Volume 2, Issue #16

Ariana

It makes no difference if it’s a mall, a cruise ship or the studio, wherever Ariana goes her beautiful voice finds a way to be heard. The Alabama native, who recently moved to Florida has just completed her promo package with producer Scott Andrews (Babyface, Joe, The Temptations) and is ready to release her first EP. The record, which contains five R&B songs and two bonus acapella jazz tracks, has a special karaoke feature that will allow listeners to learn the lyrics and sing along with the R&B numbers. Following the release of the EP, Ariana will finish work on her debut album that contains several soulful ballads, a handful of upstart R&B jams including “Ain't Gon' Hear It” and the alternative “Strife.” The record, which is slated to be drop early next year and bares the same name as the independent company her father William started “2MCH4YA,” is already attracting the attention of numerous industry insiders in Florida.

Five Questions for Ariana

1) Was your first performance in front of a crowd special?
“It was at a mall talent contest in Alabama and I sang a Christian song called “His Eye is on the Sparrow.” Afterwards there were some people crying. It was really special.”

2) How did your family vacation turn into a unique opportunity to showcase your talents?
“We were on a Carnival cruise ship and they had a karaoke bar. I sang a song and the next thing I knew they wanted me to enter a contest they were having. I ended up winning and having a great time.”

3) Your lyrics are a bit on the personal side. What are you trying to accomplish with them?
“I’m trying to write songs that people can relate to. Maybe tap into some experiences. The goal is just to get people thinking.”

4) Like most unsigned artists, you’re using the internet as a source to get your music out there. What kind of roll does the web play?
“It kind of introduces you to the public. I have songs on soundclick.com and sonicbids.com. It’s a great way for people to get heard.”

5) Besides working on the EP and album, what else are you planning to do?
“I’m setting up some free shows at local teen clubs. I want to get out there and perform. Also, I just finished taping a show that will be on UPN called “Undiscovered Live.” It’s performances by live acts who are unsigned and it’s produced by Brian McKnight’s brother Fred.”

----Joseph Barracato

Adassa

What do you get when you mix reggaeton, dance hall, hip-hop, R&B and Latin music together? A unique, Colombian bombshell named Adassa. The Miami native, who was born and raised in St. Croix of the Virgin Islands, introduced herself to the music world this past August with an exceptionally diverse debut album entitled “On The Floor,” that was licensed through a distribution deal with Universal Latino. They quickly rewarded the 24-year-old by signing her to their label which allowed Adassa to began work on her highly-anticipated 14-track sophomore record titled “Kama Sutra,” due out in March of next year. The singles “Bang, Bang” and “De Tra” recently leaked out and are causing an unbelievable buzz in the music industry.

Five questions for Adassa

1) How were you introduced to reggae?
“While growing up in St. Croix, my parents had it on the radio all the time. I was basically raised into it. Besides reggae, I also listened to a lot of hip-hop and Latin music.”

2) We heard your live shows are pretty intense. Give us a description of what we’re missing out on.
“I just have fun when I’m performing. My shows have a very energetic feel to them. I jump around like crazy and try to get the crowd involved. I drag guys and girls onto the stage and dance with them. It’s not about me when I’m performing its about the crowd.”

3) You’ve shared the stage with some big names in the music world, including Lil Jon, Juvenile and Pitbull. What did you get out of those experiences?
“I learned how hard all those performers work. But its worth it. The energy they get from the crowd is amazing. And so many of them have been doing it for so long. I’ve only been performing professionally for 5-6 years.”

4) Are there any deep meanings to your sexually entitled songs “Kama Sutra”, “Bang, Bang” and De Tra?
“All my songs are very sensual. But there is more to it than just the title. Once you here the song you have to understand the lyrics to get the meaning. You have to fully understand what I’m singing about. My lyrics are more creative and intelligent that just what’s on the surface.

5) Besides Bob Marley, who has influenced million, what artists have you drawn inspiration from over the years?
“There are so many. Beenie Man, Snoop Dogg, Dr. Dre, Mary J. Blige, Patra, Eve, Missy Elliot, Mariah Carey, Whitney Houston, TLC and even SWV.




----Joseph Barracato

Dr. Dre “Dishonored” At The Second Annual Vibe Awards

It was supposed to be an evening that paid tribute to one of the greatest pioneers in rap history, check that music history. The legendary Dr. Dre was about to be presented a lifetime achievement award by his protégé Snoop Dogg and Vibe magazine founder Quincy Jones when a man later identified as Jimmy James Johnson approached Dre, who was about to make his way to the stage and appeared to ask for an autograph before taking a swing at the man of the hour.

A riot immediately ensued mirroring the scene at the Source Awards four years earlier. Several people in the audience began shoving in an attempt to head for the exits, while chairs were thrown and punches exchanged. Johnson, who was dragged away by security staff, eventually suffered a serious stab wound when he was attacked by a number of people, including Young Buck a.k.a. David Darnell Brown a member of Dre’s record label as part of the G-Unit posse that has just claimed the best group awards earlier in the night.

The entire ordeal put a damper on the evening and drew the attention away from Dre, who has worked so hard to receive it. The award was intended to celebrate Dre’s indelible mark he has left on the hip-hop scene from his early days with N.W.A., his groundbreaking tenure with Death Row Records and Snoop, though his recent discovery of Eminem. It was certainly a moment that should have resulted in an extended standing ovation instead of a brawl.

The Who are almost set to release their first studio album since 1982 in the spring. Pete Townshend and Roger Daltrey, the lone surviving original members, have been working vigorously in putting together new material in which they intend to showcase in a mini-tour sometime during the first half of next year.

Even more disturbing than the fracas, that luckily didn’t end with anyone losing their life, is the fact there were metal detectors at the door. But performers aren’t usually searched when they enter an awards show. Which brings us to the question: “Why the hell not?” You would think after embarrassment that occurred at the Source Awards fiasco, that it would be time to take security more seriously at awards shows. But why offend a star when you could just let them bewilder another man’s shining moment and place another in the hospital.

After the melee was cleared, the taping of the ceremony continued. The show, which was broadcast this past week on UPN, was seamlessly edited to remove any evidence of the riot. And Dre, whose always humbled himself in spite of his unbelievable success, discarded the incident and graciously accepted his award. It’ll obviously be a night the good Dr. will never forget, for better or worse.


----Joseph Barracato

Q: Do you think record companies should take some of the blame for illegal downloads?

-- B. Engel

I do believe the record industry's refusal to embrace the internet a leading reason for the explosion of illegal downloads. In the beginning of the “Digital Revolution,” the industry established business was extremely successful. Blinded by the profits of high cost CDs, the establishment increased consumer pricing, decreased the quality of music and ultimately alienated itself.

For consumers, illegal digital downloads just made sense. Easy, affordable and quality tracks were readily available. For so many years we had been conditioned to purchase expensive albums even if all we wanted was one song. So, in many ways, consumers grew to resent the establishment. This resentment, coupled with the rapid advancements in technology, laid the foundation for the record industry's biggest miscalculation--THE CUSTOMER IS ALWAYS RIGHT!

When it's all said and done, history is the greatest teaching tool we have. As students of life, not only must we remember the lessons that we are taught, but we must also remember the lesson our forefathers learned. In this case, the concept of competitive pricing and better products could have yielded very different result for record labels.

--- Adam P.

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