dollars I wouldn't be worrying about "Louisiana Pray"!

NOM: That's amazing! Well what about other methods of exposure, some of our festivals perhaps?

D: Oh yeah, I got a call one time and they were telling me I had been chosen to work the French Quarter festival. I said great, how much are they paying? She said you have to go around town and get a sponsor to get paid. My manager got one place, Brennan's restaurant, to give her $100 towards the band. But the union picked up the tab and paid the band. They made $94. Ninety four dollars bruh, what you gonna do with ninety four dollars? If you don't make that ten times a week, what are you gonna do? When I walk up in the club, and say, Mike Hood is playing, I get up on stage and sing. And I tell the crowd, put something in the bucket! We spend thousands on CD pressings and posters to get that crowd there! And you can't get $100 in the bucket for six guys in the band. The musicians here are starving! Bands from here go out of town and the same places that were getting them for cheap, have to pay to book them now. They got musicians working in the Quarter right now for 8 dollars an hour. That is ridiculous!

NOM: Well where do you think all of this stems from? Do you feel that the crowds aren't out in flocks as they used to be?

D: I'm thinking they're hit with these high drink prices. They never used to be this high!

NOM: Well you can kiss Bourbon street good bye. It's nothing like it used to be. It's more of a Larry Flint's Disneyland now. I went down there the other night just stopping here and there for a drink and they were charging me $15 for a drink!

D: Yeah! $7 for a Heiniken. For the festivals, the merchants pay $700 to be a part. Why can't the musicians get a part of that $700? You got equipment to keep up. Being a musician is work. I'm a carpenter with tools. I can't walk up in a club as a musician and charge $700-800 to do my work. The one's who charge $7 for these beers have live music. They're making money and not putting it back into the entertainment. It causes musicians to undercut each other just to get a gig.

NOM: Now this new album you just put out "Rollin Wit Da Legends and Marie Laveau" is unbelievable. Tell our readers a little bit about that.

D: I did that Piety Street Studio down in the 9^th Ward. It went way over budget, but I was into it and I had to get it done. It's a good CD. My music is dance music. When I perform, with Juice, Mike Hood, Westbank Mike, I put people down on the dance floor. People need to be able to get down. They just need to support these musicians. The same goes for clubs. DBA's, The Maple Leaf, Tipitina's, The House of Blues all pay. That's about it. Most of the other clubs you're workin for the bucket. But I'm looking forward to getting it out to the people. It's a great CD. 

   I was grateful to have met Mr. Doucette, and even more thankful to walk away with two of his CDs. The most recent "Rollin Wit Da Legends & Marie Laveau" is the epitome of good time down home New Orleans funky rhythm and blues. I can't stress it enough, but you should really get a copy of his work. His page on this site is in progress as we speak and should be up shortly. In the mean time, be sure to check out these other links.

Mike Hood

Trombone Shorty

James Andrews

9:08 PM - 0 Comments - 0 Kudos - Add Comment

Tragic: S.O.O.N.
Category: Music

Tragic: S.O.O.N.

   First of all, big ups to all those involved for the production on this CD! I have to say that it is, without a doubt, one of the best CDs NOM has received in the way of sound quality and audio engineering. Doctor Dre showed the nation, and it's a well known fact, that the quality of your CD recording, mixing, and mastering is THE most important factor when putting together a finished product. All my indies out there looking to take it a step further should hit up the resources at the bottom of this article. I'd also like to send a shout out to Stephanie Chung at Trutone for an exceptional job on the graphic design. And now that THAT's out of the way, lets get down to the nitty gritty!

   I met up with Randall Rojas (Tragic) at the Industry Influence Conference. We spoke for a while about where he was coming from and what he is trying to do. A big guy with an even bigger heart, he asked that I give his CD a listen and offered to help out NOM in any way. When I opened the CD, I basically took it all apart and analyzed every bit of it. There's lots of eye candy… shots of the GNO, time lapsed photography of the CBD, a huge collage, and a biography. The album is 19 tracks strong, so there's something here for everyone. "Iron Works Entertainment", the name, will no doubt conjure up ideas of gun play. Although he touches on the subject in his song "Animalz", that's not what this album is all about. The album itself addresses a variety of situations and emotions that anyone can relate to. He draws from his own life for inspiration, on things that we can identify with. Track four's "Cruzin", for example, hits home with thoughts of candy paint and chrome rims, topped with a sample of Eazy-E's "Boyz in the Hood".  And in "Karma", he doesn't sugar coat how he really feels about his baby's momma.

   The breakdown is this… favorites for the MC: "Sex Sells" and "Fake Records". He doesn't leave you hanging on the first, flowing smoothly. And in the second he speaks the real about the manifestations of fake, in all its forms, in the music business. My favorite for just the track: "Sick-n-Tired". If you feel music then you're going to understand what I'm about to say. That shit infected my brain and gave me chills! Overall that song took it because in it he talks about making mistakes, learning from them, and making change. But they ain't getting off that easy! Naaa! I have to "critique" this right? Well there's good AND bad. In some of the songs, I found that his chorused voice overs were too loud when along side his voice alone. And in "Club Hoppin", they took away ma snare! As for Tragic, I think you couldn't ask for a better freshmen debut. But, all eyes will be on you for the sophomore effort! It's on you now to hone your skills. America has a habit of watching to see if the second offers more than the first. MC's are born, they progress, and grow.

   The Cliff Notes…. I ain't saying this album is going to be THE one. Not many first albums are. And I ain't saying I liked all the songs on it. What I am saying is that this album brings a different sound to the table, and it works. They push the envelope one step further. And for that, you just might find this one in my deck!

myspace.com/tragicneworleans

Recorded: Iron Works Entertainment Studios

Mixed: Scratch Pro Entertainment

Mastered, Designed, Manufactured: Trutone Mastering Labs Inc.

5:32 PM - 1 Comments - 2 Kudos - Add Comment

N.O. Wordsmyths: Realization Through Education
Category: Music

The Flip Side: Realization Through Education

         N.O.M. met up in the streets with Jason Washington (Espionage) and Clayton Pinkins III (Work) to see what was new with the N.O. Wordsmyths. What we got was a 'State of the Game Address' from the Presidents of Hip Hop, Espionage and Work! I walked up with a smile and a dap, got handed a CD and a T-shirt straight out the trunk, and their campaign began.

ESP:  "In the beginning, lyricists introduced issues and addressed them. Rap had a sense of purpose. Now, thuggin is glorified and bragged on. A lot of the great rappers, Biggie, Pac, died in the height of the beef. And they didn't get a chance to come full circle and explain some things. They didn't get a chance to explain that what they did before is not what should be done now. And they paid dearly for that. We have learned from their lives and we're taking the opportunity to teach others.

NOM:  It's important to use the celebrity and the mass appeal for genuine purposes. I think too many listeners are tired of hearing about "my ice and my clothes". These artists are just telling us how they spent the money we paid for their CD! But the Wordsmyths are sending out a different message. How are y'all going about getting the word out right now? Is radio on your side these days?

WK:   "Well, Q93 is more political, you gotta have pull to get play.

We hit up Erin at Face the Music online, and we got played on B97. B97! Truthfully, the true New Orleans hip hop industry was hurt when 104.5 went under. If I'm not mistaken, the 504 radio concept started at 104.5. I think we need another radio station here in the metropolitan New Orleans region that can be open to new hip hop. The radio stations here are set up like a choke hold. If you're not coming through a major label, you can't make any noise down here. 94.1 in Baton Rouge is helping blow N.O. music. You can't go into the studio, cut a fire track and get it played on the radio. It's a matter of knowing the right people. If the guy that sends your disc knows someone at the radio station, it could be on a damn office depot disc, the DJ is going to play that one first. That's politics. I understand the business side of it. They are working with a play list dictated by people like Clear Channel, or Citadel.

NOM:  Well do y'all feel this is a New Orleans thing? Or is it like this everywhere in the game?

ESP:  "Joey the Y is our major producer. He moved to Georgia and was telling me about how the economic status is there. People, in general, are making more money there. They have the money to spend on show covers, t-shirts, and CDs. But down here in New Orleans people are struggling to eat! They may like your music, but they can't afford to support you. There's a lack of a middle class here. You've got haves and have nots. For every Al Copeland there's a bunch of people getting choked out on Tulane and Broad.

WK:   "Atlanta is expanding. New Orleans cannot expand. We're surrounded by water. And this creates a climate that attracts hustlers. See, the Saints and the Falcons came into the NFL about the same time. The Saints came into the league in '67 and the Falcons came in '66, and both cities were about the same size. The mind states of these cities were different. Atlanta was more of a nurturer. They looked to find things to support and breathe life into. From my perspective, they wound up finding that in Hip Hop. They basically cultivated the black dollar. Now, you can get everything you need for an artist in Atlanta; duplication, mastering, mixing, promotional materials, management. All of those side industries in music and in general are right there. That's why they have such a large middle class population. In New Orleans, what do we have to do? We have to go to Atlanta, go to Houston, go to New York City to get all these things done. Also, we have such a cut throat tax rate. It's amongst the highest in the nation. So no one wants to come do business down here."

NOM:  All of the musicians out there are probably nodding their head right now. We've all seen different forms of suppression and opposition in the music industry. So outsourcing has become an issue, and local radio has its pitfalls. What other means have y'all explored; particularly ones that have allowed you to come up with your own strategy?

WK:   "We're really working the internet right now. We've got about twelve pages and we're in the process of linking them together. Of course we have Myspace, Showcaseyourmusic.com, things like that. And we're trying to link them all together and have them all lead to Neworleansmusicians.net. We want to drive traffic to the local site. We get spins on B97 through Erin. It's truly an exhilarating feeling to hear you music on the radio. We're going to hit up the mom and pop shops with twenty tracks for $10 and two free downloads on the internet. We distribute fliers and T-shirts. And we're steady doing performances. We plan to be on 504 Radio now. Club 307 was our last performance spot in Lafayette where M Harris had his album release party for 'Unorthodox'. It feels good to have a crowd around you. You feed off the crowd. And most of them bought that CD on the spot. That's grass roots right there.

NOM:  For all the musicians and fans out there, tell them where the mom and pop shops are these days.

WK:   "There's Nuthin But Fire Records on Claborne, Bayou Record Shack in Mid City, Louisiana Music Factory on Decatur, The Mushroom Uptown, and FYE in Baton Rouge."

NOM:  I know it's an uphill battle man. But it still sounds like the N.O. Wordsmyths are definitely marching on. The independent hip hop musician's plight is met with a variety of oppositions. I think that aside from the economic aspect, some difficulties in this game originate from the black mark that has been placed on the genre as a whole. What do you think about this?

ESP:  "I think Mr. suit and tie belittles this genre and makes money off of it at the same time. They belittle it by making everyone think that you have to be this type of rapper. You have to talk about these things AND go through him to get played (on the radio). Then at the same time, they brand the game and start making clothes to go along with your genre. If you don't have the strength or support of the people to match up against him, you're gonna fall off. So the game gets thrown off in the process. Because people see the following and the money and decide they can do it too. They don't want to have to sell dope or hustle any more. And they don't want a real job, so they conform and become the next rapper. That's why the make the song 'Suit and Tie', and "Nigga Kingdom".

WK:   "These people put you in the media as a thug and a crook. Then they turn around and say that's what's wrong with our culture. They dress you up and put you out like a prostitute on Bourbon Street. And then they turn around and say 'look at that bitch'."

ESP:  "I came up around a lot of people thuggin and hustling. They did their thing and I did mine. I didn't want to do what they were doing. I finished high school, I went to college. And I'm not ashamed of who I am. A lot of people had a choice. There are very few people who didn't have a choice. Many people make you think that the thug route was the only route they had. The money's there and the women like a thug. But I had to say, ok… In the end, where is that going to get me? I always had to think about where I wanted to be in the end. Would that fine ass broad come see me if I were in jail?"

NOM:  So do you feel like your music is a representation of your ability to choose?

ESP:  "Definitely. When I think of a concept for a song, I think about what I want to talk about. I'm not talking about what people want to hear. I'm not gonna lie. I like women with big asses. I like it when they shake it. I might make a reference, but I ain't going all into it unless I'm addressing a topic. We made a song about sippin and tippin. But in my verse, we addressed different aspects of it. Like how the customer is getting turned out by the dancer, who is really getting turned out by her pimp."

NOM:  Back on the day, there was hardly a hook here and there. You might have had a bridge where somebody broke out on the turntable. Now a days it's getting too hooky, too chorusy, too catchy, too poppy, too corporate. Tell us about your decision making process when it came to picking the songs that made the album, and the songs that didn't. Because we all know most albums have at least one club banger, one slow song for the ladies, one gangster track, etc. It's like a menu; you have to have the appetizer, the main course, and the dessert.

WK:   "Honestly, that influenced us. But we had to make sure that the people understood us as artists. We couldn't just cater to the popular opinion. We're really going to see who our true fans are with our first album. Those are the ones that are going to say we like this, or we don't like this. We made over one hundred songs. We took out the ones that weren't made correctly. We took out the ones that didn't really express who we are.  We only kept the crème de la crème. We brought it down to 40 songs and we were only going to use 20. That is hard! But you can't compromise yourself. You should only do music you're comfortable with. I wouldn't be comfortable outchea doin music talking bout sellin drugs. I don't do that. I went to college. I grew up around people who did that and I honestly don't understand why people glorify it."

Espionage and Work

myspace.com/wordsmyths

Affiliated with Joey the Y & Reckless Records

M Harris (Anthony Daniels)(New Iberia)& Urban Grooves Entertainment

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Mike Coscino: Never Put The Axe Down
Category: Music

Mike Coscino: Never Put the Axe Down

   On the north shore of Lake Pontchartrain in Mandeville lies a hoppin' little joint by the name of Coscino's Pizza. The restaurant is frequented by the locals, and has become a hot spot to hang out on the weekends. Part of it may be because of the great food. But the restaurant also gives back to the music community by hiring bands on Friday nights, and hosting an open mic night during the week. The owner, Mike Coscino, hasn't always been behind the counter owning and operating this place. "Savage White, back in the eighties, was a metal hair band. We had the long hair, the spandex, and the wammie bars on the guitars. Savage White, Lillian Axe, Persia, and Zebra all practiced in the same building. So we ended up opening for most of these guys. We ran the Big J Production circuit all across the Gulf south. But the band went nowhere man. We were making really good money for the eighties, but we weren't doing originals. And I'm a songwriter. So I bounced around from this band to that one, all hobby bands, until I joined a band called Echo Train. And I'm telling you man this band was awesome! We struggled with an alcoholic drummer, still recording about 50 or 60 songs. But we never finished them. I still have them on ADAT, and one day, I'm going to go back and finish them. They were so great. I re-did two of 'em for this solo album, 'Bada Bing' and 'The Children'."

   Mike's solo album, "People, Places, and Strings" draws from both his love of music, and his past experiences in the game. It's been a long time coming though. He was touring when he learned of his wife's pregnancy. And he knew some changes were in order. He came home to stay and opened up Coscino's Pizza. "Well you know, I got into a bunch of hobby bands. I never quit playing, practicing hours a day. I treat it like it's a job because now I'm at the turning point where I want to make it my living. So the last five to ten years I've been practicing like that. So my chops are pretty good. I still feel like a student, you know. When I stop feeling like a student, I stop learning. The more I get practice, the more I realize I do not know about this damn thing." The same could be said about the changes in artist friendly media.

   Mike has noticed the downward spiral radio has been on since the 80's. He realizes this will be an uphill battle, and says he'll rely on his years of experience as a business owner to fill in the gaps. "The radio stations and clubs were into the live scene. Everybody put money into it. It was promoted, and the money was rolling in. You put money into it and you get money out of it. The only way a business makes a profit is through investment. But you don't turn on your radio and hear 'So and So is playing at Jimmy's or Tipitina's this weekend!' They won't play local music. That's how Zebra got their start back in the day. Before labels could get their hands on these guys, they were getting play and recognition through local DJ's. It was a different time. It's really screwed now because, I am a musician, and it takes a lot of time to be worth a shit. It's a big investment of time, money, equipment, and you get nothing back. So we're putting a plan together now how we're going to do this."

   According to Mike, one thing has changed for the better over the years. "Back twenty years ago, it was $30,000 to do anything halfway decent. Home studios can produce an awesome record today. So due to technology over the years I've been able to realize a dream. I took this project over to George Cureau Studios. He's been recording back since two inch tapes in the 70's. He's got house drums, amps, keys, iso booths, etc." To test his product, Mike decided a live show was in order. But a week before the concert, their keyboard player fell down a flight of stairs and broke his arm! Determined to perform, he planned and plotted and pulled it off in style. He called it the Pontchartrain Plaza Music Festival, and all the proceeds went to Habitat for Humanity. "I'm a marketing guy, so I know how to do stuff. I called my rep over at charter cable. I got him to donate 1200 television commercials. We rented a big P.A. and had the sound man from the House of Blues, Larry Cummins, at the console. We had Budweiser out and everything. We got the tv commercials donated, radio commercials donated, banners, beer, cokes, t-shirts…everything man. We even had space walks out there for the kids. We raised between $3-4000!"

   These are promising indicators for an independent musician. NOM is already looking forward to the annual event's second installment. And as for the product itself, "Our sound is very much like a classic rock sound, like Aerosmith. And bluesy side has a Robin Trower or Jimi Hendrix sound. We've taken a few tracks from the CD and rocked them up a little bit. We want to appeal to a wide variety of audience. It's a three piece band, and there's a lot of controlled distortion." You can find Mike's CD at Coscino's Pizza on Hwy 22 in Madisonville, and in several spots online. Artists and fans alike should check out the resources below!

 www.myspace.com/mikecoscino

Booking: (985) 789-4594

George Cureau Studios: 985-768-1667

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The Beatitudes, a paranormal novel by Lyn LeJeune

Here is an excerpt from the paranormal novel, The Beatitudes, by Lyn leJeune, now available atwww.Amazon.com and all booksellers around the world. She is donating ALL royalties to the New Orleans Public Library Foundation to help rebuild the public libraries of New Orleans. If you like what you read here, order the book, enjoy and help THE CITY OF THE DEAD, NEW ORLEANS. (blog is www.beatitudesinneworleans.blogspot.com- come and join The Beatitudes Network – Rebuilding the Public Libraries of New Orleans) That's www.Amazon.com – or any bookseller in the world), Lyn LeJeune, The Beatitudes. (BOOK I IN THE NEW ORLEANS TRILOGY)

I looked up St. Claude Avenue and into a low cloud that had formed into an almost perfect circle. A flock of birds soared frantically around the cloud and then flew into it and disappeared. I drove toward the cloud and St. Roch Cemetery, my body beginning to shake; it was as though I were losing all governance of myself. And then I knew that it was not fear or the awesome responsibilities that some force had imposed upon me that was making me frenetic; it was hunger. I grabbed for the cooler on the passenger seat, tore off the lid, seized a wedge of Havarti cheese and stuffed it in my mouth. I could feel the instant flow of energy, my metabolism kick in. Then I ate everything I had brought with me: two chocolate candy bars, a pack of peanut butter crackers, two bananas and downed it with a bottle of ginger beer. By the time I pulled up to the entrance of St. Roch, I was ready for what waited, whether it be the prospect of death, more ghosts, or the murderers.
You enter under a black wrought-iron rainbow that spells St. Roch's Cemetery and then under that an announcement in smaller black words: Campo Santo, place of the dead. The tall gates are open, inviting you in and you look straight ahead and up the well-trod road and there is Jesus, his arms thrust upward to each side of the cross, six inch nails are hammered into his hands, you hear the pounding, pounding. His head is at an angle, looking to the ground as though in profound and everlasting disappointment with those he sought to save; he is crying soundlessly; his face is all compassion for a little girl saved more than a century ago from the yellow jack, her statue resting in his line of sight; you think his eyes are closed, don't you? By his grace he sees. His legs are so muscular, feet lapping one over the over, leathered soles that have walked bare over a thousand miles of stony roads just to end up here. You wait, for you know that you will hear him scream why have you forsaken me. The image is protean, it brings one to ecstasy, it has been made into false amulets, it is evidence of our failings
I went around the crucifix and entered the chapel. It was midday and a tourist group was standing near the alter listening to a young woman wearing the habit of a nun in training. Her voice was low and respectful as only a novice's can be. I approached the relic room where those who suffered disease, deformities, injuries, or sickness of the spirit, came to pray and leave proof of their tribulations. Crutches, old shoes, ragged clothes, items that could only be identified upon close inspection. Here in New Orleans in 1867 the yellow fever killed thousands, so this little church was dedicated to St. Roch who had ministered to plague victims in Europe centuries ago. St. Roch's Chapel is also well known as a place where, during the yellow plague and other brutal times, voodoo queens came to ask for guidance and beg the Christian forces for help. Illumined orbs of various sizes, usually no bigger than a hand, appear and float slowly in space and are considered timeless, accumulating radiant light as they wait for purchase. And then the sun moves to a far horizon and these ghosts retreat into the night. I heard the tour group coming my way, so I reached out and touched an orb that was encased in a silver sheen. I closed my eyes and heard a child giggle and she said: I'm here. Come visit. Please, Miss Hannah. Oh, please.

BUY YOURSELF, YOUR FRIEND, YOUR CO-WORKER, YOUR LOVED ONE, THE PERFECT GIFT THIS HOLIDAY SEASON. A BOOK CALLED THE BEATITUDES AND HELP REBUILD A LIBRARY AND A GREAT CITY.
ONLY YOU CAN START THE BUZZ AROUND THE INTERNET….YOU, MY FRIENDS.

http://www.myspace.com/beatitudesinneworleans 

Lyn

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Industry Influence Conference

Industry Influence 3

NOM went to the Industry Influence Conference to see what it was all about and let our readers know what a positive experience it was. The event is held the first Monday of every month at The Hangar on S. Rendon St. in New Orleans. Industry professionals, music artists, and fans gather to discuss the business aspect of this industry and methods that should be adopted to overcome the up hill battle that independent artists face. Wild Wayne MC's this monthly event and DJ E.F. Cuttin keeps things running smoothly throughout. Each one is structured the same way. They begin with a brief orientation of the event; acquainting everyone with how the sessions are run, state the goals for the coming months, and move on to roll call.
A microphone at the front of the isle is provided and attendees are encouraged to come forward and introduce themselves during roll call. This means everyone! Graphic designers, musicians, promoters, managers, and yes, even website owners are given the opportunity to let the crowd know who they are. This part is followed by a networking session while DJ EF Cuttin spins local Hip Hop. Now this all sounds simple enough. But had these people, myself included, not been given the opportunity and location to meet people anxious to be involved, NOM would not have made as many contacts in this genre as we have. And for this we are eternally grateful.
After the networking session a panel of professionals in the industry assembles on stage for introduction, education, and a Q & A session. The panelists from past events have run the gamut from entertainment lawyers to rappers turned writers. And they all have a bit of insight to share with everyone. This month's panel was as follows:

Karen Hence – CEO, Event Experts LLC. Ms. Hence was the former Promotions Director for Clear Channel Radio and Citadel Broadcasting, and former producer for the WYLD Family Show.

Keon Foley – The Networking Company LLC. Ms. Foley's company concentrates on artist development, consulting, and presentation.

Andre Greenwood – CEO of Iconographix. Mr. Greenwood's company deals with the marketing and promotional aspect and has a client list that includes local rap icons Master P and Cash Money Records.

Leo Getz – President of Leo Getz Promotions. To his credit, Mr. Getz has brokered a deal between DJ Ro (of Q93) and Pepsi, been an independent distributor for Universal Republic, and spent three years with Universal Motown.

Stan Wilkes – President of Big Stan Productions & Red Carpet Events, Mr. Wilkes is a well known event coordinator and promoter across the South.

Melissa Weber – Marketing & P.R. for the Contemporary Arts Center. Ms. Weber has been a long time DJ for WWOZ (aka DJ Soul Sista), and has opened for the VH1 Hip Hop honors tour.

Young Mook – Marketing Rep. for Atlantic Records, New Orleans division. He has handled such artists as TI, Plies, and BG.

Randall Johnson – Urban College Marketing Representative, Sony BMG. Mr. Johnson also writes for several music publications including the Source.

The discussions were centered on the concept of self promotion. The panelists stressed the importance of free, easy to use on line tools, and the impact of these assets. They explained how the physical market is presently in a decline while the digital market is on a steep incline. Highlighted were such avenues as Myspace, Youtube, blogs, downloads, ringtones and many other digital resources. Now, many of our readers are familiar with these subjects. But the real wisdom shared is in the manner in which these venues are applied and what they mean to today's independent artists. Did you know that internet buzz and what's referred to as word of mouth marketing accounts for 1.3 million dollars yearly in sales?
So, outside of the almighty web, what should be your marketing 'plan'? Andre Greenwood, CEO of Iconographix explained that you should base your strategy on your budget. "You must first break down your marketing avenues into categories; radio, print, television, and cross-marketing. If you're always shopping for clothes at Neuvo, contact the owner and see if you can get an endorsement. Performances and public appearances in his clothing could be worth a lot to a store owner." He went on to explain how money saved from clothing purchases could be used to invest in marketing through other means. Mr. Greenwood finished up by informing the audience that the first five musicians that had given him a business card during the networking session would receive free promotional work. He appreciates a hard working, prepared artist and we applaud him for that!
The panel moved on to explain how persistence and hustle really pay off. "If you come up with the plans, back it up", explained Mr. Johnson. "Be at all the clubs after hours. Be about your hustle and your street promotion! Assemble a street team to constantly put out posters, fliers, and business cards. Get T-shirts for these people and get them out to college campuses. There's always someone outside on a college campus." The idea was that this effort creates a curious interest in what's going on and encourages others to want to join in the effort. This was clever advice from a man who has sparked the interest of, and established a place with, music mogul Sony BMG. The panel was concluded and, following an open mic battle, a showcase line up of ten local artists performed.
Among those in attendance that evening were Flight Life Records, MelMac, DJ Soul Sista, Dj Bomshell Boogie, DJ Hektick, and DJ EF Cuttin. Special thanks goes out to the event sponsors: WildWayneTV.com, Nuthin But Fire Record Store, Henry's Restaurant, Judah Clan Productions, and 54 Ways. Please take a moment to check out the links below, as these are the people that support and embrace the music scene in New Orleans.

www.industryinfluence.blogspot.com
www.DJSoulSister.com
www.Myspace.com/efcuttin
www.myspace.com/nuthinbutfirerecords
www.myspace.com/bomshellboogie
www.neworleansmuicians.net/flightliferecords
www.neworleansmusicians.net/melmac

Pre Sale Tickets available for only $20.
You can pickem up at Nuthin But Fire Record Store 1840 N. Claiborne ave or Boss Status Apparel on Gentilly(the old Peaches Records building)

Call for more info 504-342-6977 or 504-914-0998

Get your tickets NOW!!!!!!!!!!!!!!!!!

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Hogweed
Category: Music

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