Is Ludacris the leader we’ve been looking for?
Chris Bridges a.k.a Ludacris is offering a refreshing image for an art form that has seemed to lose its way over the last decade. This past weekend he made the circuit, promoting his foundation and asking for a new look at philanthropic leadership. This 4 1/2 minute video is worth the time.
Good Look Luda.
A few months back a friend of mine sent me a text to ask if I was listening to the Rickey Smiley Morning Show. He said they were talking about some bill making its way through Congress that might cause black radio to go out of business. I tuned in to some of their discussion, but ended up going to my computer to really do some research on HR 848 also known as the Performance Rights Act of 2009, which was the topic of discussion.
Check the initial Dallas South post on HR 848 from May 13, 2009
So to the best that I could tell, it seemed like the Rep. John Conyers sponsored legislation is intended to help artists obtain royalties for music played over terrestrial radio. I noticed that my local Congresswoman (Rep. Eddie Bernice Johnson) was a co-sponsor of the bill so I immediately called her office to get their take. They were doing their own research so I didn’t get anything from them that morning. Congresswoman Johnson later withdrew her support of the bill.
Click here to view House Performance Rights Act – HR 848.
I didn’t see what was so bad with Conyers efforts and why it was such a threat to black radio, but soon Radio One executive Cathy Hughes was all over the air waves telling me why she thinks it is.
Commentary from Black Agenda Radio on Hughes action towards U.S. Representatives
Last month at the NABJ convention, I had a chance to sit down with a group of people in the entertainment industry who are part of musicFirst. musicFirst is a coalition who supports the legislation that would help artists get royalties from radio stations. According to their website, the group “is committed to making sure everyone, from up-and-coming artists to our favorites from years-ago, is guaranteed Fair Play for Air Play.”
Crystal Watters, Paul Porter, Sean Glover
musicFirst was hosting a sangria/mojito mixer for NABJ members to try to tell them their side of the HR 848 debate. While the drinks were flowing and the chocolate dessert shots were delicious, I don’t think the musicFirst was able to capture the attention of the journalists who had been in sessions and workshops all day and were really just trying to unwind.
Fortunately Crystal Watters, Paul Porter, and Sean Glover met with me pre-sangria to give me their thoughts on the hoopla surrounding HR 848. Watters looked familiar and told me that she had a couple of dance hits from the ’90s that I would know, but for some reason she didn’t give me the titles.
I now know that she was the artist who vocalized Gypsy Woman (La Da Dee La Da Da) and 100% Pure Love. Currently she has a site called Club Heads Radio where she feature the work of the worlds top D.J.’s
“It’s my property, it’s my voice on a song,” Watters said early in our conversation, “everybody gets paid but the artist.” Watters, who still tours Europe often, says most countries compensate artists for air play with notable exceptions being the U.S., N. Korea, China, and Iran. “This shouldn’t be a black issue,” she said.
Paul Porter is a former program director for BET and founder of IndustryEars. IndustryEars bills itself as a think tank or “consortium of entertainment and broadcast industry professionals with more than 60 years of experience dedicated to revealing truth and promoting justice in media.”
Porter diligently observes the music industry, and has been outspoken against Hughes and her tactics of fighting HR 848. “She’s berating Conyers (on the air) and there’s no response from the press. If Sean Hannity did it it would be a problem,” Porter told me.
Porter recently wrote an open letter to Ms. Hughes:
Dear Ms Hughes:
As the Founder of Radio One, the nation’s largest African American broadcaster, I have admired your unprecedented accomplishments for close to thirty years. While starting my career in Washington DC, I watched and listened to you for years during your humble beginnings at WOL-AM. In the late 80’s, I will always be grateful for you hiring me to program WMMJ, your first FM outlet.
Our accomplishments during my tenure at WMMJ continue to be the highlight of my career. Rising with a weak signal in a competitive DC market, Majic 102.3 was the third in the country to adopt the Urban AC format. Taking WMMJ from a zero market share to the number 4 AC spot, in a mere nine months, was the catalyst for what now makes you the dominant force in urban radio.
In recent months we have witnessed a media uprising of coverage that I believe is a direct effect of America’s first Black President.. Broadcast media is the country’s trend setter and Black radio continues to be Black America’s only mainstream voice. Although CNN airs Black in America in the midst of summer, and the complexion of pundits has darken during the rise of Obama, cable television and network TV still has no person of color hosting a prime time show.
What happens behind the cameras and microphones has been getting worse. Minority ownership is down, while the executive barrier in management still mirrors the post civil rights era. Debra Lee, Black Entertainment Television’s CEO, is a prime example of a face that accepts socially unacceptable imagery that permeates most corporate machines. BET continues to blind us with shows like “Franke & Neffe”, the modern day equivalent to the slapstick “Amos and Andy”. Historically, Black America has always been short changed in our images, perceptions and representations. We can’t expect change, unless people of color program it, demand it and change the Madison Avenue view on Non Urban Dictate. Educating listeners of what goes on behind the scenes will help not hurt. TV One has been a huge step in the right direction and for that I applaud you.
Few are in the position to empower, organize and inform millions of people that are thirsting for content, information and representation. Black radio needs voices now more than ever. Rush Limbaugh, is a prime example of a business plan that not only is financially rewarding but changes direction in American culture.
Porter goes on:
Ms Hughes, you have that power. For the past few months, your voice has been heard on over fifty of your stations, in a series of two to three minute announcements, 10 to 12 times daily. Those who have not heard the announcements (www.RealityRadioonline.com) might guess the subject might be health care, the economy, education or maybe a response to the racist attacks by Tea Baggers, Birthers, Glenn Beck or Fox News on President Obama.
Instead you aimed your microphone in opposition to HR 848, The Performance Rights Act. You have berated members of the Congressional Black Caucus (CBC) for months, without even a minute of an honest debate. The truth is Ms Hughes, you have pushed that button because you knew you could. Mainstream media rarely covers any issue except black on black violent crime. If Sean Hannity or Bill O’Reilly railed on distinguished CBC members like John Conyers, Sheila Jackson-Lee or Hank Johnson, Black radio and press would be outraged. Al Sharpton, Tom Joyner and Michael Baisden would be defending the CBC members you have furiously attacked. But for now their voices are silenced only because their allegiance to you. Power often brings a free pass.
Fear tactics seem to be today’s replacement for news and information. Unfortunately, the listeners you are licensed to serve continue to get your commentary with only entertainment news. While in DC, you made your mark as the “Queen of information”, branding “Information is Power” on your flagship station WOL-AM. News content is none existent in a world where a Black adult is 25 times more likely to hear a syndicated music host like Tom Joyner or Michael Baisden. Syndication on Black radio has increased at an alarming 343%, while white music syndication has decreased in the past ten years. The “less is more” philosophy basically adds up to controlling the messengers.
Your voice for the first time has become an example of Black media telling Black America a series of distortions. The Truth is the HR 848 would not kill Black radio, 80% of Black owned radio stations would pay a mere $5,000 or less royalty fee. What you have failed to mention in “Reality Radio” is a tax goes to the government. The “PRA” would help thousands of musicians and singers to be paid a royalty, just like the songwriters have been paid for decades. HR 848 is simply a civil rights issue. HR 848 is not about Jay Z or Beyonce the few millionaires, it’s about Ron Smith, the guitarist from Frankie Beverly and Maze who continues to keep your listeners entertained in the hybrid of music only formats that Radio One and most broadcasters deliver everyday.
Only the US, China, North Korea and Iran don’t pay radio royalties to performers and musicians. I do understand protecting your bottom line, but doing the right thing and stating facts is not an option.
Click here to read the Paul Porter’s message in its entirety.
Watters, Porter, Grandmaster Dee (Whodini) and Glover
I’ve heard the commercials, I’ve read HR 848, scanned articles in other publications, and to date no one has told me what’s so bad about this bill, and no one has told me how it will kill black radio. The beating that Ms. Hughes is unleashing on Conyers and others on Radio One is as bad as her lashing of candidate Barack Obama last year.
There has to be a better way for her to get her point across. Satellite radio and Internet streaming-services pay artist royalties but terrestrial radio does not. Something doesn’t quite add up. I guess that’s what these artists are saying.
(Thanks in advance for your help Fam…Shawn P.)
Dallas South News has launched a campaign to gain 100 new members before the end of the day on Friday. As most of you know, our mission is to utilize technology, social media, and journalistic principles to empower and inform underserved communities. We are a nonprofit news organization that relies in part on contributions from our readers to help us cover important stories as they pertain to Southern Dallas.
Carla Lacy interviews Carlton Cooper with Jerome Sheffield on the Camera
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DSN Intern Michael L. Counter, Jr. covering DART Green Line Opening Celebration
Volunteer Photographer Byron Watters at Cotton Bowl
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This is a message that was sent to friends from Andreas Hale, former Executive Editor of Music of BET.com. I am posting this message with his permission. Hat tip to Paul Porter of www.IndustryEars.com.
To friends, colleagues and those that should know,
As of today (September 8, 2009) I am no longer the Executive Editor of Music at BET.com.
Upon entering the position at BET I said that I needed one year to see what really went on inside the belly of the beast. I needed 365 days to sleep with the enemy and infiltrate the system. One year to see if they REALLY wanted change at BET.
As someone who has been critical of BET for many years, it surprised many that I would leave my post at HipHopDX last year to take a position at BET. But it was an opportunity I absolutely had to take. I could no longer be critical of this company without accepting the opportunity to change it when given. Although I was hired to bring about change, I was systematically shut down. I wasn’t hired to make noise, I was hired to be silenced.
The truth of the matter is that everything that you thought was wrong with BET is true.
Over the past year I’ve seen a lot to reinforce my position that BET is too far gone in the negative to turn into a positive. We have all always thought the worst, but to actually see it in action is another thing in its entirety. The unprofessionalism, the tom foolery, the favors, the misappropriation of resources, the bad ideas that reinforce negative stereotypes, the emasculation of men, the meetings that break down in full fledged cursing battles, the unpaid overtime, the tears from employees scared for their underpaid and overworked positions and ultimately the unwillingness to change are all harsh realities that I’ve witnessed firsthand.
That is not to say that there aren’t some good people who have sat in the offices of BET. Unfortunately, the good people are not in positions of power to instill any change. Instead, they work their fingers to the bone just to keep their jobs in this harsh economic climate. The other good people ran out of the door as soon as an another employment opportunity presented itself. To say BET was a revolving door would be an understatement.
I came in with a plan to provide balance and to deliver good music to the masses and help make BET relevant again – at least in the dot com world. Those attempts were shut down by out of touch executives who run a dot com but could barely turn on a computer. By those who judge their metrics by page views over absolute unique visitors (that‘s ad sales talk). By those who simply don’t understand the internet.
They brought me in because of my track record but never once took a look at my body of work. If they did, they would have known that I was the pen behind editorials such as “BET’s Coon Picnic” or were aware of the many times I have been critical of their award shows and programming. All they knew is that I played a major role in making a once unknown website into a online media outlet that surpassed theirs and they wanted a piece of the action. Too bad they never researched who I really was.
During my tenure I worked long hours and sometimes succeeded at bringing in decent content to try to reflect the change I wanted to achieve. But it wasn’t without opposition. While some interviews and content initiatives were able to make it through, many others were either shut down or met with ridicule. I offered ideas to incorporate the blog world and to spotlight new talent before MTV did. Those ideas were met with comments such as “This isn’t HipHopDX” or “You don’t know what you are talking about.”
BET is not about the quality of your work. Rather, BET is about the relationships you have with powerful people within the company. BET is not about challenging. Instead, BET is about accepting and saying “yes.” If you have known or followed me over the years, you would know that these are things that simply are not in my character and ultimately resulted in my removal.
For the artists and labels that I have worked with for years, I tried. I did whatever I could to achieve that balance many of us wanted to see happen. To the writers who wanted to writer for BET, I made an attempt but was never given a budget to work with.
Upon my arrival, I was told I would be given a staff. Not true. I had a staff of one to carry out daily operations on a website. I fought tooth and nail to accomplish the minimum (an embeddable player and a site people could navigate) and was constantly brushed off. It was a position that was set up for failure. But I endured as long as I could.
Alas, I have been removed from my position after infiltrating the system and the timing was perfect. I wasn’t let go because the site’s numbers were down. Not because I didn’t work hard. Simply because of a personality clash with an individual whose proverbial ass I didn’t kiss enough. Again, not about the work you do but about the relationships you keep and the sides you take.
I’d like to thank BET for covering the cost of my relocation to bring me to the great city of New York/New Jersey. I’d also like to thank them for putting me in close quarters with people who think like me and will hopefully work with in the near future. I’d also like to thank them for providing me enough controversial content that I observed firsthand and will make for many tales to be told.
I said it and I meant in: One year to either make changes or move on. I left HipHopDX on September 16th 2008. Today is September 8, 2009. Eight days short of a year. Most thought I wouldn’t even last that long. But in that year I’ve had my greatest fears about Black Entertainment Television affirmed.
There is so much wrong with BET that I’d rather not break it down in a single email.
It is pretty good fodder for a book don’t you think?
As of today, Andreas Hale is a free agent.
BY GENMA HOLMES
After watching the coverage of Michael Jackson, I noticed many similarities and differences between the AEG and BET televised events. Both are companies that are in the business of staging concerts, television productions and are part of larger conglomerates.
BET targets African-American between the ages 18-34 as their marketing base. AEG developed and operates the $150 million official U.S. Olympic Training Facility.
AEG, which was heavily invested in the Michael Jackson upcoming tour, is part of AEG Live. The AEG brand includes managing sport arenas around the world, merchandising, and corporate sponsorship and marketing. BET is part of Viacom which includes VH1, MTV, Nickelodeon, CMT and Comedy Central to name a few.
Anyone in the entertainment industry would recognize the power of three short letters, BET or AEG, which employ thousands. That would include camera operators, sound engineers, set designers, travel agents and key board operators. Both entities have contact to talented artists worldwide and can sermon them at a moment’s notice.
AEG’s commitment to excellence was evident in the production of MJ’s home going ceremony. From the details of the printed program to the orchestrated performances of the stars, their desire to ensure MJ’s messages of empowerment, hope, humanitarian endeavors, and his musical genius were reflected in every facet of the production.
As I have said previously, how a show starts usually determines how it will end. With the opening song “Going to see the King”, you knew the program would have a spiritual connotation despite the fact an entertainment company was in charge. The attention to details was impeccable. His coordinated brothers were his pall bearers who wore his signature glove. It reminded us that MJ started his musical journey with his brothers.
They honored MJ’s independence from the group, by wearing his coveted trademark with loving pride. That symbolic touch was the start of a service that remained elegant from beginning to the end.
BET repeated excuse that it only had a few days to prepare a ‘tribute’ revealed their commitment to mediocrity and throwing things together at the last minute. Their justification for the lack of quality and care gave life to the word “ghetto”.
The artistry of the talent on the stages gave you a glimpse of how the two brands view themselves. AEG understood that the eyes of the world were on them and how it managed this program was an investment in how they will be perceived by everyone. BET was the first to honor MJ’s legacy but did not understand the significance of the world’s penetrating glare.
The program was marketed as a tribute to MJ but they were not able to turn off their usual misogynistic, sexist, and degrading antics of its own people to realize the social responsibility that was expected of them by fans from around the world to honor MJ’s legacy. BET also misjudged its community and the power of the internet, via blogs and Twitter, to do what others have not been able to accomplish for years, shame them for their programming.
There are many actors and actresses in black community but only a few have won Oscars. Both AEG and BET had African-American Oscar Winners, Jamie Fox and Jennifer Hudson, on their stages. Jamie and Jennifer are musical prodigies but Jennifer used her voice to echo MJ’s talent and Jamie used his voice to mock MJ.
Funny stories were shared by many close to MJ at AEG’s event; their stories were heartfelt and respectful. Absence was the buffoonery that Jamie exhibited at BET.
AEG included various artists from Motown, which was part of MJ’s history as well as a strong influence in the black community. BET had access to Motown executives and artists also. They have honored Diana Ross, Barry Gordy, and Quincy Jones in recent years.
I remember Miss Ross admonishing the audience to respect each other with their lyrics and dances. Both companies had athletes on stage. AEG athletes, Kobe and Magic, shared firsthand stories about MJ that made everyone laugh.
BET’s Athlete of the Year, LeBron James, was booed by the audience. No public apology was issued to LeBron James or his legions of fans watching. AEG used their arsenal of contacts for the greater good and used MJ’s music to unite the world.
In contrast, BET does not understand the value of maintaining healthy community and artistic relationships from different genres, musical eras, and backgrounds.
Each song that was performed at the memorial highlighted MJ’s legacy. His songs were the heart of the service. The songs that were not his songs, like Smile, were song because they were meaningful to him and touched MJ in a special way.
The song “Every Girl” included in BET’s show and sung by baby maker, Lil Wayne, seems an odd choice whether you are a fan of MJ or not. It’s hard to believe Lil Wayne cared about a tribute to MJ.
But on the other hand, Usher’s performance was loving and unforgettable. Not only did he move the audience emotionally with his presentation, but you knew his tearful tribute was from the heart.
In fact, when I listened to BET’s replay, the tribute was riddled with profanity, plugs for new releases, concerts appearances, and various BET “products”, i.e. reality shows, that will do more harm than good to its demographics.
There was no stage or casket sponsorship with AEG. But BET’s sponsors were mentioned every few minutes. Jennifer Hudson, who wore a modest white dress, did not leave us questioning her attire. Whereas Beyonce’s white outfit, left many bewildered.
Both women had others on stage with them, but the additional people on the stage with Jennifer were the chorus who gave you a visual that MJ’s songs reflected his admiration of diversity and international inclusion. Beyonce’s extras on stage were part of her costume change that emphasize her “showmanship” not MJ’s words that tells us, “In the promise of another tomorrow, I’ll never let you part for you’re always in my heart”.
AEG even muzzled Joe Jackson and did not prominently showcase him or his coonery. BET gave him a world stage that left us all wondering why in God’s name would anyone give him a mic or MJ’s children.
AEG gave an emphasis to Michael Jackson’s childlike heart in many respects and ended their memorable tribute with children singing his words, with smiles and joyful hearts that radiated from the stage.
The last words spoken regarding the greatest entertainer in the world was an unexpected announcement from his daughter that her “Daddy was the greatest father in the world”. It left critics speechless and moved the rest of the world to tears.
On the other hand, BET’s children who were on stage left me speechless and in tears but for reasons that has been addressed by thousands of angry emails and tweets to Debra Lee.
In the end, AEG showed us it was not about Michael Jackson, but the mark he left on the world. They managed to show that in spite of the years of suspicion, two trials and media debauchery, he made contributions that cannot be argued or denied.
His monetary gifts of 300 million to global agencies have touched thousands of lives but his songs will live “forever, and forever, and forever”. BET showed us that it was all about them, and they shot themselves in the foot.
They drew attention to everything that is wrong with BET’s brand and why it hurts the black community on a wide-reaching stage. The stereotypes of the African- American community, that many fight every day, were front and center.
AEG will make millions from the reproduction of ceremony and the memorabilia copyrights. They invested in MJ’s ceremony and made their name a household brand.
Their stock will increase and they will become known as the entertainment company for quality production events. BET made a few thousands and proved why they are becoming irrelevant in the entertainment community. They will be forever and forever and forever remembered for their failed attempt to honor an African-American musical intellectual that transcended race, religion, and politics.
They did not take the time to view the long term value of honoring MJ right the first time, even on a smaller scale. The lessons AEG showed us by their actions should be a life lesson for everyone not only BET; the value of your brand is reflective of the standards you set.
Photo Credit: MTV, NBC, www.realtalkNY.net
Genma Stringer Holmes is an actress, model, and speaker turned entrepreneur who owns an environmental pest control company. She blogs at Genma Speaks.
Here’s a video a put together with a couple of clips from my radio appearance with my pastor, Dr. Frederick D. Haynes III on Freddy Haynes Unscripted this past Sunday. I appreciate the invite, it was a fun evening and I hope to be invited back in the future.
During the BET Awards Sunday before last, there was an unexpected social networking trend that developed. On Twitter, the BET Awards began to move up the list of trending topics. This traffic was driven by African-Americans, which were moved by the passing of the King of Pop. Some Twitter users began to question why Michael Jackson was such a hot topic, and why so much was being made of Michael Jackson’s death.
Then there was Tuesday. I watched the events on T.V. and CNN Live, and socialized with friends on Tweet Deck and Facebook. Every Black person that I have spoken with was watching the Michael Jackson Memorial, and so were most other Americans.
One of my wife’s white Facebook Friends made an interesting observation: “All of my black friends’ status updates are about Michael Jackson, and for my white friends it’s just another day.” I saw the same thing as one friend would write “I’m holding back tears,” and another would say “I’m headed to the beach.”
For many African-Americans, Wednesday was like attending the funeral/homegoing ceremony of an uncle or cousin. In my own family there have been times where we’ve had to put aside differences and squabbles to give someone the send off that they deserve. Tuesday was no different for the Jacksons.
From the music, to the brothers synchronized dress, the laughing, the crying, it had a very familiar feel. There was even a mini-sermon by Rev. Al Sharpton and a resolution read by Sheila Jackson Lee.
It looked and felt like most every funeral I’ve been to, up to the classic black look that Janet was throwing down. Janet showed, as many sisters, daughters, and aunts do, that you can mourn and still look good.
It was a grieving family, nothing weird, strange, or odd about it. Even when Paris spoke, and the family encouraged her (“Speak into the mic baby,” Janet said) it had that family feel.
I don’t get why people choose ridicule those who mourn Jackson. He created music like we had never heard before, and it had a powerful effect on people across the world. I remember when Selena died while I was in college, I had never heard of her. People at Texas A&M were holding candlelight vigils and crying in class. But I never thought to ridicule or make fun of Selena’s fans.
What’s the harm in one human that is moved by the passing of another? Read comments on any social networking outlet and you’ll see people say “I was crying” or “tears were flowing.” I was reading Paris words on the AP while riding in on the train this morning and got choked up myself. It’s even more sad because this was a death that most likely didn’t have to be.
Michael was different, no doubt. He pretty much acknowledged that fact himself with the Leave Me Alone video. But no one deserved the judgment and ridicule that dogged him until the end. I agree with Marlon Jackson and others: Maybe now Michael, they will leave you (and your children) alone?
A member of the Dallas South Family won 2 tickets to the Michael Jackson Memorial in L.A. He wasn’t going to be able to make it, so he was able to his tickets to Paulette McCowan and her daughter who were featured on CBS 11 on Sunday.
Jerry Smith, leader of Operation BLACC at Friendship-West, got in contact with Ms. McCowan late Sunday night. True to the man of faith that he is, Jerry looked to share his blessing with someone else.
I applaud Jerry for helping this family fulfill a dream, as they were both portrayed on CBS 11 as fans of Jackson’s music. The hope of the Jackson family was that fans like the McCowans are able to pay tribute to The King of Pop. Great Job Jerry.
By Genma Holmes of Genma Speaks
Watching movies and barbecuing is how my family spends most Sunday afternoons. This past Sunday, I broke a cardinal rule and watched the BET Awards for the first time. My kids convinced me that it would be great since it was billed as a tribute to Michael Jackson and his humanitarian endeavors. However, the show that was promoted was not the show I watched. The BET Awards was a chaotic three hour black-a-thon fiasco.
How things begin is an indication of where things will end. Watching CNN’s anchorman Don Lemon giving shouts out on the red carpet was the start of the calamity that went downhill fast. To add to the circus atmosphere that was forming outside, Joe Jackson, MJ’s father and belt wielding former manager, was on the red carpet promoting his new record label. Huh?
I know grief is expressed in different ways but this was a drastic departure from tears and sadness that is normally shown. He sounded more like an old school promoter for Denise LaSalle than a father who had lost a son two days prior.
But what do I know. I never watched the show and I did not know if this was the norm. Arsenio Hall was raised from the dead and Chaka Khan said something. As for the rest of the folks, I had no idea if they were artists or clowns that were paid to keep us distracted.
Once the “show” started, I cursed myself for partaking in foolishness. I was tweeting throughout the night because my kids could not stand me shouting at them and the TV. New Edition was cute and Jamie Fox was comic relief. The O’Jays, in their yesteryear prom suits, had me dancing. Sugary Ne-yo and Jamie’s collaboration was touching. The duet with Monica and Keisha Cole was sassy and had vocal harmony. I loved Keke Palmer throw down. And Maxwell could have sung all night.
But what was up with Queen B’s ballerina-wedding night-wingless angel outfit? Did she sing a song that is the theme for dog rescuers? It was not proper for a MJ tribute. But the pandemonium kept coming; Ray J and the Atlanta vixens, Lil Wayne gold dipped teeth (ew), Ving Rhames, and various characters that had no talent only added to the bizarre profanity laced evening. Don Cornelius rambling intro, which made time stand still, had me praying for the torturous show to end. And let’s not forget the commercials for upcoming BET reality shows that I confused with promos for a support group for incarcerated women.
After the rappers destroyed the English language as we know it and perplexity that would have been right at home at the Hoodie Awards, Mary Mary blessed the show with a gospel song straight from a juke joint. Don’t hate, I blog like I see it.
Recognizing Alicia Keys and Wyclef was nice, but, seriously, where was the tribute to MJ? I felt Janet’s pain who sounded broken as she reminded the audience that MJ was her brother.
Why the ring mistress of BET, Debra Lee, could not have waited and worked on a show that would have been truly entertaining and befitting to MJ’s memory and his work is beyond me. MJ gave $300 million to charities which is rarely mentioned. Focusing on his charitable contributions during his lifetime and how his musical brilliance created an entire genre of music/videos would have rocked the house and lifted spirits. Instead, we were reminded why he lived in a place called “Neverland”.
You would have to live in a world of make believe to call the show a tribute. The responses on Twitter and in the blogosphere have been horrific. The poorly orchestrated show did not reflect MJ’s musical influence and minimized the gifts of many talented individuals. I am wondering if the folks at the Stellar Awards would have done a better job. On second thought, never mind, that spaceship will never land.
Genma Holmes publishes the blog Genma Speaks, which is about “all things that speak to Genma Holmes’ heart.” She is owner of a pest control owner business, based in Nashville, a writer, publisher, and work in the fashion industry. She also works with non-profits that help young people be the leaders of tomorrow.
It was sad discussing the passing of Michael Jackson on CNNcom/Live today, but it was made easier by seeing two friendly faces on the screen with me. Those were Carmen D. of All About Race, and Lola Adesioye from TheGriot.com.
Here’s the 15 or so minutes that we discussed our thoughts on the King of Pop, what his music meant to the world, and how the discussion has played out since his death.
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