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|Thurs, May 19, 2016 at 1:21 PM|Send Blog · Share on Facebook · Bookmark on Delicious
The Core DJ's BET Weekend (June 23rd-26th) - 877 333 994
, T Neal
, The Core DJs
, hip hop
, old school
|Tue, April 19, 2016 at 10:24 PM|Send Blog · Share on Facebook · Bookmark on Delicious
Tuesday, April 19th at 8PM - Doors Open to Cervantes Masterpiece. The night will commence with Pandemonium Music Group presenting the "Smoke Somethin' Bitch" Cannabis Sampling (Give-Away) honoring the Legend, Pimp C - Hosted by Chinara Butler. Guests will receive a Cannabis give-away during this time compliments of Pandemonium Music Group. (Cherrelle Proctor is P.O.C.)
** In order to build a data base of attendees, a RSVP link has been created for the Sampling Hour. Click here --https://www.eventbrite.com/e/420smokeout-smoke-somethin-bitch-sampling-honoring-pimp-c-tickets-24511677086?aff=es2. Please use when promoting.
Tuesday, April 19th at 9PM - Show Begins. Hosted by: Tony Neal, President of Core DJs. (Tony Neal is P.O.C.
, T Neal
, The Core DJs
, hip hop
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|Sun, March 27, 2016 at 9:39 PM|Core DJ's
, T Neal
, The Core DJs
, hip hop
, old school
|Wed, March 2, 2016 at 6:54 PM|Send Blog · Share on Facebook · Bookmark on Delicious
Call 877 333 9940 x3 for more info
PLEASE register online at http://www.moremixshowsaustin.eventbrite.com (ALL DJ's in FREE)
hosted by Bankroll Fresh, Colonel Loud, Ricco Barrino, Lil Scrappy, O.T. Genesis, Jayy Starr, Paul Wall, Beatking, LHHATL's Premadonna, & more!!
B.E.T. Weekend raffle
after-party at Babe's Strip club (hosted by T. Neal
, T Neal
, The Core DJs
, hip hop
, old school
|Thurs, February 25, 2016 at 11:57 PM|Send Blog · Share on Facebook · Bookmark on Delicious
IPHONE, ANDROID, OR EVEN BLACKBERR
, T Neal
, The Core DJs
, hip hop
, old school
|Mon, January 18, 2016 at 4:30 PM|Send Blog · Share on Facebook · Bookmark on Delicious
by Kev Ross
There are some radio people who make a great deal of money and LOVE the company they work for in Urban radio. They are able to pursue outside opportunities, work reasonable hours, may be at a unionized station and they get paid well for appearances. They are heavily promoted by the station and given carte blanche to use social media to promote their platforms in and out of radio. This is how it should be across the board but unfortunately these people on the urban side are rare.
This weekend, urban radio industry vet Kris Kelley was found dead in her apartment. Is this unfortunate? Yes. Is it shocking? No, Is she the first one? No, as a matter of fact three black women in total who worked at WGCI have been found the exact same way. Val Landon in 2004, Karen Jones (Shannon Dell) in 1998 and now Kris Kelley. There have been many more black jocks over the years who have been found the same way. Alone, in an apartment, dead. I am confident that the thought has run through just about every urban radio pro and music industry exec's mind who is about to read this story and that is... it could happen to any of us. After so many years of learning how to disconnect because of frequent moves, if we are not parents or in a current or longstanding relationship those years of struggle can take a toll on our relationships and on us.
I am actually from radio but I have never had the love and attachment that so many urban radio people have for it. I wanted to be a singer and used it as a way of becoming one. I have worked for some of the most greedy black owners and a few of the most corrupt black programmers you can ever imagine but I learned more than I could have ever imagined about the industry and life as a whole. Those mom and pop stations were inevitable instant vestibules that were worthless unless you got everything you could get out of it before you were fired for something "stupid" like um I don't know... poor ratings? That was one of the first lessons I learned, when you walk into a situation not willing to "do the work" you will be fired, in a record amount of time, for the same reason.
Group of friends having fun at party - Image by © Michael Patrick O'Leary/Corbis
What was most disparaging was the urban station owners that trained black announcers by robbing them of their value by telling them how worthless they were and that they should be glad to have a job because the white stations were never going to hire us. These were not white owners, no sir.. these were BLACK station owners who jumped like whores through a hoop when the corporations came along and offered them a ton of money (for their services) to abandon ship in the mid to late 90s. Most have not been heard from since. Unfortunately, the damage was done and I realize now it was a cruel and dirty game that those black owners played on us because we were young and impressionable. Truth be told, it was not US that the white stations were not going to hire... it was THEM, the black station owners.
As age breeds clarity than it's evident that this was their way of controlling us and keeping us on board. Unfortunately, many of us left thinking that was our truth and limited ourselves to only working in urban radio our entire careers when many of us had/have the potential to do so much more. Many black owners didn't encourage us they discouraged us. This was not the reality for all black jocks but it was for a majority of us. Like the baby elephant that is tied to a pole with a rope and can't move even as that rope eventually becomes a tiny string to a full-grown elephant. He is so trained to think he can't break that string, he doesn't even try anymore. This is what has allowed comedians to come into our industry and take what was rightfully ours, what WE earned but because they came with leverage and confidence and they were not damaged by black station owners (who were damaged by the industry years prior) they got the glory. There are a few exceptions but nowhere near in comparison to those who are stuck.
As a champion for the underdog, I thought it was my duty to be a listening ear over the years to those who have lost their way and couldn't take what they had learned and turn it into a GREATER opportunity. Those who could no longer find work and were suffering from depression that could easily be linked to the well-known disconnect this industry grants you when you are no longer working but the truth is, I can't. I don't think any one person has the capacity to do that without it deeply affecting them but I am always trying to find a way to do it through the Radio Facts medium.
Let's face it, in this industry, the one that we love so much, most of us have very few true friends mostly because I learned a long time ago that when you are not working 98% of the people who you are dealing with today won't take your calls next week. If you don't believe that's true then God bless you. No harm done and you can't be pissed because it's just business. I can respect that, so as a result, I don't go to many industry events unless it's client or business related because I never bonded with those people intentionally and I've never been good at being phony but I have still extended a favor or two to them from time to time when they are between jobs etc.
We must all have better ways to allocate our time and who we spend it with and understand this is the Music and Radio BUSINESS. I got it early on and it makes sense. As with ANY business, when you can't do anything for people they throw you away but that doesn't mean you have to relegate YOURSELF to the garbage bin. Unlike most other industries, Radio and Music is a "Lifestyle" occupation and it's very easy to cross the lines and to really believe that these people are your friends. That's not to say some are not but we all must be realistic and understand that for the most part.... it's BUSINESS and it's WORK FIRST.
Time and again I have seen people who I once admired rise through the ranks, get older, lose their jobs, get sick or whatever and disappear into lonely isolation. Even if I have never had a conversation with them, I may get an email or a message on FB or even a phone call on my cell phone, (when I did not give them my number). They put things in the subject line like "Call me." There is no "Hello," or "Nice to Meet you" or "How are you?" just "Call me" like, dropeverything because I owe it to them. I can tell they are really hurting on the inside and they are trying to maintain a level of previous dignity. I have gotten attitude when I don't call them and nasty responses but for the most part, I laugh it off and try to return their calls because I get it. It's the wounded ego, accustomed to everyone being at their disposal... looking for a band-aid.
Urban radio people tend to make half if not much less than pop radio counterparts in the same markets but there are some urban jocks who are so dedicated to the game it's akin to addiction but the glass pipe is a glass ceiling and most of the time a self-imposed one because we don't exercise our leverage when we have it. We fail to understand that the time to "DO THE WORK" is when you ARE working. That's the worst time to relax. I see people in their 40s, 50s and even 60s still waiting for their big break, instead of jumping on technology or making their own way they get stuck and remain in the mode of "Who's gonna hire me next?" They get validation and joy by being affiliated with call letters. I have seen countless urban jocks die while looking for another gig, even part-time. For some it literally becomes their identity.
So what's the solution to all of this? At this point there are two types of people in the industry. Those who are working and those who are not. Unfortunately, that's really what it boils down to. Those who are working are trying so hard to keep their jobs, remain relevant and progressive that they have to keep their eyes on the prize. To their credit being in a race and turning to the sidelines affects your ability to win. I have talked to both ends and I get both sides. Those who are not working want validation they want those who are in the race to cheer THEM on and to know that they have not been forgotten about. They want to reach out to people who they talked to before to express their frustrations in hopes of being offered employment sometimes just validation. The people who are working have informed me that if they took all those calls they would never be able to do THEIR jobs. One told me "Man, I don't have time to talk about yesterday and the old industry, I'm trying to keep a f$%kn job TODAY."
|Sun, January 17, 2016 at 11:39 PM|Send Blog · Share on Facebook · Bookmark on Delicious
Radio programming veteran Kris Kelley was found dead in her Philadelphia apartment late last week. She was a program director and on-air personality, who spent 15 years at Clear Channel Chicago.
Kelley first came to Chicago in March 2007, joining WGCI-FM as a program director and part-time on-air personality. At one point, she was the program director for the top-rated morning show hosted by "Crazy" Howard McGee.
In October 2015, Clear Channel Media and Entertainment Chicago announced that Kelley had been given the role of double program director, where she oversaw both WGCI-FM and WKSC-FM (103.5 Kiss FM). Prior to coming to Chicago in 2007, Kelley worked as a midday disc jockey and assistant program director/music director at WJLB-FM in Detroit. Her radio career began in Pittsburgh, where she worked as the midday disc jockey and music director at WAMO-FM.
Kris Kelley is a native of Philadelphia, and a graduate of the University of Pittsburgh. She was 45 years old. No further details have been released about her death, pending an investigation
|Mon, October 26, 2015 at 2:00 PM|Send Blog · Share on Facebook · Bookmark on Delicious
House Music started in the Black community mostly in the northeast and midwest areas with post-disco area DJs spinning and blending 4/4 tracks and their own custom beats. New York house DJs, Chicago House DJs, Baltimore house DJs, Detroit techno DJs are all on the scene and house music producers emerged during the 80s and early 90s and they even toured the world spreading the love and vibe of house music. House music took off worldwide thanks to these brothas DJing house tracks and making a name of themselves.
Now, let's come back here to 2013 where dance music the biggest global genre in the world, got the biggest profit margins and have the biggest music festivals the world have seen, way bigger than Woodstock or Coachella or SWSX which feature dance music DJs:
Because of the enormous success of Tomorrowland and the fact that it is a Belgian festival, ID&T decided to give Belgians an exclusive chance with a pre-sale (80,000 of the 185,000 tickets) on March 24. In less than one day, all of the tickets sold out and at some moments there were 2,000,000 people on the online waiting list. The worldwide sale started April 7. Within 43 minutes, the other 100,000 tickets sold out. In addition to regular tickets, Tomorrowland partnered with Brussels Airlines to provide exclusive travel packages from over 15 cities around the world. Other highlights of the festival were the Cloud Rider, the highest mobile Ferris wheel in Europe, and the fact that 25 airlines were organised to bring spectators to the festival from all over the world.
Two million people on a damn waiting list and you know 185,000 x $347 is? That's $64 million dollars on that one event in Boom, Belgium and we are not even talking about the economic impact of additional money on the local community. This is what the dance music and house music is bringing. And I don't even know the numbers of Ultra Winter Festival in Miami but you also know those numbers are big too. These are people who create electronic dance tracks off a computer and use fake DJ turntables and wave in front of a crowd for their money.
So in case you are wondering the obvious - where are the Black house DJs and Black dance music producers and why they ain't all in this and got this kind of event setup on this level? I'm not talking about Carl Cox in the picture above - he is worth more money than the rappers and he is from the UK. You know the house music DJs I'm talking about and yeah, I'm calling out the Chicago ones especially. All the years all of them been in the game and touring the world, where the hell is their $60 million dollar dance music festival?
In this article we are going to discuss another sad tale of Black people boxing themselves into a "Black identity" complex instead of elevate themselves to global leaders of their industry/game. And I hope every last one of you cats after reading this article get it in your head to stop doing this "Black identity" bullcrap, for real.
Just like hip-hop and Black comedy, the dance music industry is another one Black people founded and other people took over, took the industry global, they making millions and you still got these old head cats sitting around talking shit about "real hip-hop" or "real house music" with their broke simple ass and $200/night shows at some hole-in-a-wall club somewhere.
We are going to talk about what the Miami, Los Angeles and European House Music DJs done right and where the Black House Music DJs went sideways like they fell asleep in the airplane cockpit. The goal here is to educate brothas and sistas and existing DJs on how to get their proper share of the global dance music pie that our people started and become globally competitive instead of being a chump change local yokel DJ that is only known in Chicago or Baltimore or whatever.
Collaborations with Label and Indie Artists
Dance tracks now are more than a beat and some sample. They are now full songs with vocals and lyrics. The major house music DJs collaborated with well-known and even b-list artists on singles that can be played in the clubs around the world boosting the recognition of both the DJ and the profile of the artist.
They racking 10,000,000 to 100,000,000+ views on YouTube but meanwhile your local Black music DJ artist, who they collaborating with? They may be remixing but I don't see them creating these kind of tracks for artists as original music that can sell globally and get the money up and the fame up, do you?
See, here it the problem and when you hear this, it's going to piss you off. Number one, most of these Black dance music DJs got egos and full of self and very self-centered on their tracks and being the headliner and center of attention. That is just the way we Black folks act when we think we got a little fame and status and we don't strive for bigger things, we just live off the little fame we think we got.
Number two, where are the Black-owned dance music radio stations to promote these tracks? They got these radio stations all over the world in all major cities that plays nothing but dance tracks but are Black folks running this stuff? Here is the thing - Black folks are boxing themselves in wanting to hear Trey Songz and not play these other songs because they don't think it is "Black enough" for urban radio. What is "Black enough" to Black radio stations is songs that degrades Black women and talk about drug dealing and Black on Black violence. Again, we created this damn genre but dance music is not "Black enough".
So all of these Black dance music DJs did nothing but live off the little fame/recognition they got and they still in 2013 pushing their own crates and doing small-time parties at club venues with paper fliers promotions while the mainstream DJs are doing festivals worldwide that bring in $60 million dollars gross sales.
Advance Programming Techniques for Modern Dance Music Tracks
When releasing a dance music track in 2013, it has to be in several formats and "open source" meaning there is some technical programming that need to be to allow other DJs and remixers to add their touch to the track. So you have to release the iTunes or radio version of the dance track, release a mixable version that is designed for DJ software that allow individual tracks and vocals to be muted on/off and this requires engineering.
Most of the Black DJs do not have this level of sophistication with computers and music in terms of programming. They are just releasing 4/4 126bpm tracks with the default factory sound of the Guitar Center drum machine or synthesizer and at best, have an external effect processor which is some old 1980s ish style of creating electronic music.
Electronic music programming is no different than any other form of digital publishing where you have to use different formats and templates to package the track for sale worldwide. In addition there are also sound programming techniques in electronic music to create certain kind of effects with sound that requires knowledge of bending sine wavelength and programming a pulsing arpeggio in a time/space continuum on modern keyboards. Software like Cubase for example requires a level of programming on the backend to create custom and proprietary music effects.
In fact, you can easily get away with programming dozens of dance music effects and apply to any sample loop or drum track and keep producing "new" hits over and over again and keep selling worldwide over and over again on DJ tours over and over again. But Black DJs have to sit down and learn keyboard/synthesizer programming sound and effect techniques.
Yes in case you wondering, Ed Dunn and some of the 3rd Strategic Institute can program keyboards and drum machine and you may catch me at Guitar Center in Cobb Parkway or off I-85 from time to time programming in the keyboard room. I still don't understand why brothas don't take their chick to Guitar Center because that an easy score right there. Let me take your woman with me to Guitar Center and let's see how that works out, LOL.
|Fri, October 2, 2015 at 9:00 PM|Send Blog · Share on Facebook · Bookmark on Delicious
There's nothing better than being
awarded by your peers ...
although we'll be giving awards out throughout the weekend of the
conference, we want everyone honored to attend the awards show
Hosted By Ed Lover & Mike Bivins
Music by Jam Master J'Son
The Core DJ's JMJ Awards Show, New York, New York, Nov 7th
Funkmaster Flex || Legendary DJ || Hot 97/New York. NY
Cosmic Kev || Legendary DJ || Music Director/Power 99/Philadelphia, RA
Arnold Taylor || DBA South Coast Marketing || National Promotions Epic Records - Charlotte, NC
Dorian Washington || National Promo - Louisville
Ebro Darden - Hot 97/Beats Music/ESPN
Angie Martinez || IHeartRadio/Syndicated || Legendary MC
Elliott Wilson || Rap Radar/CEO/Founder -NYC
DJ Vlad || Founder of Vlad TV - NYC
Eric Parler || VP of Mixshow/Def Jam - MYC
Lord Sear|| Shade 45/All Out Show - NYC
Jill Strada || Brand Manager/PD at 99 Jamz - Miami, FL
Reggie Hawkins - SiriusXM/Program Director @ Hip Hop Nation - NYC
Ron Mills || SiriusXM/Program Director @ Shade 45 - NYC
Biz Markie || Legendary Artist & DJ - NYC
Londell McMillan || Owner of The Source Magazine - NYC
Puerto Rob || Director Of Promotions @ RCA Records - NYC
DJ Mister Cee || Legendary DJ/Mixshow at 103.9 - NYC
June Biz || National Mixshow @ Epic Records - NYC
DJ Enuff || Legendary DJ || Founder of The Heavyhitters || Mixshow Coordinator @ Hot 97
Curtis "50 Cent" Jackson || artist. entrepreneur. & founder of G-Unit - NYC
DJ Premier || Legendary DJ & Producer - NYC
Chuck D || Legendary Artist & Philanthropist - NYC
Gary "Bolo" Sargeant || Director of radio promotions @ Columbia Records
Amid Henderson || Legendary promoter, Zulu Nation - NYC
DJ Self || DJ @ Shade 45 & Power 105.1 - NYC
DJ Clue || Legendary DJ at Power 105.1 - NYC
Ed Lover || Legendary Host, Actor, & DJ on Backspin Ch. 44/SiriusXM
DJ Kayslay || Legendary DJ at Hot 97 & Shade 45
Shadow Stokes || Promoter & Consultant
Dee Sonaram || Promoter & Consultant/Brooklyn Knights Ent
Debra Antney || Label Owner, Legendary Artist manager & founder of Be100Radio
Max Gousse || Artistry Worldwide/Music Exec
Lester Pace || Setting The Pace Promotions || Consultant
Butch Hartfield || National Director Of Promotions Epic Records || Consultant
Hip Hop SInce 1978 (Management Company.Sports)
DJ Prostyles || Producer & DJ/On Air at Power 105/NYC
Sway Calloway || Legendary Artist || Sway In The Morning - NUC
DJ Envy || DJ || The Breakfast Club/Power 104 - NYC
Chris Green || Capitol Records - NYC
Corey Llewellyn || Digiwaxx (CEO) - NYC
Mar Brown || Atlantic Records - NYC
Shawn Pecas || RocNation/RocSports - NYC
Miss Kitti || Radio host/66 Raw - NYC
Cynthia Johnson || Vice President Of Urban Promotions/Columbia - NYC
Mike Kyzer || Atlantic Records/President of Urban Music
Chris Atlas || Executive Vice President Of Marketing/ Def Jam
D Nice || Legendary DJ & MC - NYC
Big Kap || Legendary DJ - NYC/ATL
DJ Craig G || Legendary DJ, WZMX Hot 93.7 - Hartford, CT
DJ Diamond Kuts || DJ at Power 99 Philly
Gee Spin || DJ || Music Director/MIxshow Coordinator at Power 105 NYC/Music
Director WJMN Boston
DJ Buck || Legendary DJ || Program Director @ WZMX Hot 93.7 - Hartford, CT
Tony Touch || Legendary DJ/Shade 45/The World's Greatest Blind DJ - NYC
Whoo Kid || Legendary DJ & radio host/DJ on Shade 45
DJ Touchtone || Legendary DJ/Syndicated -
DJ Jazzy Joyce || Legendary Female DJ - NYC
Azim Rashad || Senior Vice President/Capitol Records - NYC
Benny Pough || Executive Vice President at Epic Records - MYC
Superstar Jay || Mixshow/Shade 45/Mixtapes - NYC
Mike Bivins || Founder of New Edition/Biv 10 - Boston, MA
GEO Bivins || Executive Vice President/GM @ RCA Records
Jodi Williams || Vice President of Operations @ Radio One
Derek "Big D The Weatherman" Person || VP of Promotions @ Universal Records
DJ Bigg Man || Legendary DJ || Noon Mix @ WZMX Hot 93.7 - Hartford, C