Wednesday, February 12, 2014

Sid Caesar Dead


PALACE NEWS (PMG)-He starred in the 1950s sketch classics “Your Show of Shows” and “Caesar’s Hour” and influenced the likes of Mel Brooks, Carl Reiner, Neil Simon and Woody Allen.

**Editors choice**

Sid Caesar, the intelligent and yet nonsensical comic who forever changed the course of television with his groundbreaking 1950s live Saturday night variety shows Your Show of Shows and Caesar’s Hour, has died. He was 91. His friend, Carl Reiner, confirmed the news to The Hollywood Reporter
"Inarguably he was the greatest single monologist and skit comedian we ever had," Reiner said in a statement to THR. "Television owes him a debt of gratitude for his pioneering work and the great shows he gave us all. Render onto Caesar what is his due. He deserves real applause from the American people."

Caesar was known for his physicality, improvisation, mimicry and his whimsical signature, the double-talk.
Whether played out in a sketch, pantomime or a full-blown revue, Caesar’s observational humor exposed the truths of everyday life. His two whirlwind variety shows produced writers and performers who set the comic agenda for decades to come -- people like Woody Allen, Mel Brooks, Neil Simon, Carl Reiner, Larry Gelbart, Imogene Coca, Nannette Fabray, Howard Morris, Lucille Kallen, Mel Tolkin and Fiddler on the Roof playwright Joseph Stein.

The proof: Reiner developed the classic 1960s sitcom The Dick Van Dyke Show using his Show of Shows experience for comic fodder (the Alan Brady character, played by Reiner, was modeled after Caesar). The 1982 film My Favorite Year, a thinly disguised memoir of life with Caesar during the tumultuous era of live TV, was backed by Brooks and had Joseph Bologna playing the Caesar-like King Kaiser. And Simon re-created the writers room tension of Caesar shows for his 1993 Broadway hit Laughter on the 23rd Floor, starring Nathan Lane as another Caesar stand-in, Max Prince.

In fact, it could be said that Saturday Night Live is a direct descendant of Caesar’s sketch-laden variety shows. He hosted the late-night show in 1983 and was named an honorary cast member.

His live, 90-minute Show of Shows debuted in 1950 when Caesar was 27 and ran through 1954 in an era before cue cards and Teleprompters. Its frenetic high-wire uncertainty made for great hilarity and produced back-to-back Emmys Awards in 1952 and ’53.

After Your Show of Shows, which ran for 160 episodes, Caesar started Caesar’s Hour. Also live, it collected three Emmys and featured his Show of Show mates Reiner and Howard Morris (Coca left for her own show and was replaced by Fabray). At the time, half of all Americans who owned TV sets tuned in each week to watch the antics of Caesar and his cohorts.

SIMON CANT SAVE EX-FACTOR

Among the 25 million viewers each week was Albert Einstein, who particularly enjoyed one of Caesar’s stock characters, The Professor, a bluffing German who sounded smart but was not really an expert on anything. The physicist so enjoyed the show that he contacted Caesar’s office to have lunch, but Einstein died in April 1955 before that meeting of the minds could take place.

Caesar’s other characters included space expert Ludwig von Spacebrain, marriage expert Ludwig von Henpecked, nonsensical storyteller Somerset Winterset and one-half of the bickering couple The Hickenloopers.

 Editor's choice
“All my comedy was character- and plot-driven,” he said in 2003. “I always believed that in art and life, it’s not what you do, it’s the way you do it; it’s not what you say, it’s the way you say it. In the doing, you’ll find your strengths and weaknesses, and you will find your art.”

Caesar also was known for his furious temper and strength. He was known to punch through walls and tear sinks from walls. He once punched a horse — a gag Brooks paid homage to in Blazing Saddles. And after one writing session, he dangled Brooks from an 18th-floor hotel room window.

Caesar was nominated for 10 Emmy Awards, winning in 1952 and 1954. He was given the Lifetime Achievement Award in Comedy in 1978 by the Television Hall of Fame.

He was born Isaac Sidney Caesar on Sept. 8, 1922, in Yonkers, N.Y., the youngest of three sons of Jewish immigrant parents who ran a 24-hour luncheonette. He played the clarinet and saxophone and went on to study the sax at the Juilliard School; ultimately, he was good enough to play with the likes of Benny Goodman and Charlie Spivac. While performing at shows, Caesar observed the comics and realized that stand-up was his true bent. He was asked to help out with a skit, thus beginning a comic career that lasted more than a half-century.

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Caesar joined the Coast Guard and was based in Brooklyn during World War II. While in the military, he formed a band with composer Vernon Duke (“April in Paris”) and made his stage debut in a PSO show, Tars and Spars, about a coast guardsman on shore duty for years. Caesar reprised his role in that for a 1946 musical comedy adaptation at Columbia Pictures.

After his stint in Hollywood, Caesar returned to New York and landed a gig as the opening act for Joe E. Lewis at the legendary Copacabana nightclub. He performed in the Broadway revue Make Mine Manhattan, which featured “The Five Dollar Date,” one of his signature pieces in which he sang, did sound effects and double-talked – using nonsensical utterances that sound like French, German, Japanese, Italian and other languages (in real life, he spoke English and Yiddish).

Caesar’s first foray into TV came in 1949 with The Admiral Broadway Revue, an hourlong show that brought he and Coca together. Conceived to sell Admiral television sets, the show aired simultaneously on NBC and the Dumont networks and was a smash hit, drawing nearly as many viewers as the one starring “Mr. Television” Milton Berle. But with the popularity of the show, Admiral couldn’t make TVs fast enough to meet demand, so the company dropped its sponsorship and the show was canceled.

NBC chairman Pat Weaver, who later created the Today show and The Tonight Show, approached the producers about having Caesar and Coca star in a similar series. That project came to be Your Show of Shows, which debuted in February 1950 as a 90-minute variety show that aired at 9 p.m. Eastern time (6 p.m. Pacific) for a mind-boggling 39 live shows a season for four seasons. It was the first program not to rely on a single sponsor -- another Admiral debacle was not to happen again.

The show’s crazy pace led to consequences. “Nearly everyone on our staff at Your Show of Shows was in analysis,” he recalled in his 1983 autobiography, Where Have I Been? “We spent a lot of time comparing out experiences with our doctors, which led to many funny psychiatrist skits in the show.”

At age 30, Caesar was earning a million dollars a year, but he was drinking two bottles of Scotch and depending on barbiturates. 

It took decades for him to hit bottom. In 1977, he was in Regina, Canada, doing Simon’s The Last of the Red Hot Lovers on stage when he said his mind went blank. He walked off stage, checked into a hospital and went cold turkey.

His battle was well documented in his 1983 autobiography. “I remember how I slipped further into darkness,” he wrote. “I kept working in films, on the stage and in TV -- but I wasn’t really there. It was like a 21-year blackout.”

The era of live television was ending, and so too was Caesar’s Hour, with Lawrence Welk providing stiff competition in 1957. “I was exhausted,” Caesar said.

He followed with Sid Caesar Invites You in 1958, briefly reuniting Caesar and Coca, and The Sid Caesar Show, a half-hour sketch comedy show that aired every second Thursday on ABC, alternating with Edie Adams’ show Here’s Edie, in 1963-64. But Caesar would never be the force on television that he once was.
In 1962-63, he had seven or eight roles in the Broadway musical comedy Little Me, written by Simon. He continued to appear in occasional films and TV movies through the 1970s and 1980s, most memorably as dentist Melville Crump (with Adams as his wife) in It’s a Mad, Mad, Mad, Mad World (1963) and as a Hollywood studio head in Brooks’ Silent Movie (1976). He played Coach Calhoun in the two Grease movies and was a caveman in Brooks’ History of the World: Part I (1981).

Caesar also showed up as Elliott Gould’s uncle in Over the Brooklyn Bridge (1984), was The Gryphon in the Irwin Allen 1985 telefilm Alice in Wonderland and starred in a 1985 episode of the Steven Spielberg anthology series Amazing Stories. He noticed at the time that comedy was changing.
“Things now have to be gross to laugh at,” he lamented in 1984 while announcing a scholarship in his name at the UCLA College of Fine Arts.

In 1997, he appeared in the film Vegas Vacation and made a guest appearance as Uncle Harold on Mad About You, and a year later he appeared with old friend Morris in The Wonderful Ice Cream Suit, based on a Ray Bradbury novel.

Caesar was feted in 2001 in the Showtime documentary Hail Sid Caesar! The Golden Age of Comedy. At the 2006 TV Land Awards, he was presented with the Pioneer Award and performed his famous double-talk for more than five minutes.

Summing up his philosophy, The King of Saturday Night once said: “People are funny, not things. People will always eat, brush their teeth, try to go out with a girl, and that’s where they’re funny. They’re not funny chasing cars and firing guns. The perversion is getting out of hand. We’re developing a world view that’s totally false.”

His wife of 67 years, Florence, died in 2010.

G-Unit Affiliate's Alleged Killer Out For Revenge, Murder Plot Details Thicken

Less than 24 hours after reports of an arrest being made on the alleged killer of G-Unit affiliate Mazaradi Fox surfaced, new information suggests the murder may have been fueled by revenge.

 

According to reports, Fox is believed to have killed murder suspect Jamal Scott's brother in 1998.
Scott's brother Curtis was 21 when he was shot dead by Fox and another man outside the of Jamaica's Baisley Park Houses on July 7, 1998. Fox, after getting into an argument with several men, ordered an associate to open fire. Curtis Scott, who was walking down a hill on Foch Blvd. was hit above his left eye. A second man, identified as Jamal Ethridge, 23, was struck in the chest. Scott was with his brother when he was shot and killed, officials said. Fox was never found guilty of murder, but was convicted of criminal possession of a weapon in the second degree in 2001 and sentenced to four years in prison. (NY Daily News)
Fox's unnamed girlfriend claimed he did not kill Scott's brother and questioned last month's fatal shooting.
Fox's longtime girlfriend, who wished not to be identified, couldn't understand why Scott was gunning for her beau of seven years over a beef that's more than a decade old. "(The shooting) was almost 16 years ago," she said. "Jamal didn't pull the trigger, he didn't shoot him, he just happened to be there when it happened." "This is 16 years ago and you're still harboring that?" she asked. "Killing Mazaradi, that's not going to bring your brother back." "I don't know them, I don't talk to them, but I knew the situation," she said when asked about Scott and his family."I knew that Jamal never pulled the trigger." (NY Daily News)
Upset by the news, G-Unit's Tony Yayo acknowledged the violence around his neck of the woods following Fox's passing last month.
"It's crazy out here, man," Yayo said in an interview with DJ Whoo Kid. "Yeah, yeah, yeah, rest in peace to Mazaradi Fox. Southside all day. You know how it is in these streets, man. Yeah man, it's not a game out there. People's not playing. Sh*t is definitely real. You know? Rest in peace to Fox, condolences to his family, his daughters and everybody. Yeah, man. They only got guns in America. When we go to Paris - they don't have guns over there." ("Whoolywood Shuffle")
G-Unit Records released a statement on Fox's shocking death in early January.
"We're sorry to hear about the tragic news. Our sympathy goes out to his family and friends. Despite reports, he was never on the G-Unit record label," says a representative for G-Unit. "50 Cent was in his New York studio and was saddened when he heard the news. He sends his condolences to Mazaradi's family," said a rep for 50-Cent. (This Is 50)

Friday, February 7, 2014

The Art of Networking in the Music Industry

The Art of Networking in the Music Industry
A Guest Post by Symphonic Distribution





The Art of Networking in the Music Industry: The SXSW/WMC Edition SXSW and Winter Music Conference are all about networking. Networking is a blanket word, and different people have different approaches to it.

Palace Articles

Too many of us leave conferences with a hazy memory of faces and a bunch of business cards of people we don’t remember. You swarm the big-name panelists along with thirty other eager hopefuls, confidently approach the hot-shot speakers, but maybe they won’t accept your card and act completely disinterested in what you’re saying. You meet countless participants, exchange cards and some casually random banter you hardly remember. You followed up with every single person on the cards… but you receive little to no response. The conference passes over as if it never happened. Life moves on. What did you spend that multi-hundred-dollar ticket for anyway?


Sound familiar? Picture this instead:


By the end of any conference, rather than leaving with social exhaustion and a stack of business cards of people you barely remember, you should ideally walk out of the building with 15 new friends laughing on your way to the bar. You know their hometowns, their opinions on the latest [insert hot artist] album, and you know this is just the beginning of a long, beautiful, and mutually beneficial relationship. (And you should still have the business cards of the people remember in your bag.)


Perhaps this is pushing it, but hopefully you get the point. Too many people approach conferences from a sales perspective. Networking isn’t about forced-selling yourself to strangers. It isn’t about finding people who can help you out. Networking is about building meaningful relationships with people. The relationships you build have a greater chance of translating into a label/publishing deal, a new business partner, etc. than the 100 business cards you collected.


1. Dress to Impress. Brand Yourself.


When you dress impeccably, you will feel like you own the room, which often translates into you actually owning the room. First impressions are everything. You may stumble upon a professional in the industry that really matters and first impressions can make or break a situation.


Appearance is one thing, but also dressing up your business cards and marketing/promotional materials is absolutely essential. Invest in branding USB drives with your artist or band logo/name. There are several companies that exist to help with this. Make sure that within the content you include a PDF with a bio, a gracious & concise note, links, and information on how to get in touch with you. And if you’re still on the CD train, just remember a) not to actually write on it, brand it up; and b) new Macs do not come with CD drives.


2. Don’t be afraid. Approach strangers.


Sounds harsh and/or cliché, but someday, we’re all going to die, and what you did at this conference will not matter. What will matter is if you befriended the person who eventually introduced you to the person who got you a record deal which jumpstarted your prolific music career, which in turn inspired the world to give you a funeral of the likes of Michael Jackson. So don’t be afraid to approach people you don’t know. Even more important, don’t get star-struck by the people you see as more “important” than you. We’re all humans.


3. Be their friend, not a salesperson.


Get to know people on a personal level before ever trying to sell something. Smile. Relax. Be genuinely interested in the individual and what they’re saying. Make sure your brain is wired to ingest a lot of information – name, where they are re based, what company they are with, their profession, favorite band, and more. And for Pete’s sake, remember everything. If after a conversation you feel the need to write down on the card a quick brief on the individual, take a bathroom break and do it. You’ll thank yourself later.


4. Focus on the person.


When introducing yourself, do not begin with a sales pitch or a lengthy, wordy speech about yourself, your work, your life, you, you, you. Ask the other person questions. Focus on the person with whom you’re speaking. Really, truly listen. Make him/her feel important. Then let the individual ask you what you do.


Remember Tom Chiarella’s brief in Esquire on practicing graciousness: “When wandering the world, forget your business cards. Don’t look for more contacts. Instead, observe. Say hello to the people you see every day, but don’t make a fetish out of it. Stay interested in others. It bears repeating: Look around. Remember names. Remember where people were born.”


5. Call them by their first name - repeatedly.


In the words of the wise Dale Carnegie, “Remember that a person’s name is, to that person, the sweetest and most important sound in any language.” Repeat it once in your conversation, and always bid goodbye by calling the individual by his/her name. Most importantly, don’t let yourself forget the name immediately, so that you have to ask the person, “What’s your name again? So many faces today!” This does not make him feel important. You will impress her if you are the one who remembers.


6. Don’t immediately brush someone off.


If you approach a person who doesn’t seem to be of much potential benefit to you now, don’t immediately brush him/her off. Evolution comes into play; you may be able to use his or her services in the future. There may be someone close to you that may be interested in those services.


7. Know when to pursue.


If you and a person are hitting it off, stay there and chat for a while. Don’t rush off to meet the next contact. If you already feel like BFFs, get the person’s number and invite him/her to meet you for coffee after the next panel. Foster a better relationship with the people you click with immediately.


8. Know your boundaries. Be bold, but courteous.  


Conferences usually have mingling areas for networking, and meetings often happen in the same area. Be bold, but do not approach a clearly enclosed group of people. Observe setting, seating, and body language. If these indicate a set-up meeting between two or more people, do not approach. They will consider it rude. There is a distinct line between confidently approaching a group casually mingling in conversation and rudely interrupting a clearly private meeting.


9. Befriend the people on your level. Don’t put all your energy into stalking establishing hot-shots.


Make friends with the people on your level – the start-ups, assistants, composer/songwriter peers, burgeoning bands, etc. As you progress together through your first jobs/promotions/record deals, you’ll work together, guide one another, and hook each other up. Eventually one of you will be a VP/VIP. Then you all will be directors, VPs, VIPs – you get my drift – who can help each other out. So at any conference, don’t put all your energy into seeking out the established, big-name personnel. Divide your time wisely. Take time to foster personal connections with your peers and colleagues, because those will carry with you for a long time.


10. Master the art of the follow-up.


It’s vital to make good use of the time and money you have spent attending this conference. Connect with them on LinkedIn. If you consider yourself friends with any of the individuals you meet, especially around your age, don’t be afraid to friend them on Facebook. In your follow-up email, do not contact someone unless you truly feel you could both be of mutual benefit to one another in some way, now or in the future. If you don’t ask something very specific in your email, the person will not know what to do with the email, especially if it was sent to their work email, and will delete it. Send them an email with purpose – perhaps with something to consume, such as a Dropbox link to 3 of your top tracks. And of course, don’t make your email a novel. Be concise and relevant. If you hit it off with the person, perhaps pick up the phone and call. This makes more of a statement.

 Editor's choice

By Kaitlyn Raterman


Managing Director of Licensing & Publishing of Symphonic Distribution






Symphonic Distribution was launched in the winter of 2006 by a Music Producer from Tampa, Florida. The company was launched with the intention of providing new and established record labels cost effective digital distribution to retailers such as iTunes, Beatport, Rhapsody, Amazon, and more with a strong emphasis on customer satisfaction. Today, the company has paid over 3.5 million in royalties and distributes music for over 6,000 independent labels and artists, worldwide, which include, Spain, India, South Africa, Brazil and Russia, and has expanded services to Mastering, Marketing, Design, Licensing and Publishing Administration. Symphonic’s team of nine passionate individuals pride themselves on quick responses and direct one-on-one conversations and advising with clients, from the basics of managing a Social Network to providing Technical and Audio Support to clients.

5 Important Things Record Labels Look For

5 Important Things Record Labels Look For 

A Guest Post by Astral Plane Studios

**Editors choice**

Everyone today wants to be on a label, but are they actually prepared? Let's take a look at what today's artists are missing, dimishing chances for success.
lookforWhen it comes to seeking a label deal, there are some important bases I'd say about 80% of artists are lacking, so I'll go over the top 5 aspects labels are looking for from you that you most likely don't have or think you've got.
Now don't get offended by that...If you can't handle some honesty or critique in general, you're going to have a rough time reaching the top.
I won't even be mentioning music here, that should be a given! If your music rocks then you've got one part of the puzzle complete, just remember to quit copycatting other artists and be UNIQUE, though familiarity is a GOOD thing. Rap/hip-hop artists, quit using samples, especially if they aren't cleared.
Truth be told: Uncleared sampling is what's causing you not to earn money with your music. Stick to original exclusives and no leases. Will it cost more? Definitely. Will you benefit from it? Massively.
Now that that's off my chest, let's run down these 5 things record labels are looking for.

Palace Articles

1. Branding/Marketing- Who are you to the world? Branding establishes a a direct connection with the world. Not everyone uses their real name, everyone mostly has some sort of moniker they go by, this is a simple way to think about branding. What's also included in branding is your image...Your haircut, clothes you wear, what you represent basically.
If you have neither of these why is a label going to be interested either? Proper marketing plan is important as well since it's direct communication with your audience. Social media should definitely be included in your marketing plans. Feel free to contact me to schedule times for my music marketing classes, they'll do much for you.
2. Sales/Draw-This is why branding/marketing is number 1 because without 
money
it, you surely can't attempt this one. Labels want to know you can sell units (songs) on your own, without their help. Numbers matter a ton, giving away 40k downloads impresses nobody, earn money and stop cutting yourselves short with the $5 albums.
Keep solid records of ALL sales, both gross and net from singles, albums and merch because it's going to do a ton for you in the future when seeking a label or should one approach you.
Draw means fanbase, it's that simple. How many fans do you have? How many people are coming to your shows?
Make sure to get a head count from ticket sales and if the door person isn't counting heads, tell them they're not doing their job right. You should have a relatively consistent number -- add up how many shows you've done that month and take an average. You'll want that number to grow, yes twitter/FB do count for draw.
3. Touring- How often are you playing shows? Where are you playing them? Have you been invited out of state? This all stems from draw, and I see aritsts taking ANY show...for ANY pay...oftentimes none.
Play at the venues who will treat you right monetarily, free beer and drinks aren't pay, they're a way for venues to continue stifling musicians, put that foot down.
tourbus
This may mean you'll have to get a booking agent but it will do wonders for you as they can generally get you into the best spots for fair compensation. Be touring as often as possible, if you can get 10 shows a month you do it.
4. Sonic Quality- How's that album sound? Does that snare pop enough? Got depth? How about powerful drums? More often than not your mixes aren't label quality, they're probably more on the dull, cold, digital sounding side which works for certain genres, but not for much involving actual instruments.
$75 mixes get you nowhere, the cheapest deals get you nowhere, neither do the masking, balance and phase issues that go along with them. Like it or not you have to spend money to make it in this industry. A sub par mix/master is obvious and you can be denied solely on this alone.
Invest in your mixes/masters, the result wll beam a gigantic smile across your face and ears as well as fans and A&Rs. If you want to impress people, feel free to contact me for label quality mixing.
Truthful tidbit #2: Your friends "learning" to mix via youtube don't know what they're doing and neither do you.  If you can't afford to record/mix/master an album, release an EP or a single instead. It's about the QUALITY, not the QUANTITY. Demos don't exist anymore.
5. Attitude- Believe it or not, 'tude matters, you can be a rude person and watch it get you nowhere or you can be a firm person, put your poker face on and do some negotiations and talking. A good entertainment lawyer helps too, but before you get to needing him/her put YOU/your group across first along with your goals, what you seek and what you DON'T seek from a label. Don't hop on the first deal that comes your way, if you're not a match, another place WILL be.
Always keep these 5 aspects in mind when thinking about your goals. Never forget quality first either. Keep pushing forward and you will find success in the industry, stick with those who have the EXPERIENCE to help you in every way to become a better musician or band, don't be the type that uses others because it WILL come back to bite you.




Astral Plane Studios (APS) is a sound production service located in Temple, TX dedicated to professional audio production ― created by mix engineer Josh Hayward, a graduate of Mediatech Institute in Austin, TX for recording arts and music business. Josh Hayward was trained amongst the best at Arlyn Studios by those who have worked with Willie Nelson, Prince, Lyle Lovett, The Black Crowes and more. At Astral Plane Studios', your sonic sculpture is their prime concern. APS offers you peace of mind with data protection and unrivaled creativity in your music. Josh is also an A&R for Palace Music Group, LLC located in Sacramento, CA

Thursday, February 6, 2014

Did you know that Crest Toothpaste, Folgers Coffee, Bounce Fabric Softener and Safeguard Soap were all created by an African-American Man?


Dr. Herbert Smitherman was a pioneering executive and professional chemist at Proctor & Gamble who led the way for other African-Americans at the prestigious company in the 1960s. He was the first black person with a doctorate hired at Proctor & Gamble.

 Editor's choice

Did you know that Crest Toothpaste, Folgers Coffee, Bounce Fabric Softener and Safeguard Soap were all created by an African-American Man? I have talked about Dr. Herbert Smitherman Sr. before on The African History Network Show before.  In 2011 I spoke at an 8th grade graduation and told the audience about him to show them their potential.  Most of the audience including parents had never heard of him and were amazed by his story.

Dr. Herbert Smitherman was a pioneering executive and professional chemist at Proctor & Gamble who led the way for other African-Americans at the prestigious company in the 1960s. He was the first black person with a doctorate hired at Proctor & Gamble.
 
With a Ph.D in physical organic chemistry, Dr. Smitherman developed a number of incredibly popular patents, including Crest toothpaste, Safeguard soap, Bounce fabric softeners, Biz, Folgers Coffee and Crush soda, to name a few. Not only are they still on the shelves, but many of them are on display at the Cincinnati Museum Center in the featured exhibit, “America I AM: The African-American Imprint.”
 
Nicknamed the “Jackie Robinson of Proctor & Gamble,” Dr. Smitherman spent 29 years there before turning in his labcoat to work as a professor at Wilberforce University. But after serving at the historically black college, Smitherman turned his attention to starting a high school called the Western Hills Design Technology School to help black students perform better in math and science.
 
A child of the south, Dr. Smitherman’s family lived in Birmingham, Alabama, where his father served as a reverend. A young Smitherman would see his father’s church burn down twice during their push for voting registration and voting rights. 

He died on Oct. 9, 2010.

Read more here: http://blackhistorymonth.blackamericaweb.com/index.php?option=com_content&view=article&id=562:dr-herbert-smitherman&catid=112:general&Itemid=292

http://cincinnatiherald.our-hometown.com/news/2010-10-16/Front_Page/Dr_Herbert_C_Smitherman_Sr_broke_barriers_at_PG_wa.html

TONIGHT: Listen to The African History Network Show with host Michael Imhotep, (Special Day) Sunday, Dec. 29th, 8:00pm-11:00pm EST.  We'll discuss "Kwanzaa: What is Ujamaa (Cooperative Economics) - Economic Empowerment for African-Americans in 2014".  Listen to the show at http://tobtr.com/s/5861041 or by phone LIVE at (914) 338-1375. 
Visit us on Facebook at https://www.facebook.com/events/220223098136637/With a Ph.D in physical organic chemistry, Dr. Smitherman developed a number of incredibly popular patents, including Crest toothpaste, Safeguard soap, Bounce fabric softeners, Biz, Folgers Coffee and Crush soda, to name a few. Not only are they still on the shelves, but many of them are on display at the Cincinnati Museum Center in the featured exhibit, “America I AM: The African-American Imprint.”

Palace Articles

Nicknamed the “Jackie Robinson of Proctor & Gamble,” Dr. Smitherman spent 29 years there before turning in his labcoat to work as a professor at Wilberforce University. But after serving at the historically black college, Smitherman turned his attention to starting a high school called the Western Hills Design Technology School to help black students perform better in math and science.

A child of the south, Dr. Smitherman’s family lived in Birmingham, Alabama, where his father served as a reverend. A young Smitherman would see his father’s church burn down twice during their push for voting registration and voting rights.

He died on Oct. 9, 2010.

Read more here:  

http://blackhistorymonth.blackamericaweb.com/index.php?option=com_content&view=article&id=562:dr-herbert-smitherman&catid=112:general&Itemid=292

Kendrick Lamar Says It's Deeper Than Rap: "When You Conquer One Thing, You Want To Move On To The Next"

West Coast rapper Kendrick Lamar recently talked about his relationship with Aftermath Records boss Dr. Dre and why he sees his career going further than music-making.

**Editors choice**

According to K. Dot, he keeps in contact with the Doc as he continues to enjoy the success of his Beats By Dre headphones empire.

What happened in your first meeting with Dre? I was very excited, I wasn't nervous at all. I was more excited, 'cause I knew that this was my shot, everything that l've worked for, everything I've built up to came down to that moment. What happened in that moment? That moment I recorded my first song with Dre, which was Compton, which is the last song on my album. Do you speak to him on a daily basis? Yeah I talk to him. And what's he up to at the moment? At the moment he's just working his Beats by Dre. Doing a lot of promo and press for that, getting buried in life right now. (I-D Vice)

Palace Articles

Lamar also spoke on making his career go way beyond the music industry.

Can you see yourself moving to projects outside of music like he does with Beats? Yeah definitely. You know when you conquer one thing, you want to move on to the next and be able to challenge yourself? He inspired me to want to do that, once l get the years behind me, of being exceptionally great at music. (I-D Vice)
Recently, G-Unit head 50 Cent said the decline in music sales over the last decade has forced hip-hop artists to seek alternative ways to make bank.

"With the music culture, you were a sellout to be a part of doing business with a major corporation," he said. "You were considered a crossover from hard-core hip-hop. Now technology has changed how people consume music. Because music companies aren't making as much as they were from CD sales, they're not providing the marketing dollars. Now you see the biggest artists in a car commercial with their new song." (CNBC)
Last week, Kendrick spoke out on coming up short at the annual Grammy Awards to fellow hip-hop artist Macklemore.

"It's well deserved; he did what he did, man," Kendrick said. "He went out there and hustled and grinded. Everything happens for a reason; the universe comes back around, that's how it go." While Kendrick may have grounds to feel snubbed, he's hardly the first rapper to come up empty; hip-hop legends such as Snoop Dogg and Nas have been snubbed numerous times. "I definitely feel like they should always have more of the culture up in there, for sure, because we definitely stand out just like any other genre," Kendrick said when asked if he thought the Grammys undervalued hip-hop (XXL Mag)

Diddy Can't Shake The Rumors, Singled Out By NY Restaurant Waitress

Bad Boy Records CEO Diddy can't dodge the rumors and negative press this week as reports claim he recently stiffed a waitress during the Super Bowl in New York City.


Diddy and his entourage rang up a $200 tab at a NYC bar during the Super Bowl ... then STIFFED their waitress on the tip ... according to the bar which is now publicly shaming the multi-millionaire. Employees say on Sunday Sean Combs and his friends were at The Bar located in the Dream Hotel ... and when the bar manager asked Diddy if he was receiving good service ... Diddy said everything was A-ok. But when it came time to pay ... staffers say Diddy left a giant goose egg for gratuity. (TMZ)

To make matters worse, the restaurant has publicly called out Puffy through social media.


Now The Bar is calling him out ... ridiculing him on its Facebook page -- "Although [Diddy's] Net worth is in the millions, he felt it necessary to stiff a hard working young girl for $40 bucks. What a gentleman....!!!" Of course it's possible Diddy thought, for once, someone else in his entourage would pick up the tab. We've reached out to him ... so far no response. (TMZ)
Widespread rumors and buzz about Puffy and longtime Bad Boy Records artist Cassie getting engaged surfaced over the weekend.

Are Diddy and longtime girlfriend Cassie Ventura engaged? If the proof is in the music mogul's recent Instagram post then chances are the couple are heading towards matrimony. "Baby do you like it?" Diddy, 44, captioned a photo Saturday of a blinged out engagement ring. "I just want to get you wat you Like!" he added. "I just wanna Mk you smile :) #takeDat!" (New York Daily News)

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Despite the hype, one of Puff's reps immediately shot down the gossip.

However a rep for the rapper told the Daily News that the entrepreneur and the 27-year-old singer, who have been dating since 2007, "are not engaged." While they appear to be in a loving relationship, Diddy has been quite candid in the past about not wanting to get married. It definitely would be a dream come true for me to just one day be ready for the (marriage)," he said during an October 2013 interview on "The View." He added: "I'm not really looking because I know the responsibility that comes with that, and I think that a lot of people, they jump into that and they're not honest with themselves." (New York Daily News)