Womens Issue Premier

THE OFFICIAL GUIDE FOR THE URBAN ENTREPRENEUR

Wo omenS OwnerS Illustrated Presents

ISSUE

SYLVIA RHONE

ANGELL CONWELL & LA LA STYLE IN MCHUNU

RECORDING INDUSTRY ICON

JUDY BRUNSON

THE SOUL OF THE CHRYSLER GROUP’S RESURGENCE

JAHEIM HELPS SINGLE MOTHERS BUY THEIR FIRST HOME HOTTEST ROADSTERS FOR THE SUMMER MISSY ELLIOTT SHOWCASES NEW TALENT

MONA SCOTT

MUSIC INDUSTRY POWER BROKER

SALLI RICHARDSON -WHITFIELD

BALANCES FAMILY AND HOLLYWOOD

PLUS

REMY MARTIN TEAIRRA MARI TEENA MARIE INDIA.ARIE NE-YO

50 CENT Introduces

G-UNIT’S FIRST LADY BRINGS A WOMAN’S PERSPECTIVE

WomenS Issue U.S. $5.99 Canada $7.99

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72 OLIVIA G-Unit’s First Lady Brings A Woman’s Perspective

FEATURES 24

JUDY BRUNSON

The Soul of the Chrysler Group’s Resurgence 42 46 64

SYLVIA RHONE Recording Industry Icon

MONA SCOTT Music Industry Power Broker

SALLI RICHARDSON-WHITFIELD Balances Family and Hollywood

SECTIONS FASHION

6 Mchunu - Akademiks Fashion Spread 12 Mchunu Bags

LIFESTYLE ACCESSORIES

14 Marie Antoinette’s Earrings

EVENTS 16 18 20 22

BET Rip The Runway NE-YO Release Party Missy Elliott Talent Showcase Tiphanie Watson

AUTOMOTIVE 28 31 32 34 36 38

Jeanine White Test Drive: Saab 9-3 Test Drive: Saturn Vue Redline Volkswagon Eos Volvo C70 Pontiac G6

MONEY

40 Jeanette Auguste

ENTERTAINMENT 52 56 60 62 66 68 76 77

Shanti Das Wendy Washington Tresa Sanders Sherene Hudson Teairra Mari Remy Ma Reviews: Teena Marie Reviews: India.Arie

GIVING BACK 78 Jaheim

TECH

80 Motorola RAZR 81 Philips Mirror TV

REAL ESTATE

PHOTO: DAMOLA

82 The State of Maryland Wants To Help Buy Your Next Home

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— Womens Issue — Editor-in-Chief/Publisher Damola Idowu Deputy Editor Travis A. Alford Copy Editor Keyla McNeely for Keywords Communications

Graphic Design & Page Layout Travis A. Alford Photography RichardFlood.com Scott Banks Lanre’ Damola Staff Writers Damola Da Great Deity Dah Saudia Harris Marketing & Promotions Damola Quincy Taylor Mike Ernest Dawoud Shadeidu Brian Williams RW Collection Models

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ometimes you have to go with your gut feeling. In my almost four years of tireless work with Owners Illustrated Magazine, I have had the pleasure of meeting and interviewing many of the most powerful celebrities, entertainers, civic leaders, auto designers and bankers in the community. What I have noticed through my work is that a lot of the people responsible for the aforementioned successes were women. Another thing I noticed is that a lot of these women were not being recognized. I, then, began to look in the media marketplace and found very few outlets that profiled upwardly mobile professional women. So, I decided to take the lead and create an issue to commend these women. I found few sponsors for this issue and to be frank, it took the longest time and the most amount of work to see this issue through.

But, I take great pride in the results. I hope you, the reader, and the women in the business community share my pride and respond to the finished product. I would like to make this a new title and a new outlet to provide exposure for the millions of women who are the backbone of our community. I have always heard to take the first step and God will take the rest towards you. With the introduction of this issue, I can attest to that. I am truly honored with the responsibility of creating this one of a kind issue. I thank my staff for working with me to achieve my vision and the great women I worked with to make this issue a reality. May this mark a moment in history and a change in how we honor our women.

THE HUSTLENOMICS ACADEMY “I sponsored the movement.”

Damola “Da Great Deity Dah” Idowu Publisher/Editor-in-Chief/Founder Owners Illustrated Magazine

Advertising Damola RichardFlood.com Quincy Taylor Sales Damola Russell Blowe Jalil (Southwest Rep.) College Representative Kunle Idowu Intern Chris Barnes Newsstand Consultant John Blassingame Exective Director of Media John “J” Blassingame PRINTED IN CANADA

Owners Illustrated Magazine is published quarterly by Royal Alchemist Productions, LLC. © 2005 Royal Alchemist Productions, LLC P.O. Box 65484 Washington, D.C. 20035 Sub. rates: 1 year – $14.99, 2 years – $28.99 All Rights Reserved. Reproduction in whole or in part without written permission of the publisher is strictly prohibited.Visit us online: www.ownersillustrated.com Phone: 202.607.3629 Fax: 301.588.1011

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IMAGE: TIM ROGERS PHOTOGRAPHY; MAKE-UP: ALIX MYA

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FASHION

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PHOTOGRAPHY: RICHARD FLOOD

• Body Suit: Akademiks

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Marie Antoinette’s Earrings

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Image courtesy of The Smithsonian Institution

LIFESTYLE • ACCESSORIES

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Do you attract to the flagrant and bold or one with wisdom old?

Is it a give and take, and who will shoulder the most weight?

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LIFESTYLE • EVENTS • BET RIP THE RUNWAY

Big Tigger LL Cool J & Gabrielle Union Paul Wall, Kat Williams, & Julissa

Mya

Christina Milian Busta Rhymes

PHOTOGRAPHY: RICHARD FLOOD

Kat Williams, Anthony Hamilton, & Steve Harvey

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Womens Issue • OwnerS Illustrated • 17

PHOTOGRAPHY: BANKS

LIFESTYLE • EVENTS • NE-YO RELEASE PARTY

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Womens Issue • OwnerS Illustrated • 19

PHOTOGRAPHY: BANKS

LIFESTYLE • EVENTS • MISSY ELLIOTT TALENT SHOWCASE

20 • OwnerS Illustrated • Womens Issue

Womens Issue • OwnerS Illustrated • 21

LIFESTYLE • EVENTS

Tiphanie Watson and Big Boi at his birthday party

5*1)"/*& 8"540/ )BT 5IF 1VMTF 0O .FSHJOH )BT 5IF 1VMTF 0 HJOH .BSLFUJOH 4QPSUT "OE &OUFSUBJONFOU INTERVIEW Damola 22 • OwnerS Illustrated • Womens Issue

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s. Tiphanie Watson holds the definition of as independent woman.

With ownership interest in a professional basketball team named The Marietta Storm, and her own marketing firm, Pulse Event Marketing Group, little stands in the way of her achieving her lofty ambitions. Tiphanie is a multi-tasking specialist, also serving as personal manager to her mega-star cousin, Big Boi of OutKast fame. She has also worked in the NFL with teams like the Miami Dolphins and the San Francisco 49ers. Her education afforded her this opportunity, a graduate of Clark Atlanta University with a degree in Psychology and a master’s in Sports Management from Miami’s St. Thomas University.

She is a native of Savannah, Georgia. Owners chose to speak with Ms. Tiphanie because she is a special individual juggling and multi-tasking the every need of each of her clients. Follow us on this journey as we talk to her about her career, her company and what faith has to do with it all.

Please introduce yourself and what you do.

I am Tiphanie Watson. I am the owner of Pulse Event Marketing Group Inc. and also Big Boi’s personal manager.

So, talk about Pulse Event’s Marketing Group. What is your group about?

Pulse Event Marketing Group is a boutique multi-marketing agency, which services the sports and entertainment industry primarily, but also Corporate America. We offer sponsorship acquisition, mobile marketing, camps and clinics, video production, endorsements, product placement, company launches and special events.

When did you start Pulse Marketing?

Officially, Pulse Event Marketing Group has been on the books for over a year and a half. I actually started as an independent consultant about five years ago. I broke away from a marketing agency that I worked with for a couple of years to start my own company.

What did you learn from that marketing agency that inspired you to venture out on your own?

Truthfully?

Yes I learned that they make a whole lot of money off of the sweat of their employees. I learned that they bill the client’s triple what they pay employees in salary. I also learned that there are a lot of components to marketing that African-Americans actually have not tapped into yet. There are a lot of corporate dollars that huge companies put into promoting their new products and growing their brands which we have yet to experience, such as mobile marketing. Companies will spend two million dollars to wrap a vehicle and put it on the road and hire teams in different markets to go out just to present their new products to people. People get to really see, hear,

feel, and touch the product and they really give into that. So, I thought why don’t I do something and mix the two.

That’s smart.

A lot of corporations don’t know how to get to entertainers…

Like your Big Boi’s, your Andre’s, 50 Cents, Baby’s, Slim Thugs, etc…. none of them. I went to a conference in NYC recently. This conference consisted of heads of several different corporations. They all sat in a forum, an auditorium type forum and they put artists on the stage. Big Boi, Jermaine Dupri, and I think, Too Short came…I’m not sure. But, there were a lot of different people from the film industry and sports, and it was an open forum of corporations who had the opportunity to ask artists the questions they’ve always wanted to ask. Questions like, How do we get to you? Basically, the artists answer was that they prefer you to deal with them personally. A lot of times companies try to go through other agencies. They go through the managers and the message never gets to the person. What was important is that the artist also stated that when we talk about you in a song… If we say pass the courvousier, that’s what we are really doing. It’s not that we’re looking for you to give us a dollar, because a lot of times artists talk about things and they never get paid for it.

Exactly.

So when the artist talks about something and they go to the advertisers, they approach them because they really believe in their product and really use it. It is their lifestyle and they know the demographics that advertisers are tying to reach.

You’re going to reach that because this is what artists do on a daily basis, whether you give them a check or not. The forum was good because it gave advertisers an opportunity to know that, “hey we can get to you… You are reachable and you will help us to brand our products.”

So, what gave you the confidence to step out on your own?

So many people want to do it but are trying to figure out how to take that step from a guaranteed pay check to venturing out and doing their own thing.

Tiphanie: A lot of prayer, faith, confidence in yourself, and knowing that it is what I wanted to do. I believe that I could do this and basically you step out on faith. You have to believe in what you’re doing. A lot of people try to start businesses and they really don’t know what it is that they are trying to do. They just know that they want to do something other than work for someone else. But, if you know what you want to do and you are focused and you believe that God will really take you through this- you are going to have some bumps in the road and there are going to be times where you feel like… oh my God, what is happening… I don’t think I can make it. But, you have to stand strong and know that just like anything, if you believe in it, then you can do it.

That’s deep.

For more information on Ms Tiphanie Waston’s companies visit, www.thepulseinc.com, and www.mariettastorm.com

Womens Wo WomensIssue Issue m ••OwnerS OwnerS e Illustrated Illustrated nt a e r ••23 s23t d

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Photo Courtesy of The Chrysler Group DaimlerChrysler AG

Judy Brunson The Soul of DaimlerChrysler’s resurgence INTERVIEW Damola 24 • OwnerS Illustrated • Womens Issue

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Judy Brunson emerged on the automotive scene just over three years ago as elected assistant to the CEO of the Chrysler Group. Her purpose was to make a way out of no way and turn around Chrysler’s ailing business practices through hard work and planning. With a plan that deviated from the American Automotive business model that relied on making profits from sales of trucks and SUV’s, the Chrysler Group invested in a rear wheel drive platform and began making exciting products that would draw consumer response.

Virtually, the plan did away with the need for discounting. The LX platform that underpins the 300, Magnum and Charger models, allowed the Chrysler Group to integrate expertise from the luxury Daimler division and create affordable American luxury for consumers. This design platform contributed to prices stretching from a base of $23,000 to nearly $40,000, while at the same time eliminating models that were underperforming.

I got a chance to visit DaimlerChrysler’s headquarters in Auburn Hills, Michigan to have a chat with Judy Brunson, Senior Manager of Product Planning for DaimlerChrysler. We discussed how Chrysler’s new popularity all came to be, what her role was in this venture and what her role would be now that Dr. Dieter Zetsche, CEO has been promoted to Chairman of the Board of DaimlerChrysler AG. Now, he will personally oversee the Mercedes division in Germany as well. In our interview, we learned how DaimlerChrysler continues to flourish, enjoying an increase in sales while other Detroit manufactures have been continually losing market share. Our dialogue also ventured to new products and an overall strategy for success in the automotive field.

Please get to know Judy Brunson, protégé of Dr. Zetsche and a woman to watch in the automotive world.

now which was our original plan from the beginning when he first called me. The plan was that I would work with him and learn his management style. He would train and groom me and then I would provide him what he needed to be successful in the U.S. market. I would help him become who he is – the face of the Chrysler Group.

PHOTO: DAMOLA

That was the initial plan three years ago and now it’s come to fruition?

Yes, it has absolutely come to fruition. He has become probably one of the most recognizable automotive CEO’s in the world and arguably one of the most recognizable CEO’s period.

Can you give us an introduction of who you are and what you do?

I am Judy Brunson and I work with Dr. Dieter Zetsche, who is currently the CEO of Chrysler Group and at the end of the year will be Chairman of the Board of Management for DaimlerChrysler AG. Tell our readers a little bit about your history. How did you get started and how did you get into this position at Chrysler?

I have a technical background. I’m an engineer by degree, an electrical engineer undergraduate.

Where did you go to school?

I went to GMI for my undergraduate degree. I have a mechanical engineering Masters and I have an MBA. I’ve worked with Chrysler for a number of years. Dr. Zetsche came into the group in November of 2000 and I started working with him in December of 2002. So, that’s been almost three years

Tell us about the steps it took and the things you had to contribute to achieve this goal.

When Dr. Zetsche came to the Chrysler Group, it was well publicized that the group was not doing as well as we are doing today. Dr. Zetsche came in with a mission to turn-around the Chrysler Group, therefore we put in place a turn-around plan.

When I came on board, my mission was to ensure that our goals were achieved. My role is all over the place with him. I travel with him, I write for him, I… So, you are going to Germany with him.

Yes, I’m going to Germany, but I am not going to live in Germany. I’m going to help him transition to his new position.

My role will always be as it was intended; I am the background person that runs everything so he can be out front in the public.

There was a two-fold mission to our relationship. I was to leech and learn everything that I could from the best absolute most brilliant manager in the world and then I was to help him be the German American that he needed to be in order to become the face of the corporation for the Chrysler Group. So what does that mean? That means that when he goes out publicly and speaks, I am the person who makes sure that what he is saying are the best words to represent the Chrysler Group. We’ve

Womens Issue • OwnerS Illustrated • 25

“From the beginning our plan was to protect for an onslaught of new and dynamic products. That started with the Crossfire, then the Pacifica, then the 300C, the Magnum and the Charger. Those products were in the works five years ago.” — Judy Brunson But, what were some of the steps because the turnaround is tremendous. I looked at the performances of the other American auto makers and they’re losing a lot of money.

Yet, the Chrysler Group is very profitable right now.

One thing we learned early on is to get a handle on our costs so we did a lot of cutting up front. It’s not a secret that we cut a lot of heads out of the Chrysler Group. Our material costs decreased drastically. The monies that we spent to produce new products is something that we protected fiercely because it all comes down to product. From the beginning our plan was to protect for an onslaught of new and dynamic products. That started with the Crossfire, then the Pacifica, then the 300C, the Magnum and the Charger. Those products were in the works five years ago.

26 • OwnerS Illustrated • Womens Issue

How long does it take to develop a vehicle?

We worked on cutting costs by shortening. A while ago it took us around five years to develop a product. Recently, we have been systematically reducing that time. Technically, we can get a vehicle to market in twenty-four months. So, to go from five or more years down to twenty-four months is phenomenal. It takes a lot of costs out, a lot of fat, and a lot of inefficiencies out of the process. It allows us to get those products to the market when we need to get them out because it is a hot product.

What is the strategy with the Mercedes Group?

The strategy is Dieter Zetsche, plain and simple. He is basically a turnaround king. He will go to Mercedes Car Group and address the issues; he’ll control the costs, improve the quality and he’ll protect the product. Simple.

And what will your role be there?

My role with Dr. Zetsche in his transition is simply to transition. I will not become an employee of Mercedes Car

PHOTO: DAMOLA

looked at media clips and we understand how he’s going to be perceived in the media and we want to make sure that he’s got the right face. He’s so charismatic, so it’s not a lot to do!

Group. I will remain with the Chrysler Group. Like I said earlier, the objective always was for him to send me to head an organization for him. That will still happen when it’s going to happen. We are working on it.

So, the plan was to put you in charge of a group; work under him and learn all the intricacies, his techniques of how he’s able to improve and make a brand successful and take these lessons to now apply it to a group and be a head of that group?

Absolutely. I will take his management style and apply it as best I can to my next assignment whatever that will be. He will be very instrumental in determining what that will be.

Tell us about the challenges you have as a woman, a black woman in a male dominated auto industry.

I think that being a female in the automotive industry is sort of unique in and of itself and being a black female is even more unique. There are a lot of opportunities and advantages. The key is to take advantage of the opportunities when they present themselves. There are not a lot of us in the automotive industry and that’s not because there are no qualified black females. It is just an industry that has been predominantly filled by the majority. However, it is definitely a field where there is a lot of opportunity for us.

What do you think would create a change where more people, qualified people will be able to get positions?

Well, right now there are black females with technical backgrounds from a college standpoint and the population of them is increasing. Also, the automotive industry isn’t the only place that a woman with a technical background can go. We have to do a better job in the automotive industry of attracting the people in the crop; presenting a package to those highpotential black females or females in general. We have to let them know there are opportunities in the automotive industry and in Detroit.

What’s the value of the urban market to the group and how do you think that influences the product?

Well, there are a lot of demographics. Our targets are 18-25, 26-30 and 35-50. Typically when we design a product we look at a product and design it because it is aesthetically pleasing.

Fortunately, we have had some success in the marketplace because our products are not just aesthetically pleasing to one demographic, they appeal across the board. The young urban hip-hop demographic is in tune with our vehicles. I can’t say that we set out to design the 300C to only excite the young urban hip-hop person, per se, because it excited everybody.

It’s the most awarded car ever.

Yes, and that’s what our designers set out to do. They design products that are aesthetically pleasing, that answers questions that a lot of different markets and demographics have asked.

Is there going to be any synergies between developments of vehicles from the Mercedes Group to the Jeep to the Dodge to the Chrysler?

What we have been doing is volume bundling and packaging components and using one component across several product lines. That will continue to happen. What you won’t see is a Chrysler badge on a Mercedes product. For example, we wouldn’t take an E-Class and bring it over here and badge it as a Chrysler and try to sell it. That type of thing will never happen.

Mercedes will be Mercedes, Chrysler will be Chrysler, and Dodge and Jeep respectively will be what they are. But, under the surface of the car we will definitely use those components across many different car lines.

For example, the Mercedes engine in the Crossfire.

Absolutely.

I just have two questions. How is your personal life? Are you married and how does that affect your position within the company.

I am married and I’m a mom. I am the mother of fourteen yearold identical twin boys. It’s a huge time commitment and my job is a huge time commitment. I have a lot of support from my husband because he is a wonderful person. My boys are car heads so they love this industry. They really love the fact their mommy works for Dieter Zetsche, who to them is like the car czar. In their mind, it’s pretty cool. So, even though I travel a lot and work a lot of hours, I do have a lot of support at home.

My husband and our family help out as well. So it works. It’s helpful when they really appreciate what I am doing and who I’m doing it for.

There have been rumors of a spin off of the Chrysler Group from the Mercedes Group. Can you address what the future holds for the entire DaimlerChrysler AG and Smart?

Smart is a part of Mercedes Car Group and that will remain.

There are no plans or discussions under way to change that. It’s a very successful conglomerate. We are a global company and have products in every segment, every passenger car segment and we’re happy with the results of the merger so far, and there are no plans to splitting off.

Okay. Can you lend a word of advice to young women who aspire to take advantage of the opportunities that you have talked about? How can they position themselves to take advantage of those opportunities and be able to now enter into the automotive field?

I would suggest that young women concentrate on the technical fields. While we do have more women and African-Americans entering technical fields than ever before, the actual numbers are still very low. For whatever reason, we tend to shy away from the sciences and the more difficult higher level math courses and we shouldn’t. There is opportunity for us there. We can excel when we put forth the effort in our early educational areas early on before high school. It has to happen in middle school first. You have to really become serious about your education in middle school and then follow it through to the high school level, then move into the technical fields in college. There are tons of scholarships out there that are just untapped resources.

We can be successful in predominantly majority dominated technical fields. There is just room for tons of opportunity.

Womens Issue • OwnerS Illustrated • 27

LINCOLN’S JEANINE WHITE

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INTERVIEW Damola hances are if you’ve seen any minority targeted campaigns by Lincoln, Ms. Jeanine White was behind it. She is the spearhead for Lincoln’s minority campaigns division and has strategically worked her way up the corporate ladder to become the key cog in bringing the Lincoln brand back to prominence as a standard for American luxury.

She has also worked closely with celebrity endorsers and has teamed up with Magic Johnson to introduce the Lincoln brand to affluent minority consumers. Currently, she is working alongside Kanye West on a campaign to introduce the brand to young upwardly mobile trendsetters in the urban community. Vehicles such as the Zephyr, introduced as a concept in Issue II of Owners, will be endorsed by West. Not to mention, Lincoln is also undergoing a massive branding change using the nomenclature system to name their vehicles, example being the Zephyr, which will be named MKZ in tribute to the Mark heritage. It was at one of the product launches that I had the distinct pleasure of speaking with Ms. Jeanine White.

How did you get to your position as Manager of Diversity Marketing at Lincoln?

Well, actually there is a whole series of steps and different opportunities as to how one could get into this particular position within Ford Motor Company. I had an array of different positions within the company, all within marketing and sales. Then I rotated into advertising, which is the phase I am in now. It has been a wonderful journey. I’ve had so many types of opportunities between customer service, servicing our dealers and dealer networking. Now, I’m on the consumer side related to advertising.

What kind of background does a person need to get that kind of position?

Well, the company [Ford] recruits from all different universities and colleges. But, primarily a marketing or sales background is needed along with an interest in the diverse opportunities within Ford Motor Company. From that point, the opportunities are really endless as to what you can go into between, dealer support, and consumer support as it relates to our customer service operations or as it relates to advertising or even product marketing.

Basically, it is imperative to have a great education. Attend a university where you will get recognized and noticed. Seek out the companies, such as Ford Motor Company, that really provide some wonderful opportunities for our youth.

In your role, what are some of your responsibilities?

My full title is Multi-Cultural Marketing Communications Manager. In my department, we are responsible for all of the communication elements as it relates to consumer marketing. Such as advertising events, digital, web, etc. I am responsible for everything that advices the consumer about our products that we sell or service to the multi-cultural market, traditionally African American or Hispanic and Asian.

28 • OwnerS Illustrated • Womens Issue

PHOTO: DAMOLA

Jeanine White and Magic Johnson with the Lincoln Mark LT.

Womens Issue • OwnerS Illustrated •29

LINCOLN’S JEANINE WHITE

Tell the readers of Owners about the process of putting together this event [Mark LT Launch] with Magic Johnson.

We look for opportunities where we can market the vehicle out into the consumer market place. Obviously, we wanted to come up with a really unique idea since the car industry can be a very competitive market. Our relationship with Magic Johnson allowed us to celebrate the arrival of the Mark LT by hosting a party for it and encouraging people to come out and enjoy a test drive; as well as have a luxurious and memorable Lincoln experience. G. Garvin, a fine cuisine chef and entertainment by New Edition are a few delicacies participants can enjoy while viewing for the first time the Mark LT. A pleasurable experience allows people to remember the Mark LT or another Lincoln car for their next vehicle purchase.

Are there any last words you can give for aspiring young women who want to eventually be in your type of position?

Yes. Stay true to yourself. If you have a passion, desire and drive for something; go for it and find a way to be the best at it.

I had a passion to be in the business world and my path brought me here to this particular position. And, I’m really proud to be in it and proud to be able to project with consumers a positive image for African Americans. This is really a positive experience for me, working for the African American and showcasing us in a positive light. Where in the past, we have had so many negative and/or questionable marketing tactics thrown at us to try and reach us. I’m glad to be here and I wish every woman success that has a desire for whatever their field is to just strive to be the best and you will do well.

“Stay true to yourself. If you have a passion, desire and drive for something, go for it and find a way to be the best at it.”

— Jeanine White 30 • OwnerS Illustrated • Womens Issue

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LIFESTYLE • AUTOMOTIVE

Photos courtesy of General Motors/Saab

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guess it makes sense that the company that was mainly known for making jets will deliver a jet black Saab with black interior on my driveway. One glance at the 2006 2.0T 9-3 and you can’t help but notice its aerodynamic design. Available in three models, a Convertible, A Sportcombi(crossover wagon) and a Sedan I got to test drive the sedan. An entry into the already crowded entry-luxury market, I was impressed with the 9-3 drivers comfort. My vehicle came with the available navigation, a moon roof, heated front seats, 8way adjustable, a cup holder in the dashboard a cooled glove box, and a long list of other amenities. Now my younger brother is a med student in Virginia so I figured it will be a nice time to pay him a visit. Masters in turbo technology the Saab 2.0 L engine had a lot of pep. Making 210 hp and 221lb-ft of torque I enjoyed zipping down I-95 I was able to jam to tunes listening to the available XM satellite radio, the premium package upgraded the sound system to 300W and 10-speaqkers along with a 6-disk in-dash changer, along 9-

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with xenon lights, red walnut trim, and power passenger seats for a $1895 increase over the base price of $26,620. The 5-speed automatic was fun especially the manual shift function. The handling was great, and the steering was responsive. Running into rush hour traffic the 9-3 was able to maneuver as the turbo didn’t have much of the usual lag.

What was also great was the fuel economy as it averages 31MPG on the highway and 21MPG in the city. Catching up with my brother was great as he assured me he was focused and doing well in his classes.

As I drove back I wondered how much it will cost to drive one of these when I got home I visited www.saabusa.com and found out a 24 month lease is available for $453.96 per month with a $2448 down payment and a 15,000 mile per year allowance. Not bad considering the no charge scheduled maintenance for the first 36 months or 36,000 miles whichever comes first. Overall the Saab 9-3 is a fun car to drive, visit www.saabusa.com for more information and options to build your own today. — Damola t

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est known for its excellent customer service and no-haggle policy, Saturn has upped the ante with its all new Saturn VUE. The VUE is sexy and has a lot of pep behind it with a 250 horsepower- 3.5L, V6 engine and with an average of 22mpg; this car gets incredible gas mileage. To sweeten the deal, Saturn has included a 24-hr roadside assistance package and a 100,000 mile tune-up interval.

Available features include a Sun and Sound Package adding a sunroof and XM satellite radio purchasers can listen to while reminiscing about those days when you first got your license and drove to the beach for Spring Break with the sunroof wide open. The Sun and Sound Package adds a total of $995 to the base price of $23,050. A Redline Package adds a lowered sports suspension, 18-inch alloy wheels, a billet grill and a chrome tipped exhaust. Overall, the seats are very comfortable; lined with black leather and accented by suede inserts. The Redline Package option adds an additional $2,495 to the base price. The VUE includes a myriad of safety features such as dual stage front airbags, a lot of cargo room and (3) 12-Volt power outlets. Also, for driving in less favorable weather conditions, the Saturn VUE is equipped with a permanent All Wheel Drive [AWD] system; and with dent resistant body panels owners can expect fewer dents from hail storms and grocery carts! For more information on the Saturn VUE, visit www.Saturn.com. — Damola

32 • OwnerS Illustrated • Womens Issue

PHOTOGRAPHY: RICHARD FLOOD

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Womens Issue • OwnerS Illustrated • 33

LIFESTYLE • AUTOMOTIVE

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Womens Issue • OwnerS Illustrated • 37

LIFESTYLE • AUTOMOTIVE

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ake a look at the Pontiac G6 sedan, a successful, fun-to-drive vehicle. Now, imagine this sedan turned into a retractable hard-top convertible. Hard to imagine? You don’t have to. This year, Pontiac introduces the all new Pontiac G6 convertible with a top that retracts automatically in 30 seconds. This Pontiac represents the American entry into the new and exciting segment of convertibles introduced into the market. Partnering with renowned German coach-builder, Karmann, the execution of the design is perfect. The GT convertible will come with a 3.5L V6 engine that develops 200 horsepower and 220lb-ft of torque.

Also, a GTP version will be available that delivers 240hp from a 3.9L engine, with 245 lb-ft of torque. This nice piece of machine is designed to seat four adults. Features include 18-inch wheels, satellite radio, an automatic starter, in-dash cd disk changer, heated leather seats and a slew of other options typically found on expensive European model cars. Pricing for the retractable hard-top is expected to begin at $28,490, offering the best value. Visit www.pontiac.com for more information. — Damola

38 • OwnerS Illustrated • Womens Issue

Womens Issue • OwnerS Illustrated • 39

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eanette Auguste has worked in the financial sector with such esteemed companies like Credit Suisse First Boston, ANB AMRO and currently HBO, in the Budget and Finance department. In her 30 years of working, she has worked hard to provide for her family since immigrating to the US from Trinidad. Jeanette has learned a lot from working next to some of the biggest deal makers in the financial sector, to go on to work in the budget department of HBO overseeing budgets on some of the biggest fights in recent history. Jeannette also sparks interest in music, having worked with Mook, the first manager of the legendary Wu Tang Clan and has even started her own independent record label.

In the midst of all her hard work, she defeated cancer and is fighting harder to follow her passion and make a difference. Owners Illustrated recently got a chance to shoot the breeze with her on a variety of topics, focusing on her experience in the financial sector. Very little is known by the public on the inner workings of the financial world.

Our conversation will be very informative and will provide a general overview on the industry.

I’m Jeanette Auguste – it’s pronounced Aw-geest. I am actually from Trinidad and have been here for the past thirty something years. My background is financial and I have a music background as well

Jeanette, please introduce yourself and what it is you do.

Okay, now tell us about your financial career.

40 • OwnerS Illustrated • Womens Issue

Tell our readers about your music history.

I was VP of Operations at “Protect Ya Neck Records” with Mook. I did VP of Operations with them for about two years or so. From there, I branched off into my own thing, named Beme Group, an independent label. We develop and promote artists.

What year did you branch off and do your own thing?

Beme Group began in 2002. I took a bit of a hiatus in 2004 when I was diagnosed with colon cancer and I had to have surgery. I had chemo and radiation and I’m still here. As a matter of fact, I finished radiation last year and I decided during that time I would get my boxing license and do what I really wanted to do. Music is my love and that’s why I’m taking this big headway into the industry; developing relationships, capitalizing on the contacts I had before.

I’ve worked in investment banking, and mergers and acquisitions. I worked my first financial job with securities. I started off as an executive assistant and moved up to be a financial analyst.

assistant. I was in the natural resources group. They look for acquisitions and mergers. They want to be like the lead on the deals. In order to do that, you have to “woo” them so they will sit down and plan. We would have to orchestrate all of the presentations, including getting all of the information together and letting them know that if we do this deal, then they will make this amount and this is what you’ll pay us.

From this end, it is more production oriented.

Explain for everyone how a money management group operates.

Well, the money management group is a pool of money – your money, my money, and everybody else’s money.

In a nutshell, what is investment banking about?

Making money… obscene amounts of money.

Exactly.

And what they do is assign people to direct that money into different areas whether it be in stocks, bonds, domestic, international, aggressive, conservative, etc. It is also along the lines of natural resources, futures and options. For futures and options, we have to sit down and try to predict what is going to be the next “crop” that’s going to be popular. We ask questions, such as, “Where should we put our monies right now, it doesn’t seem as though it’s doing anything,” “Do you think it will,” “Should we take that chance,” “Why should we take the chance?” A person really has to have the funds and be able to withstand to look at your money and know if it doesn’t go a certain way, you’re going to take a loss.

Generally, how much money do you need to be in that arena? How much money does a fund need to get started?

They start at a million and that’s a little bit because when you’re talking about multi-million dollars and the fee is 1%, that one percent ends up being millions. To start those type of funds, investors need a mil.

So, an investor only needs a million dollars… but overall the worth of the fund is multi-millions.

Yes. For example, Earl Graves has a fund that he started named Greenwich Financial.

And his fund is good And, Bob Johnson, after leaving BET, has started an investment fund (RLJ Asset Management) with the Carlyle Group He actually already has a base anyway because to run his company, he has a good idea of what he’s getting into.

After leaving Vanet, where did you go?

It is the background (in investment banking) that allows you to now come into this building (HBO)… as somebody certified in this field as a woman in finance?

I literally worked through the ranks. Like I said before, when I began I was an executive assistant; always working for the person on the board- the head honchos. So, I was always privy to certain information that was only privy to certain people. For instance, at Credit Suisse First Boston, I worked for a managing director that we called Golden Boy because he was able to orchestrate some of the biggest deals out there, such as the Norwegian Shipping Company that does all the Cruises. I was a sponge sucking everything up.

What are some of the things you learned?

One thing I learned from a personal aspect is that whatever you think of, you can very well make it happen. They would come up with ideas in meetings and make it happen. They would track what other companies [banks] were doing and speculate that they were not doing good, they would work to make the lesser company an umbrella underneath them to make them larger, get some of their assets. It’s just a way of eliminating the competition and making themselves the big boy on the block. I saw that when I used to work with ING Barings.

ING Barings was acquired by ABN AMRO and that’s a Dutch company There are a lot of Dutch companies.

Yes, they are really infiltrating the financial sector.

“I literally worked through the ranks…when I began I was an executive assistant; always working for the person on the board- the head honchos. So, I was always privy to certain information that was only privy to certain people... I was a sponge soaking everything up.”

After I left Vanet, I went to Credit Suisse where I was a production Womens Issue • OwnerS Illustrated • 41

Sylvia Rhone

More Than A Legend, The Standard For Excellence In The Music Recording Industry

INTERVIEW Damola IMAGE Matthew Jordan Smith

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ery few, if any, can claim the pedigree of Sylvia Rhone. With over a 30 year tenure that started out as a secretary and elevated to being the first woman to become chairman/CEO of a major recording company in 1994 when she was appointed to that post at Electra Records, her legacy is unmatched. In a past ad campaign, Nissan Motor Company honored her in a series of shorts honoring black legacy achievers. However, her path has not been easy as a pioneer having to battle sexism and racism along the way and recently corporate restructuring after the sale of Warner Brothers Music Group to the Bronfman’s.

That change left her without a post, but always the fighter, she landed on her feet with a new post as Executive VP of Universal Records and President of Motown. It was 1974 when her illustrious career began at Buddha Records. From Buddha she moved on to Atlantic Records, where in 1986 she became Vice President/General Manager of Atlantic’s Black Music Operation and in two short years she was promoted to Senior Vice President of Atlantic Records. Her first historic milestone occurred in 1990 when she became the first African American woman to head a major record company when she was named CEO/President of Atlantic’s new East West Records America division. A year later, when the East West artist roster and operations were combined with Taco Records, Ms. Rhone was named Chairman/CEO of Atco/EastWest, and subsequently EastWest Records America. On her mantle you could see over two dozen awards for achievements during her career including the Turner Broadcasting 2004 Trumpet awards and an induction into National Association of Black Female Executives In Music And Entertainment Hall Of Fame. As a graduate of the Wharton School of Business, at the University of Pennsylvania, Ms. Rhone was named an Alumni Trustee of the University of Pennsylvania, and is a recipient of the Black Alumni of Pratt’s Lifetime Achievement Award. Her career has been a touchstone for women in the entertainment industry, but even greater are the artists she has been involved with by launching their careers. Missy Elliott, Busta Rhymes, Fabulous, Das Efx’s, En Vogue, Gerald Levert, Pantera, Dream Theater, Metallica, Jet, Staind, Tami, Yolanda Adams, Tracy Chapman, and Jason Mraz, among others have all had the privilege to benefit from her expertise. Still as impassioned now as she was over 30 years ago, she is now ushering a new era at the legendary Motown records. With an acute music ear and a capable team, Ms. Sylvia Rhone is now overseeing the careers of artists like Stevie Wonder, Erykah Badu, Michael McDonald, Brian McKnight, India.Arie, QTip, Toni Braxton, Nick Cannon, David Banner, Nelly, and new talents like Chamillionaire, Remy Ma, J Millz, among others. During a junket for a core of independent publications, I had the fortune to speak to this legend and gain insight into how she ascended to her position and what lessons she can pass on to future generations.

Sylvia: So, tell me about your week…. Who did you like, what was hot?

Damola: Q-Tip, Yummy, I loved Remy Ma, Chamillionare was a nice surprise and J Millz.

What track did you like off the Q-tip record?

The Jackson 5 one, that was real hot.

That’s what I’m feeling.

Also the one with Andre because I could see a vision of how that could move his product. To give him his space to where he could breathe in today’s market and be successful in his environment, because you have to be conscience of that.

Right. I think Q-tips project is going to be off the hook because he is an icon and he hasn’t been out for a long time. I think he can add something fresh to the game right now. I’m excited.

I’m glad everyone likes that move record, that’s a hot record.

It’s a very hot record. I think one good thing about the junket is that a lot of your artists come from different spectrums of urban music, so it was a great thing to give us an experience of people from different spectrums.

I really appreciate that comment because that is one of the initiates of the company, to really diversify the company, and you have just witnessed what we have in the hip hop area.

But we do have some new, other artists that are more kind of R&B, urban R&B. They are young and fresh. A new girl we signed out of Detroit named Sway can play the keyboard and play acoustic guitar. She is opening up for a lot of the college dates with John Legend, who’s going to be off the hook. We have about 6 projects signed that are going into production now. We just gave you a taste of the new Motown, but you’re going to see that a lot of things are going to be unique. I hope visionary to most people, and that will add something fresh and new to music because I think things get very stale quickly in music and people try to follow the leader. So you know one person heads there and then everybody tries to be Ciara, for example.

Exactly Or everybody tries to copy somebody else. We are trying to be trendsetters rather than followers.

But how do you find what to look for?

It is really hard. It comes from so many different places and not just one place. It comes from a brother you might meet in a club that says, “Could you listen to my CD?” I mean, its so many different places, you never know when you are going to find it.

How do you integrate working with a lot of your partners, because they are so different like SRC, Big Face, David Banners company, DTP, to name a few. Even at this junket, it seems to be a lot of coordination of a lot of people that are doing their own independent thing to all come together and be fluid in how they present it. How do you coordinate all of these different artists together and equally present them to the press?

I think a lot of the effort of coordinating this really is a responsibility and credit to Wendy Washington and her department. They did an excellent job and they were excellent Womens Issue • OwnerS Illustrated • 43

Sylvia Rhone — Music Industry Icon in keeping your senses titillated with the different designs in the room and the food and the places. A lot of creative effort went into this week for you guys. Know and appreciate that.

But on the real, we do business together, and we try to work as a family. And SRC, Cash Money, and Blackground are all extensions of the family, so we really try to work together to coordinate even our creative efforts. We exchange our assets when we have collabos with certain acts. We let you know that [David] Banner will do something on one of our acts and produce one of our acts and vice versa. We try to keep the family strong and it is getting stronger and stronger as a result of our people.

A Member of Press court: For an artist that is not in a major market how would you suggest them to get to an A&R? An A&R person is always reachable. If an artist is a new artist that needs to be developed, then they should try to develop themselves locally. Take for instance Chamillionaire, Mike Jones and those cats that came out of Swisha House, or even in the early Cash Money days before they went and got a big deal with Universal. These guys were working and grinding it out in their hometown. They were selling records out of their trunks and going into radio stations themselves. So, I think a lot of it has to be on that artist. Artists need to ask themselves, “how bad do you want it that you can go out there and be a self starter and an entrepreneur?” It takes some responsibility. If the needle starts to tick, people will catch it right away. But you have to be able to move the needle yourself because nobody is going to give you anything for nothing.

You need to be an entrepreneur. Be an Owner; own your own thing.

Yes, you have to. You can own your own thing, or you can just make the awareness and the word of mouth within your home base so hot that you know, when you bring it in, you have a story to tell. It is harder to get signed now because it is so competitive. There are so few labels and the money is squeezed. So, when you come into an office you really need to be hot. To do that, get your record hot in the clubs and go to your local radio station and try to get some love from there. There are so many ways that you can create that heat locally.

(In reference to junket) Did interns work on putting this together?

Yes, exactly. There definitely are openings to young kids if they want that record position experience. I think we only think about artists, but there is a whole business side that is open to a lot of people that can provide far more security than becoming an artist.

Listen to this woman. There was a poster that said, “Universal, under new management” that I observed from the listening session the other day. Who are some of these key people and what is the new direction that you guys are taking Universal?

Some of the key people are myself, Tone from trackmasters, 44 • OwnerS Illustrated • Womens Issue

Wendy Washington, Shanti Das, etc. It is not so much under new management. That was really kind of a concept and a new philosophy, not different people so to speak. That new philosophy is defining new artists that we are signing.

That is why we are saying under new management. Such as Motown going through several transitions of being neosoul; it was kind of not defined, so we’re just trying to define it. This is a new chapter, and hopefully we have some great success in the next chapter of Motown.

Having the history that you have and seeing things evolve over the years into this new digital convergence, how do you perceive what’s going on and how do you take advantage of some of the new responses from the consumer base and the new environment?

That is a big question, but I’ve been doing it for 30 years and there have been periods where you are doing the same thing.

But, you can’t do the same things you used to do yesterday.

Everyday you have to look at what you are doing with a different point of view because technology has changed dramatically, such as the way that we sell music and we are just catching up with that wave. We have created new media departments just to deal with how we are going to market through an online experience because 10 years from now, we will not be buying records from the store. CD’s will be non-existent; they will be like the 8-track and cassettes. So, we are preparing ourselves for how we are going to market that and be a part of the future.

What do you think has given you the ability to be a pioneer not only as a woman, but also as a black woman to come into this industry and become CEO, a person of power for so long? How can a person see your path, and what has made you or given you the ability to traject such a path to be at a CEO level in this industry?

I started as a secretary. I do have a degree, but my degree wasn’t really applicable to what I wanted to do. So, when I made a decision to get into the business, I started as a secretary and I still am as passionate about my job as I was back then. I worked my way up a very long ladder. A lot of it is based on my commitment and my work ethic and my passion most of all, and a component that none of us can really control, luck. Basically, I was in the right place at the right time and I earned the opportunities I got and I was able to hold onto them. However, certainly I have had my ups and downs. I feel so fortunate to have been able to survive because a lot of people I entered the business with are no longer in the business. It’s a very cruel business, it can either be very good to you or it can chew you up and spit you out.

I worked my way up a very long ladder.

A lot of it is based on my commitment and my work ethic and my passion most of all, and a component that none of us can really control, luck. — Sylvia Rhone

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46 • OwnerS Illustrated • Womens Issue

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or of Haitian orn H heritage, hen a Mona M Scott Si r tdoingi cona i it. t Artist a ota Management n ge really t , eexemplifies e xethe t pr proverb, he s ““hard w work m ha ove pa pays wasn’t or pl anything r ysI ever d kaspired ir fitob, do. off.” S off Starting .” ffrom ttther ve very ahebot bottom om rof tthe t I’ve he r always i y been ngt business om minded. I get rrecording e industry, i ndus ,c sshe ha has or he w worked he her thator s di from watching r t myke ngmom r juggle y a d way up tto be w being o aarguably a gua one ry of the ti most m he ng family and bl multiple os businesses. y I believe t powerful managers pow m iin tthe nur urban a he m market. nae I was ba born r a with fa ge leadership r ul n ke quality that r s t .

Mona Scott M S is i Partner P sconaand a President P a ot nd at ar r helped t t temene get through s early i on in de r life nt Violator olR Vi Records, tthe pe people ehea rresponsible cte or and opl or help s get me pons through ds the firstecouple , i for managing the careers of Missy Elliott, Busta Rhymes, 50 of jobs I had as a working adult. At the Cent, LL Cool J, Tribe Called Quest, Timberland, Mobb Deep time, I wasn’t focused on being in the and several other artists over the labels 12 years of existence. music industry. It just came to pass.

Mona also owns a restaurant, ran by her husband. Family is When I look back on my life, it was fate highly important to her and her family’s support has been a more than my own determination. Artist great benefactor in her success.

Management was something that crossed Owners Illustrated Magazine has worked with several of her my path and I stepped up to the plate and artists and is now receiving the rare opportunity to catch a took advantage of the opportunity that moment of her time to discuss her career and how it came to was put in front of me. be.

Wow, that’s tremendous. Now we’ve How did you get your start in the industry? spoken with a lot of your clients, I started in the industry back in the early nineties doing Artist partners and employees and they all Development. One of the groups I was working with were speak very highly of you. But, one these producers out of Brooklyn called, The Trackmasters. At area of expertise that they have always the time, they were still figuring it out and doing it on their surrendered to you is the movie own. They met me and liked the way I was moving with this business. How did you break into that group, so they asked me to come on board with them to help arena? get their production off the ground. We got a small office in a The steps that we’ve made into film and basement of a residential building in the Village and started television were a natural progression working. They were brand new producers and I didn’t have for us. A lot of what I do for our artists any experience but I guess they felt that I had the drive and extends to Marketing and Promotions passion for what they were trying to do with their music, so because that is a necessary function for they were willing to take a shot with me. I just started to beat us. Back then, a lot of labels were not the pavement working to get these guys some gigs. I met as involved in breaking acts outside of Chris Lighty through this group and as I did more work for the traditional means as they are today.

Trackmasters, I did more work for Chris. Soon after, Chris So, part of our job and obligation to and I became friends and started working to build something. our clients to help put them out is to At one point, The Trackmasters decided that they wanted to source out other opportunities; whether go their separate way and Chris was transitioning from his sponsorship opportunities or strategic current position at Rush and Def Jam into becoming the VP partnerships and alliances with brands. of A&R. He also started to get his Violator Records Company We found the industry changing, budgets off the ground and I kind of helped him staff up and set up getting tighter, and the Marketing and his businesses. I realized that with him having taken on some Promotional efforts shrinking. Because of smaller budgets we of the acts formerly of Rush, there was a business there with realized we had to think outside-the-box and seek out other ways plenty of opportunity for growth and partnerships. to help our acts promote their products. They say, “Necessity is So, I pretty much went into Artist Development, managing the mother of invention,” and to that end we’ve always focused producers and then into managing recording artists and that out trying to figure it out however we had to. When our acts was the beginning of Violator Management. started growing, crossing over into other mediums and wanting to pursue career opportunities in the film and television world, That is pretty interesting. I guess this is around the Foxy it was our obligation to grow along with them and be able to Brown era 1995, ’96? provide them with those opportunities.

Exactly. Well, the group I was working with was before that My moving into that area was basically a function of need. It time. The artists that led me to TrackMasters were called ATeam. That was around 1990-91 because Chris and I hooked was not an option to have someone else come in and handle the up in 1992. brand we carefully built and protected for all these years.

So, have you always sought to be in the management field?

Or, when did you actually realize that you had an ability to manage artists?

Honestly, I think I realized I had the ability when I was actually 48 • OwnerS Illustrated • Womens Issue

That’s interesting. So, who was the first person to get a deal? Was it LL (Cool J), Busta or who?

Wow, I think you have to go all the way back to A Tribe Called Quest and Sprite because that was probably the very first deal

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along those lines for any hip-hop artist. We were one of the first to cross a hip-hop act into a mainstream brand. Also, early on I did a deal with Missy and Reebok. That was interesting because a lot of times you do a deal with a particular brand and it can pigeon hole you in that genre with that particular brand.

From that deal I was able to cross Missy into a bigger deal with Adidas. I have always been very careful about doing things that were very organic and what made sense for the image and the brand of our artists. Busta paired with Mountain Dew is a great example of that as well.

Explain ‌ It wasn’t about just getting Busta a soft drink deal; it was about looking at a brand that is in line, image wise, with what Busta represents. We wanted to do something that no one was going to question and something that wasn’t going to dilute his credibility with his core fan base. That is something we have always been very careful about. We are very conscious of the

fact that as much as companies want to buy into the celebrity and the demographic market surrounding that celebrity, the minute the artist no longer has their credibility, the artist is no longer useful to them.

How is the Respect Me line doing now?

The Respect Me line is doing extremely well. It is one of Adidas’ top brands, especially overseas. In the U.S. market, they were only in 12 stores because they were sold exclusively through the Adidas stores. Hopefully, a new deal that is in the works with a major retailer comes through. This deal will allow Respect Me to be in a lot more outlets in the U.S., and we hope to mirror the success with the line that they have oversees.

How did you expand commercials into full feature films?

First, I started looking for opportunities for our clients because they wanted to be in that area of business. I had to get more involved in the transition because I wanted to make sure our clients, especially Busta had access to good roles that were Womens Issue • OwnerS Illustrated • 49

available and role that might not necessarily be looking to cast a rapper in because Busta wanted to have a solid acting career.

He has an extreme over the top, high energy persona and agents could look at his energy and confuse that with somebody that is just extra and eccentric. And, that really is not what he is all about. I didn’t want our clients to be cast in the generic black guy or black rapper roles because the agents are not as vested as we are in our people and their career.

Like Higher Learning?

Exactly like Higher Learning, Finding Forrester and like Narc.

We received tons of offers for him in the beginning, clowning roles and that is not what Busta is about or what he was trying to do in the acting world. I had to get more involved to protect his persona.

Around the 90’s, you partnered with Michael Orvitz, for the AMG thing. What did you learn from that deal?

I still say there was a lot of value to that Michael Orvitz move because we partnered with someone who was a major power player in Hollywood. He had a vision for creating this full fledged film production company that would have given us tremendous entry into the Hollywood scene with a lot of leverage and a lot of weight. Unfortunately, at the time, Michael probably took on too much too soon. When we came on board with him there really wasn’t a precedent or a blueprint that was in place for us to figure out how to integrate what we brought to the table with what he had going on. Furthermore, I think that there were a lot of learning curves he experienced and I’m sure there was a lot of growth that he needed to have within his own company before he could even consider bringing another company in to take advantage of it. But the move allowed us to get into a lot of rooms that we may not have been able to get into on our own- just starting out. Through the Michael connect, we were able to meet a lot of people and have access to a lot of projects. I took the lead with that deal in order to develop the relationship and really prove to be a viable asset. We needed to turn those meetings and the situations into really generating opportunities. I think we were able to do that successfully and we still are continuing with those relationships although there wasn’t an immediate outcome to our union with Michael, it still was a powerful jump for us into that world.

Well Congratulations are in order because one of your clients just took home an Oscar.

Yes, we actually represent Three 6 Mafia’s producers.

How did they get the opportunity to be involved with that project?

That is something you have to talk to Chris about. He took more of the lead on that project.

Okay. When did you start becoming partners with Chris?

As far as Violator Management, I have always been there. But, there are some things that we both take a lead on. Three 6 Mafia’s an act that he works with more closely than I do.

I hear that. What are your day to day roles and responsibilities with the company?

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I oversee the management on Missy and Busta. I have done other Film and TV stuff for them and I bring opportunities to the table for our other acts. Like for instance, we just closed a deal with Saturn Films, Nick Cage’s company to co-produce with him a movie for 50 and Nick Cage.

Wow. Currently, I have a Missy Elliott life story movie that I am developing. Jane Rosenthal from Tribeca is coming on board to work with us. I created and executive produced a TV show with Missy who was on the show as well. So, you know there are a lot of things that go on with all our acts. As much as we communicate and work together on opportunities, there are certain things that we just take lead on.

You guys represent the largest pool of superstar talents in the urban arena. How do you stay ahead of the competition and maintain such a large group of clients?

A part of it is the way we divide up the work load so that nobody feels that they are not getting the attention of one of the principals in the company. James Cruz, who came in originally to do just marketing and promotions, has grown into working side by side with Chris and taking the lead with some of the clients. Really it’s about making sure everyone is serviced.

We’ve got an incredible support team in place with Brent and Claudine Joseph and Laurie Dobbins who are the junior managers within the company. It is really about communication and working closely with our clients making sure that they are covered. A lot of times, we talk to other artists who tell us about their management company not dealing with them on a day to day issue and it is really about when the record is blowing up.

We try to stay connected with our artists in all facets of their lives and I think that kind of helps communication, the bond that allows us to maintain some level of involvement with them consistently to a degree where they feel that they are a part of a home.

That is very interesting you mentioned that. A lot of your clients in between projects have been able to still maintain pretty luxurious lifestyles.

Yes, we are in it for the long haul good or bad with our clients.

When we believe in somebody we believe in them beyond the hit record that they have playing on the radio. We invest a lot of time and energy into these people. Chris and I have spent a lot of time away from our families really trying to build our business and build their businesses. What we try to do with our clients is help them grow so that they’re building their own empires in the process. We like to think that we pace ourselves, we pace them and we pace the way that they do things so that they leave with a ‘bigger picture’ view on their lives. So, hot record or not, they are still able to maintain and move forward and be financially stable.

As a woman in the industry, what are some of the challenges you face and how are you able to juggle your family and your client’s needs?

It is a difficult thing and finding balance is something that I still work on every day. It is so easy, especially when you’re committed and still passionate thirteen years later about what

.0/" 4$055 .64*$ */%6453: 108&3 #30,&3 you do, to throw yourself in it wholeheartedly. But, one of the things that I’ve come to realize as clichÊ as it may sound is, If I’m not okay, if my home isn’t right, If my head is not on right and if I’m not feeling healthy and feeling good, then its hard for me to have anything to give to anybody else. It’s a necessity that I find that balance between work and home. I take time for myself. I once lived, eat, breathed and sh*t my work, but reality is if you do it like that over a period of time, you will burn yourself out. It’s important to maintain a healthy balance. My husband is incredibly supportive and I don’t have drama as far as my traveling constantly or what I do for a living or who I do it for or where I am at all hours. That is an invaluable element to my life. My husband and children have made tremendous sacrifices in not having mommy there all the time, but I try to make it a point to spend some quality time together. Virtually without strong support at home it would be an impossible thing to do because what’s happening at home can affect your ability to function on the business side. I credit it all to my family, especially my husband who holds it down completely.

You’ve also ventured outside of Artist Management to owning a restaurant. What inspired that venture?

My inspiration was twofold. For an entrepreneur, it’s about diversification. I wanted to branch out and form businesses and have assets in other mediums. I dabbled in real estate and the beauty business first. Then, I decided I wanted to own a restaurant. It really came as a result of people’s reaction to my mother-in-law’s red velvet cake. People laugh when I say this, but I promise it’s the truth‌ people would come to my house and take one bite of this woman’s red velvet cake and lose their minds. Of course with me being the person I am, I started thinking of ways I could get this thing on supermarket shelves because there is Little Debbie’s and then there’s going

to be Mama Dell’s. My thought process was that I needed to get it into restaurants so I ended up with the conclusion that I will open up my own restaurant. It is called J’s Southern Express, a take-out spot. The letter J is for our kids Justin and Jordan, and it is located downtown on Chamber Street between Church and Broadway. My husband runs it along with my partners, Chris Epsilon and TJ Jackson who head up the kitchen at the restaurant. I wanted to do something that was a little different in that area so the idea of take-out soul food is a little bit of a novel concept, but I felt that it was viable down in the financial district where there really wasn’t anything like it. Knock on wood, we have managed to keep our doors open and it’s doing very well.

Do you still invest in the real estate market?

Absolutely, I do stuff in Jersey. I have flipped property and that is something I still do – not as avidly as I did before 9/11, but yes I still do some real estate stuff.

Overall, what inspires you? You have a lot of energy and it’s like a passion. What inspires you everyday and really brings joy to your life?

Giving my kids a head start in their life; giving them something that they can pick up that I‘ve left for them and that they can move forward with as opposed to having to struggle from scratch. I wanted to build a legacy for them. I wanted to give them something that they could have to hold onto long after I’m gone. Also, to my mother who struggled for such a long time raising us as a single parent; wanting her to see me succeed because she worked so hard to give me all of these tools like an education and my sense of determination is an inspiration. I feel that I owe it to her to be successful.

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recently had the distinct pleasure to sit down with one of the most inspiring women that has aligned herself in the ever moving music industry. Working with a major label is, one: hard to accomplish and two: an unimaginable dream for so many music enthusiasts. But Shanti Das, a woman full of spirit and drive is living her dream and proves to be very successful at it holding the title Senior VP of Universal Marketing and Artist Development at Columbia Records. A graduate of Syracuse University, she has been involved in the recording industry for over 14 years. The beginnings for her were at Columbia Records as a college rep. During this time, she met L.A. Reid, CEO of LaFace Records and began working for him, as well. Eventually, she returned to Columbia and then moved into her post at Universal Motown. Shanti has been responsible for introducing the world to megastars like OutKast, Usher, Toni Braxton, TLC, Nas and so many others. In our candid interview, Shanti discloses how it is to be a successful woman in a predominately male populated, not to mention political industry and how she got the nickname “Shoestring.”

Shanti also talks about the benefits of learning from some of the greatest executives in music history such as: Donnie Einer at Sony, L.A. Reid of LaFace (now current chairman of Island Def Jam), and Silvia Rhone, now the most powerful woman in music history. During this interview, Shanti disclosed a wealth of information that hasn’t previously been available to the aspiring outsider. Please enjoy the first part of our feature on Shanti “Shoestring” Das. So what is Fried Bologna?

Fried Bologna is a management and entertainment company.

Right now, I’m just focusing on the management side. I have 2 deejays that I manage out of Atlanta - DJ Mars and DJ Trauma from the SuperFriends.

What made you pick the two of them?

Well, it’s funny because I would see Mars a lot when I visited Atlanta and he expressed an interest in just trying to do things on a broader and grander scale. He came up to New York and I landed him a spot on Rap City, trying to find other outlets for him and other deejaying opportunities. Whether it’s a company like Chrysler hosting a big party somewhere and they need a DJ, or trying to find outlets and opportunities like that. I have great relationships with the NFL and the NBA, so when AllStar Weekend comes around or SuperBowl and they need a DJ, I pitch my guys for that sort of stuff. Actually, I was one of the first people in Atlanta to give Mars a shot to go out on the road with Usher. Trauma is one of the other guys that is down in the SuperFriends crew. I guess things were going well with Mars and he said, “Yo, you need to holla at Shanti, so it worked out.

I don’t always want to work for a company. One day, I want to be able to have my own.

What makes you want to have your own company?

I have been doing this and on the grind for so long- years in fact. It’s good when you can do it for people that you love and respect. Obviously, I wore LaFace on my back for 8 almost 9 years, and at the end of the day, when the company was sold, L.A. and [Baby] Face made a tremendous amount of money.

It’s public knowledge that they sold the company for $90 million. I didn’t see any of the $90 million. So, it goes to show that if I get my own company then I can do the same thing.

If you had built your own brand?

I believe everybody starts a business to be able to sell it one day…that’s just the nature of the business. You see, all these companies dealing in mergers and acquisitions and being sold everyday in corporate America, that’s the game, you build a company to sell it. You know what I mean?

Exactly.

That’s the American dream. I’m trying to do the real estate thing a little bit too.

Tell me about that.

Right now, I have a couple condos in the Atlanta area and I am flipping those to get a little cash from the deal. Each deal allows for money to be stacked. There is life after the music industry and who knows what is going to happen in the next five to 10 years as the CD goes away and everything becomes more digital. I don’t know if the industry will be as lucrative as it once was. People still make great salaries in this business, but aren’t making what they made in the 90’s- that’s from the top on down.

Exactly.

So, I have to be smart and one day I’d like to have a family.

And, I’m not just looking for a man to take care of me. I want to be able to contribute to the household.

Tell our readers more about being an independent woman.

I’ve always been an independent woman. I’ve taken care of myself since college. When I graduate from college, I went back home for 3 months and within those three months I got my job at LaFace and was making $30,000 a year. That was in 1993. At the time, $30,000 was a lot for me coming out of college. But in the grand scheme of things and in this day and age, it’s not a lot of paper. However, back then I was able to get my own place to rent and buy my first car. I’ve been very sufficient and an independent person from day one. My mother always taught me to get my own and I’ve been working since I was 13. I have worked at Footlocker, as a security guard, as a telemarketer, at Six Flags; nothing was too good for me. I don’t look at myself as a goody two-shoes chick. I’m proud to say that I have never had to ask anybody to take care of me and I don’t want to start.

I understand that. What have you learned from working in your various positions?

I am not going to go in owning my own. I have to go in and learn from everybody else because I don’t know everything there is to know about this business; I’m still learning. As long as I continue to progress in this industry, I’ll stay in and see what else I can do or what else is obtainable for me. Maybe one day I’ll be running my own label such as Sylvia Rhone. I figure I can learn a lot from Sylvia because she is a woman also and to see the obstacles she had to overcome heading up major companies. It was a good transition for me to begin working for her.

Womens Issue • OwnerS Illustrated • 53

Even learning from L.A. Reid; one thing I really learned from him is that it’s just about the music; and not to loose your love and sense for the creative part of it because it still starts with a song. He used to say that to us all the time. I don’t care how much promotion money you get, all the fly videos; it starts with the song and you must have a great product. That philosophy can go into car dealerships, to a clothing line, etc. A product is a product, and whatever it is, it has to be quality; never compromise who you are.

I live by that everyday.

I learned that from L.A. What is some of the stuff you’ve learned from Sylvia?

I feel like I am going to be able to learn a lot from her just in terms of how she handles herself in meetings with men and with other heads of these corporations. I’m really looking forward to learning as much as I can from her. She’s a very powerful woman and doesn’t bite her tongue. She’s not disrespectful, but she demands that respect from others, which is really important because you can’t go into these meetings like you’re a chump. You have to take control. Sylvia is definitely a real go-getter. So I really think, in these next couple of years, I am really going to learn a lot of invaluable information from Sylvia.

Shelia is a legend. Now comparing the legends, I guess you’ve had a Wartons School of Business degree, doing urban music. You’ve gone from LA Reid, to Donnie Einer. . .

Even Jermaine because I learned a lot from him.

From Jermaine Dupree, to Sylvia Rhone. If there was one attribute you could say that you’ve incorporated into yourself from each of these legends, what was the most intriguing thing you learned from each to help with your own company?

With L.A., the one thing he used to say that stood out is always strive to be the absolute best. That may sound corny or cliché, but he was really serious about that. He taught me that mediocrity was not ok. If you had an idea and it was just ok, you need to go back to the drawing board because that was not happening. Just as he did when Usher was about to come out with ‘Pop Your Collar’ and the song was really horrible and was getting trashed. LA was like, we are going to take this album back, redo it, get it right and smash everybody. He always made us strive to be the absolute best and I take that and hold it in my heart dearly. Everything I try to do, I make sure I put forth my best effort possible. I thank him for that because I will continue to use that piece of advice for the rest of my life.

What can you attribute to Donnie and your experience working with him?

Donnie is a fighter and I really got a lot of my fight when I was at Columbia; not being afraid to fight for something that I believe in. If one person tells you no, then go knock on another door. One thing about Donnie is that he will fight to the end. Whether it was another record label or fighting a radio

54 • OwnerS Illustrated • Womens Issue

station that didn’t want to add a record, he would take no for an answer. He taught us to fight, fight, fight – go back and not become complacent with the word no.

And then Sylvia. . .

I have a tremendous amount of respect for Sylvia. I have for a long time. Sylvia tried to hire me five years ago when I made that transition to New York. She interviewed me when she was still at Electra. So, just the fact that she recognized me and my talents back then, and then offered me a position five years later, that is special. She’s the most powerful woman in the music industry.

Why did you leave Sony to come to Universal?

Well, Sony put a great offer on the table for me but I really felt at Sony that I reached the ceiling even though they told me that there were more opportunities for me.

What was the final position you had there?

I was senior vice president of marketing. They did offer me some other positions But I didn’t feel like I was able to be as creative as when I first got there. The environment just started to feel a little too corporate for me. And, I’ve always been a music person, obviously coming from the background of LaFace Records working with L.A. Reid, it was about the music for me first. I wasn’t really involved in the creative process on the music side. Sylvia allows me to come to A&R meetings sometimes, or she’ll play music for me and ask my opinion. I just feel like I’m creatively more involved here. Being at Sony, for some reason during my final months, felt like a regular job. I don’t want to feel like it’s a day-to-day job for me. I want to feel it in my heart and be a part of the creative side. Coming here felt like it was a smaller situation even though Universal Motown is a big company.

The division is worked more like a boutique label with Sylvia involving all the departments in working together.

Where did the “shoestring” part of your nickname come from?

Shoestring was my radio name at Syracuse. Me and a girlfriend of mine that lived in Atlanta both wanted to be big in the music industry. One night while we were on the phone, we talked about how everybody in the industry has nicknames and we needed one. She gave me the name shoestring and I used it as my air name for the hip-hop show and it stuck with me. When I got the job at LaFace, I told all the deejays to call me that.

When I was doing street promotions and dealing with deejays from across the country, it was cooler for them to call me Shoestring. It just stuck with me.

What advice or words of wisdom would you give to the next 18 year-old girl who is about to go to school with big dreams to be in the industry?

Obviously, there are certain books you can read to get knowledge. But, it is not like you can read a book and break into the music industry easy. However, books are good for the basic principles and ideas of the industry. For the women, respect

yourself and demand respect, especially from your male peers. That is the best piece of advice I can offer. Don’t show up to a convention or concert trying to meet and greet everyone with your butt or chest hanging out because guys are going to be guys and when they come up to you, they are going to look there first. You want to make eye contact. So, carry yourself with respect and people will take you seriously in the industry. That is what I did. I made sure that these men respected me first, being Shanti Das, as opposed to being ‘Shanti hanging out at the studio or at the club.’ I was about my business, absolutely. Also, try to find a mentor. Attend seminars that come to your town, participate and ask questions if you happen to get a card from a music executive. Don’t call them everyday, but stay in touch. When I met Ashley Fox, she started sending me music. I would write Ashley a letter maybe once a month to just stay in touch.

You don’t want to be a pest because these people are busy and have families. They are constantly multi-tasking. But, if you are persistent enough every blue moon, through e-mails, phone calls, quick notes... we can really see that a person is sincere in what they are trying to do and that they are being persistent about it in a respectful way.

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WENDY WASHINGTON

THE ARTIST ADVOCATE

WORDS Damola & Saudia Harris INTERVIEW Damola IMAGE Banks

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sS Senior Vi Vice eP President c ni of erPublicity P e for f ubl Universal Uor sor i offini cial de position? i ve c nt i t ry s a l Motown, We M Wendy Wa Washington otndy sis i ultimately ul s ow hi responr t e Back ngt i then s m In,waspona senior director a on or ta director. e l y ssible ffor igetting ge orblout the t message m he t eabout a t the t eibout va various he ng s s r a i ous ge projects from pr f tther recording r ojhe om e artists a signed sc e r to t i the t or t c LaL o gne hei Ok t sso you a s dihad t seniority, -s you ng d had stripes already. bel. Acts be A from f Nelly N r cto tl Toni omo.Braxton, B te sto t Cash Cl ro MonMl a yYeah, a but xt Isonhad grown. h I’d on,taken steps as I’ve moved from company eey,, tto N Nick oy C Cannon ha have i be benefi a c tted ffrom nnon ke he her ver lleadned om e to company, ar from, fi d-artist to artists; I’d taken steps and grown in the eership aandr de dedicated nd s sstafff hi of publ publicists t di a llikepVi Vickie if c ckebusiness. a ki it ce e id s t s Charles, S C Sharonda ha S Sweet, ha C Cindyw Gilbert, Gr iaand rl ssevendy eionda nd el e s be v- t, , r t , eral others including independent firms like Tremedia. Having spent and how did you add more duties to your job as you ascended?

10 years in the industry her initial goal was to become a Lawyer, Well, I’m gonna talk about how I just got in initially first. How I got but we are all grateful for her change in career paths as her team has in initially was writing as a freelance writer, and because I was writcontributed largely to the Universal Music Group’s dominance of the ing and I was interviewing artists, I knew angles because as a writer, recording industry with a 29% market share. Wendy Washington is you’ve gotta figure out who a person is and where their angle is goa beautiful, creative, self assured woman whose diligent approach ing to be interesting to the reader, to management ensures that every artist gets attention and is given adequate opportunity to express their art form thru editorial media. Exactly.

I have been honored to have an opportunity to work with her and a So when I was pitching stories, all of these things were essential. So number of her artists and delighted at the opportunity to get her be- I was into communicating, I was able to understand what an angle hind the microphone to speak of her journey to such a senior position was, all those elements. So that’s what made me a good PR person. and how aspiring young women can follow her lead in the exciting Now how I’ve risen is just trying to stay creative, so like doing press world of media. Always full of energy here is some of our dialogue. junkets and just trying to find creative ways when we did reporting. No one in New York knew who E40 was outside Vallejo, CA. I guess one very important reason why we are doing your inter- When we did Cash Money, Juvenile was talking about Ha, nobody view is because most people are never going to be a celebrity. knew what that was in New York or LA, they just thought, these are But people could find a way to make a living for themselves do- ignorant, you know cause they just didn’t know what to think and ing something they love. Obviously you must love this to be a understand where these people are coming from. Now as a writer, publicists, and be so dedicated to shaping the image of all these you can’t understand an artist, where they are coming from until you artists. So I guess just introduce yourself, who you are and what see where they are from. So you take people to Vallejo, you take you do. people to New Orleans, and each time, it just evolves and evolves I’m Wendy Washington and I’m the Senior Vice President of Public- and evolves. ity for Universal/Motown Records. And I got into this about 10 years ago. I started out, actually I went to Vassar College, I was a history So explain a little bit about the business of imaging? major and I was on my way to being a lawyer, and I was a paralegal One thing that I can never take credit for is creating an artists image. and I started freelance writing and then a good friend of mine, Kevin What I do is I help put the pieces together. So if you are Cash Money, Powell, who’s was on the REAL WORLD at the time saw my writing you’re an independent label, you have your ideal of who you are and was like we would exchange ideas.. what you are trying to say because you’ve created the music. My job is to get you style. Get you with a stylist that understands your vision I didn’t know he was a writer. that helps people understand you so that you are a trendsetter. So I Oh he did the first Vibe cover, the very first one ever, the Treach didn’t say “Nelly put the band-aid on” what you do is you embelinterview. So he was a mentor. He encouraged me in my writing. I lish around it, help that person, get them the platform, and connect started freelance writing and then I wanted to move more into writ- them with the people that they need to be with to bring their vision ing, so I got into PR as an assistant. And I really just got into PR forward. So that’s styling, that media coaching, if they need help because I wanted to write. So that was my way of getting to know articulating what their vision is editors. So I kinda fell into this career but I really started enjoying it.

I started out as an assistant at Arista records when Bad Boy Records So how do you work or sooth and massage those relationships was launched, Laface records was there, Biggie, I worked with Craig to get artists to do what you need them to do to make your job Mack, then I went on to Jive, and then I worked with KRS 1 and R. easier?

Kelly, Too Short, E 40, all of them. Then I came here to Universal 8 Well, one is you cant want more for the artist than they want for years ago and that was Erykah Badu, Nelly, and I started to see Bad themselves. So an artist has to kinda be willing and open to work Boy again you know I’ve come full circle to a lot of people I started and open to sharing their ideas and open to different ideas and being working with. challenged and all those things. Those are the artists that are usually most successful. So what I do, with every job you do, when you have So when you came into Universal 8 years ago, what was your to deal with people, you have to use a little bit of psychology and

Womens Issue • OwnerS Illustrated • 57

sometimes you’re a mother, sometimes you’re a sister, sometimes you’re a friend, and you know, and that’s, many different roles. So that’s how you work and massage, and I respect, every artist I’ve worked with I’ve respected their creativity and I’ve respected their story. So I just feel like I’m an advocate for getting your word out.

A lot of those skills that I would have used in law school or being a lawyer, I feel like I use now as my job is to be the artist advocate.

Explain who that artist is and defend that artist and get that artist everywhere they need to be represented….my philosophy is that it doesn’t matter what artist, if you are in hip-hop, you have to talk to the streets, so I value independent reaching, national hip hop magazines. Its not just about Vibe and the national magazines, that’s part of the picture, but its really about the grassroots. the grassroots. and I really think that those are the most authentic, you don’t have anything to gain or loose by saying you like an artist or whatever.

You’re not politicking, you’re the true voices, so it gives clear direction. I was sitting in a meeting earlier today saying oh they felt this song, people felt this song, they felt this song, people were watching how you all were responding to the music and which tracks solicited the biggest responses. That’s important because you guys are not in New York, on the subway, going to work to and from, your all over different regions of the country and if something, if a particular songs speaks to you, as a group, then that’s something to pay attention to. alright, now here something that I wanna get into because this is for the women’s issue. One thing I wanna comment on is that its something very special going on at Universal Motown. You have 3 black women who are in charge of a lot of the music that they have. You have Sylvia Rhone, you have yourself handling the publicity, the advocacy, then you have Shanti Das who I’ve known since, years, handling the marketing. Like talk about your thoughts on being a woman in what they call quote, unquote a “Male Dominated Industry.” The barriers, how you’ve overcome it, and how you guys have created success as a strong team of women that are producing, really progressive music?

The good thing about Universal is that there has been a history of women in leadership positions. There was Gene Riggins who was president when Universal first came to be. There was Jocelyn Cooper who was responsible for A&R, so historically, the company has had a strong female presence. Publicity is seen as a traditionally female field. It’s not a profit generating division within the company, so it tends to be populated with women. In one sense it’s a glass ceiling, in another sense, I mean, I hate to say this, I don’t think its gender based, and I don’t think its biological, but women tend to be effective communicators. effective communicators. I mean, very professional backgrounds. Very professional individuals.

Wendy: Yeah, and as a team, I think we are a very good team.

So for young women aspiring, especially young black women aspiring, like what’s some of the pointers you could give them.

Because I mean, here’s an example of, how you could be a president of a company that does 9 figures a year. This is a reality The reality is, and this is one thing I really wanted to say, so, often times people are interested in being in front of the camera in the entertainment business, but there are many, many opportunities available behind the scenes. And there are many, many opportunities to keep all of your clothes on, keep your dignity, self respect, and uti-

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lize skills in a very productive, constructive way. I mean that’s what I would say. Just based on your skills, based on your work ethic, you can go far in this business and maintain you integrity, maintain your femininity, and maintain, you know, power.

And if people want to get started in the game..

Intern… how do you intern?

One of the reasons why this junket is so successful is because we have a team of interns that are really working to put it together, so the way you get into a music company, everyone says internships, but that’s really how you learn it. You getting, and I encourage everyone to go to college because being able to write and read are important skills and analyze and strategize and create effective campaigns on paper. The other side of it is that there’s a lot not on paper that you could do that you get at music labels. Where you can see journalist coming together and how you put a campaign together and how you interact with artists, with editors, with writers, how you interact with executives. Those are things that cant really be taught, so internships also are a way of facilitating those relationships.

So I guess they just go through human resources You should contact, for internships at any label, you should contact, contact the division, contact human resources, but also if your interested in A&R, if your interested in marketing, if your interested in PR, go to the different divisions specifically to send your resume and a cover letter and also human resources and how old do you have to be?

Now, this is the thing about college, because now you have to be in college to do internships So as soon as you’re a college freshman, then you can apply Now there are hustlers and people who take the initive and maybe they get around and do different things, independent labels, working at newspapers, there are tons of different ways to get experience that’s pertinent to this field.

“The good thing about Universal is that there has been a history of women in leadership positions. There was Gene Riggins who was president when Universal first came to be. There was Jocelyn Cooper who was responsible for A&R, so historically, the company has had a strong female presence.”

— Wendy Washington

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ENTERTAINMENT

Tresa Sanders And Tremedia Is The Reason You Love Your Your Favorite Artists WO I

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ith a history that spans over 15 years of dedicated service, Flint, Michigan native, Tresa Sanders, has served as publicist for the most influential people in the urban music arena. Attending University of Michigan and Baruch College in New York, where she studied Communications and Marketing, Tresa also enlisted in the U.S. Navy as an intelligence specialist. It was this enlistment into the armed forces that Tresa claims gave her an edge in the industry, “the level of discipline required to excel in the armed forces, definitely prepared me for the rigors of climbing the corporate ladder and thriving as an entrepreneur.”

Always determined to forge her own path, in 1990, Tresa decided to enter the industry as General Manager of Daddy-O’s (Stetsasonic) company, Odad Productions. After a two year tenure, she realized a desire to create her own publicity firm and hence birthed Asert Public Relations, taking Odad on as her first client.

She proved to be tenacious and determined while working for her clients. Soon after, legendary publicist Bill Adler of Def Jam fame recruited her to become senior account executive for his’ Rhyme and Reason Communications.

Working there allowed her to work with a diverse clientele such as Bootsy Collins, Buddy Miles, Doug E. Fresh and Slick Rick. After Rhyme and Reason closed, she was hired to mold the images of some of the most influential Independent Record Labels of our time, including: Master P’s No Limit Records, Jay-Z’s Roc-A-Fella Records and Jermaine Dupri’s So So Def. Tresa’s focus on building current relationships and reputation grew her value tenfold. Tresa remembers, “Once I was able to secure a loyal clientele my primary goals were to cultivate my relationships with the media and strengthen my brand name. Fortunately, early on, my reward for starting small was an income increase of over 500% in the span of five years.”

In 1996, Her work success would lead to Roc-A-Fella Records hiring her in a more substantial role as director of marketing and media relations, while she still maintained her company. Tresa was influential in bringing awareness to “the best rapper alive,” Jay-Z. She accomplished this by not only doing PR work, but overseeing budgets and coordinating ads in both music publications. Her efforts were instrumental in Roc-A-Fella Records spawning a critically acclaimed goldselling release with Jay-Z’s debut CD release of “Reasonable Doubt.” Shortly after that she garnered a 6-month retainer with Interscope Records, to work projects for Dr. Dre, Blackstreet, and Shaquille O’Neal, among others.

In 2000, Steve Rifkind, the founder of Loud Records and the Steve Rifkind Company, hired her as the VP of Publicity at Loud.

Loud Records is known for making the careers of New York staples, Wu-Tang Clan, Mobb Deep, Big Pun and Oscar winners Three 6 Mafia. Tresa knew the job would be challenging, “Working with Loud provided me with the ability to be adept at juggling a multitude of tasks at once. Between attending marketing and finance meetings, I would brainstorm with my staff to develop strategic media plans and put out fires throughout the day.”

In 2002, when Loud Records was sold to Sony, Tresa decided again to take the entrepreneurial route, changing her company name from Asert to Tremedia (named by past client, Vernon Reid, of Living Colour), she utilized the lessons she learned over the years while working as an independent publicist and as someone who had ran PR departments at record labels. Tresa has this to say about her experiences, “I’ve learned the importance of selling the artist as well as their music, thus creating a life for the client long after their album campaign has run its course. As I continue to learn and grow as an entrepreneur, I look forward to transferring the skills I’ve honed in entertainment to a wider range of consumerdriven industries.” It is this approach that has enabled her to help make Mike Jones a household name.

Tresa’s company, Tremedia has currently nabbed The Starz channel as a client and in an environment where news is disseminated to consumers in several new outlets, Tresa with Tremedia are at the forefront of the industry in providing specialized services and coordinating efforts with their clients to ensure maximum exposure and awareness of their products. Tresa has also lended her hand to several community based campaigns such as the Spearhead’s single, “Positive,” where she pooled the resources of both the Centers for Disease Control and President Clinton’s National Minority AIDS Council to bring awareness to AIDS. As the saying goes, all in a days work, yet Tresa says, “I welcome such an opportunity.”

Womens Issue • OwnerS Illustrated • 61

Hard Work Paid Off For

INTERVIEW Damola

SHERENE HUDSON Hard work pays off. Though a cliché, this statement is true for those who truly apply themselves to the labor of going after what they want and giving themselves the best opportunity to get there, such as Ms. Sherene Hudson. Sherene has worked very hard to get to her current position of Contract Coordinator at MTV Networks. Her journey there was not easy as she began her career as an executive assistant at JP Morgan Chase and later went on to begin her work career at MTV in the finance department. She has also worked in the Marketing Department at MTV and during her tenure in that role we sat down with her to discuss her experience working with the most powerful cable network which is now publicly traded and includes: Spike TV, Nickelodeon, Comedy Central, BET,TV Land, Gas, VH1, CMT, and of course the various MTV affiliates.

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e had an interesting discussion on how sponsors are paired with the right vehicle to reach their target audience. We also spoke on how she was hired at MTV. It was very informative. Now Sherene has moved on to a new role where she gets to follow her passion as she told me, “I get to review and learn about new show ideas before they are even developed, which is exciting in itself. I worked on contracts for Run’s House, Barbershop, Andy Milonakis, and Wild N’ Out just to name a few. Although this is a new career path for me, I have been striving for this area. One day, I hope to create great shows for TV.” In her new role, she is responsible for working closely with production development, production management and the business and legal affairs department. She also handles the review of records and tracks all MTVN Series and Pilot contracts, reviews and logs next option dates and fees for Executive Producers, creates payment schedules and issues payments, etc. So her skills in the financial world still are relevant and aide her in her new role. It is true that great organizations are built behind the efforts of great people. Following is some of our dialogue with Sherene during her previous role.

What is your official position here at MTV now?

Marketing Coordinator for CMT/MTV Integrated Marketing and Sponsorship Development.

Explain your duties and what it means?

In my department, we work closely with our ad sales department.

Those people go out and sell the channel to different sponsors like Sprite, Wal-Mart, Home Depot, etc. Once they get that sponsor’s attention and they decide to become involved with that show, my department puts together packages to show the sponsor what we can offer them, whether it’s billboards or in-show mentions. We put together PowerPoint packages along with different post-marketing books from our shows or past events. We assist the actual channel in other ways to penetrate the demographic MTV reaches. So, let’s say they want to buy different ad spots on a specific show, we come up with different spots and ideas. If a sponsor’s demographic is 1824, we put together a package that would appeal to that age group.

The show will advertise, “this show sponsored by, for example, TMobile.” That is the audience that sponsor wants to grab the attention of. It is called brand awareness.

Why is the 18 to 49 demographic considered so prized?

Those are the people who go out and buy stuff. They are your typical consumer, really and I am not saying that older people do not buy things, but you will rarely find an older person going out and getting a T-Mobile phone. Their children might go out and buy them a phone, but rarely will you find a 55-year-old person going to the T-Mobile store and purchasing a phone. 18-24 is the technology age. They are into everything and they actually go out and spend money on the new fads.

Why do you think MTV has been so successful in the advertising arena on cable? It was published that you guys control like 25% of the market share (the MTV Networks) of all cable advertising sponsorship. What do you think puts MTV in such an advantage position?

It is definitely their viewership- the people who watch it and the shows that they have on. The reality shows are the new age and everybody wants a piece of the pie. MTV and Viacom own such a big piece of the cable network and that is why they can dominate such as they do. With MTV, our salespeople come to you because of that reason. For example, with you owning your own magazine your demographic market is probably 18 to 49 because those people are interested in reading your material. That age bracket dominates

the advertising world. They watch Comedy Central, BET, MTV, VHI, etc. So, I would say that is one of the reasons MTV has everything on lock.

How is it working for this company?

It is great! They give you a great opportunity to start. I’m in CMT MTV Integrated Marketing and Sponsorship Development. At the end of the day, marketing is marketing. I don’t care if you do marketing for country music or urban marketing the same elements apply. So, you have the option to go to some of the other branches.

If I want to go to Comedy Central or Spike TV, those options are more open to me than somebody who might be coming from the outside.

There are so many things under the umbrella. How do you decide what shows to place a sponsor with?

Well, most sponsors know what they want. When a sponsor is trying to reach a particular audience such as upper middle class, younger people, or the wealthy through the Nielsen ratings, we know who view which shows. We know the age group and the demographics of each show. Also, if the sponsors are familiar with the network and know how many viewers watch a show monthly, weekly or seasonal and know what show gets the most play around certain holidays it helps them advertise more effectively. Through Nielsen, we are able to know which shows reach 50 to 55 year olds, older women, younger women or which shows cater to men. Sponsors know what they want; it is our responsibility to integrate those shows with that particular sponsor.

Road Rules or Real World. How does that work, such as Saturn giving away cars and the challenges? How did those come about?

That is considered in-show sponsorship. Giving away a Saturn is just advertising. If they pay for (2) :36 second slot and they are giving a Saturn away, they’ll flash the Saturn for a second. Anything shown on air, sponsors pay for every second that they advertise.

Even if you do not see the whole interior of the car, but just see the outside. Whatever the viewer sees, the advertiser has paid for that time.

I guess that is integrated marketing.

My department will make big bucks for something like that.

How does it work for every challenge having a key sponsor?

What impact does that have on advertising and sponsorship?

Well, they figured out how to make more money because sponsors wanted their products shown more. If you get their products shown more, you can get more money from a sponsor.

How did you make a break into MTV? It’s a funny story. I sent my resume to MTV when I was working for JP Morgan Chase because JP Morgan Chase was moving to New Jersey and I wasn’t trying to do that move or commute.

I started searching for other jobs and I sent my resume online at MTV. I went there and it was like a meet and greet where you meet around six or seven different recruiters who interview on the spot.

It was in a conference room and I interviewed with four recruiters while I was there. The next day, I received a call. However, initially it was their in-house temp program, another great way to break into the company. If you cannot get your foot in the full-time permanent program, they offer an in-house temp program. I was skeptical at first because of the typical temp agencies work, but MTV’s program was different. But, I decided to go for it anyway because I have always been interested in the entertainment field and I haven’t stopped working since.

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Salli Richardson-Whitfield A Regal Lady With a Beautiful Mind

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INTERVIEW Damola

IMAGE Richard Flood

alli Richardson Whitfield is an extremely accomplished actress. Her career began in the Kuumba Workshop in Chicago, IL, which led her to Los Angeles where she landed numerous guest roles on series such as, Silk Stalkings and Star Trek Deep Space 9. Later in 1993, she captured the audience’s heart with her role as the romantic love interest of Mario Van Peebles in the black cowboy flick, Posse. Landing roles in other minority driven films such as Low Down Dirty Shame, Mo Money, Biker Boyz, and Antoine Fisher, Salli has earned her chops acting opposite many of great leading men. Denzel Washington, Samuel L. Jackson, Lawrence Fishburne, and most recently Morris Chestnut in Anaconda: The Hunt for the Blood Orchid, to name a few. In addition to her many film appearances, she has also appeared in numerous TV shows including the CBS crime drama, CSI Miami. Salli is married to former Cosby show guest actor, Dondre Whitfield and they share one child. Owners had a chance to catch up with Ms. Whitfield in LA. Always pleasant, Salli had a lot to share with us about her working career, the industry and married life.

What part of Chicago are you from?

I’m from the south side.

How long have you been in the movie business?

I’ve been here in LA for almost 12-13 years. But, I’ve been acting since I was 15. But I really was working around 21 or so.

How was it working with Mario Van Peebles and his father in Posse?

His father played my father actually. That was a good first experience. There were explosions and firearms everywhere, it felt real.

How did you get the role at that time?

I auditioned for it in the beginning but I didn’t get the job.

They hired someone else and after a few days of shooting, she got fired. By that time, I had just moved to L.A and hadn’t done anything. If I recall correctly, they called me on a Thursday and I was shooting that Saturday.

Wow. It was a good surprise.

It was another opportunity for you.

It was one of those things where I went in and they loved me right away. The other female had done stuff before and they weren’t sure if my look was perfect for the role because she

was supposed to be black and Indian. I went in there thinking this should be my job, but you know how politics can be at the last minute.

How was it working on Anaconda?

That was serious. It was three months of Fiji.

How does that work, when you go overseas to shoot a production like that?

Well, most of our stuff we shot on location. Most of the crew was from Australia, so that’s a little closer. You just form a new little family when you’re in the middle of nowhere.

How different is it working on a movie rather a sitcom?

Wow, when you awake and you’re out of the country… I mean Fiji is far – it’s different. It’s not like you can go home and visit. It was the hardest job physically I’ve ever done in my life. It’s just five weeks of nights where you shoot in the jungle and with the rain machine. It is freezing cold and every day you go in, they cover you with mud and put leaves on you and spray you with water to make you look wet. If it isn’t raining, then it was just miserable… a miserable shoot.

Morris Chestnut and other big men where in it and if they were cold, then you know I was cold.

How long have you been married?

I’ve been married almost 4 years… September 8th is our wedding anniversary.

How is it to have a spouse in the industry as well?

We understand each other. But you know it gets hard. When I was shooting in Fiji, he was shooting another movie which was far away. So, we spent almost a year of our marriage seeing each other maybe four months out of that year. While I was shooting, he shot two movies that were out of town. It was really hard. But, when we get back with each other we reconnect.

How different is your relationship with your husband than past relationships that you’ve had with people outside the industry?

Well, most of the people I’ve dated have been in the business somehow. It is just like any other profession. If you’re a lawyer, you meet other lawyers. You meet people in the same business as you because that is what you are around the most.

My husband is from Brooklyn, I’m from Chicago. We’re pretty normal people. He is not real Hollywood and I’m not either. We don’t go to a lot of parties or hang out that much, so that makes it easy for us. We just don’t get caught up in it.

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ENTERTAINMENT

Teairra Mari

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from the birthplace of soul music (Detroit) and endorsed by the self-proclaimed “greatest rapper alive� Jay-Z, Teairra Mari has a lot on her shoulders. Teairra introduced the new age of Rocafella Records, the “We gets busy� era, with her single “Make Her Feel Good�. Also crowned the “Princess of the Roc,� Teairra released her first album under Rocafella Records at the age of 17. She was originally signed by L.A. Reid but her youth and swagger made for a natural fit under the Rocafella banner. “I’m representing Roc-a-fella for life,� chimes the young starlet who began recording at age 12. With the Grammy and hit making expertise of L.A. Reid, the Island Def Jam Chairman, and the personal endorsement of Jay-Z, she has a wealth of experience and success to lean upon. However, it is the heritage of her hometown that has had the biggest impact on her craft, “Detroit –Motown- is my home, so it has a big impact on my whole style,� says Teairra. Detroit or Motown as the music world came to know it, has a storied history of producing great soul musicians due to the success of the house that Barry Gordy built, Motown Records a.k.a. Hitsville USA. Motown Records has laid the foundation of R&B music with legends such as Diana Ross and The Supremes, creating the blueprint for the R&B Diva. The streets of Detroit have also been legendary for their style. The Late Great Notorious B.I.G. immortalized the city with his classic line “pink gators my Detroit players,� in homage to the fashion style popularized by the pimps of the city. This flamboyant fashion style has also influenced Teairra heavily as she states, “There’s no other city in America like Detroit. It’s just fly, and I love it. Our swagger, the way we dress—everything is so different and laid back, which is how I am. You walk up the street and everybody has a different colored mink, Cartier glasses—everything. We like to floss and be seen, so we don’t have to say much. Every time someone sees me, they’re like, ‘Girl, you sharp!’ and I’m like, ‘Yes, I’m from Detroit.’� Even though her debut album didn’t meet sales expectations, Teairra has the fortitude to go the long haul and is currently working on her next album. Her path has not been easy, but she is built for this industry. “Just to know that it’s a journey and realizing it’s a marathon, not a sprint, I’m in it for the long haul. I’m just starting out, so I haven’t really been through that many things. But, I have seen people not taking me serious because I’m young and a female. People think that just because of my age, I don’t know what to talk about.� That issue should be moot with President/CEO of Def Jam Jay-Z having gained a year of experience under his belt in the landmark post and the recent successes enjoyed by the label with artists like Young Jeezy, Juelz Santana, Mariah Carey, Kanye West, and several others. As he has stated in numerous recordings, “I will not lose� and with Teairra representing the future of the label he founded, a safe bet can be placed on Teairra’s future

TVDDFTTFT WORDS Damola

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ENTERTAINMENT

REMY MA

Is The Voice of The Streets Damola IMAGES Banks

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aybe it’s because the music industry is so male dominated that a female artist hasn’t had a solo-performing topten billboard single in over a year; or, it may be that she is a single mother; or that she is the only female member of the large Terror Squad crew; or one can assume it may be her upbringing in the tough Castle Hill section of the Bronx, but however you dice it, Remy Ma has always been tough and able to go toe-to-toe with the boys. Remy Ma was first discovered by Big Pun, the first Latin rapper to go platinum, and has since been blazing a fierce fire through the hip-hop jungle by delivering memorable verses with a flair that paint a gritty picture of her environment. “Women in general aren’t given much. We are often labeled as one of the girls that happened to pick up a mic. I want my skills to be measured against all rappers. So, to be placed only among the female rappers is limiting; cheating myself. I want to one day be labeled with the Jada Kiss’; Nas’; Pun’s; Pac’s; Big’s and Em’s,” says Remy Ma. From the moment her voice was heard on the M.O.P smash, “Ante Up,” and the number one smash, “Lean Back,” her potential to be spoken of in the same breath as great Queen Latifah and MC Lyte has been undeniable. Listening to Remy Ma is sort of a guilty pleasure because she commands your attention and impresses with her wordplay. When I heard her album, “There’s something about Mary,” at a listening session, it became clear that this was the missing ingredient in the New York hip-hop landscape. I thought, instantly, this is a project that can bring something new to the global hiphop audience, yet maintain that vintage New York identity from a female perspective. But, politics within her crew and civil wars in the New York scene hampered the project.

Remy Ma went to radio stations to promote and voice her opinions about her album. She also released her own mixtapes and was featured on several others. Her struggle can only provide an inspiration along with caution for others to follow. It is a hard game even when you do your part. A summary, however, does not do her enough justice. Owners had a chance to speak with her to get her perspective on a lot of things in her industry. BX stand up!

In the listening session, you said something about wishing the album was called Lean Back, because if people heard Lean Back and are hearing it, and the album was called Lean Back, if they went to the store to get “Lean Back,” they would have had to buy the album.

Exactly.

Explain that perspective and why you said that.

I mean, we had the biggest song in the country like…

I know at least 130 million (audience)

Right, It’s just crazy that the record sales didn’t match.

Like, we didn’t go on promo tour because Joe was on his own tour and I was doing separate promotions, but it was crazy the record sales didn’t match how BIG the song was.

I got (2) Source Awards, (2) Vibe Awards, (2) ASCAP Awards, a Grammy nomination and we did everything from the VMA’s to CNN to Howard Stern. The song was playing on the radio constantly, everyday and when you downloaded the song or got it on a mixtape is was actually called “Lean Back.”

Why didn’t they listen to you?

Well, they listen now… so that works. Now, it’s even bigger because it is my project. The Terror Squad was my project; but it was my project in collaboration with other people, so it was even more difficult when you have five people in the group and everyone has their own individual life as an artist. As head of a record label, it is really hard to get everyone to agree and be in the same place at the same time, whereas now, it is my project alone. I pretty much call the shots on everything.

There was a song I heard yesterday that really touched me because you talked about your brother, your stepfather and your mom. What was going through your mind when you made that song?

Artists are regular people. I go through the same sh*t you go through. I have money, but everybody in my family doesn’t have money. They are still where I came from and I am still in contact with them, so in that sense, I’m still where I started.

Everything my family goes through, I go through. We go through some real sh*t sometimes and I’m not happy everyday. Everything is not peaches and cream. I have issues as well as the next person.

You have been on some big records. Talk about what you have learned, business wise and how you have matured into the person that you are today?

I’m a quick learner and I’m very observant. The most important thing I can say I learned is to do everything yourself.

If you don’t know how to do something, learn it and do it yourself. It’s hard but you can’t really depend on anyone else or trust anybody. It’s a dog-eat-dog world. Unfortunately, everyone is out for themselves. At the end of the day, you have to make sure you are alright before you can help anybody else do anything. So, once you establish yourself and establish relationships with key people in your industry- you need to run with that. A lot of people don’t go back to the hood and spend their money on cars and pop bottles; they front. That’s not keeping it real. It’s keeping it real stupid because at the end of the day, you should be with people on your level. You are not going to succeed if you are the only person that has money and every time you go out with your friends- it’s on you, especially if money is not coming

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in. I recall when I got my first record deal, I was eighteen years old. I tried to save my entire family and all my friends.

And, when Loud Records went under I was doing my mixtape. No one was checking for Rem, nobody wanted to go to the club; nobody wanted to do anything because it wasn’t on Rem. No one wanted to wait in lines anymore… everybody was spoiled to a certain extent. I had to pull back and really realize, like Joe told me, I’m not the same person as bad as I wanted to be – not in everybody else’s eyes. I wasn’t on the same scale as them and it took me a while to realize that.

You were in a sweet position. People thought you had it all because you got signed on “Ante Up?” When I was nineteen, I had whatever year it was. It was year 2000; I had a 2000 Mercedes, etc. “Ante Up” had just come out and I was doing shows. Everything was a $1,000. My insurance was like a “G” a month, my rent was like a “G” a month and I had my son. Sh*t was crazy. I started to see all these people coming around asking for fifteen hundred for a light bill, two thousand for rent, etc. and I’m not even getting this back. I had to really sit back and analyze the situation.

If I got a check for sixty thousand dollar, twelve thousand of that are taxes, etc. Whatever amount you get, there is always something you have to pay out. I learned a lot and I’m glad I learned it young when I was dealing with hundreds of thousands of dollars. Now, when it starts to get crazy like that again, I already know how to handle the situation. I already know if I have a check for 50,000, I really have a check for like 40,000. I am way smarter now than I was when I first began. Knowing how to handle money and business is very important. Everyone needs to know this.

“I’m a quick learner and I’m very observant. The most important thing I could say I learned is [to] do everything yourself.”

— Remy Ma

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G-UNIT’S FIRST LADY Presenting The Brand From A Woman’s Perspective Womens Issue • OwnerS Illustrated • 73

G-UNIT’S First Lady Presenting The Brand From A Woman’s Perspective

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livia is the “first lady of G-Unit,” and upon this title, has been given the responsibility of presenting the G-Unit brand from a woman’s perspective. Luckily, she has a lengthy history in the recording industry to lean upon.

Olivia is initially part of a trio of artists signed in 2001 under industry legend, Clive Davis and J Records. During this time, she collected a gold plaque for her self-titled debut album that included the hit single “Bizounce”. “I came out with Alicia Keys and Jimmy Cortier,” Olivia reflects. In fact, she was the first artist to be released under the J records imprint. Unfortunately, their vision and hers did not match. J Records wanted her to be more “street,” but she wanted to be herself, more of a lady. As the saying goes behind every disappointment is a blessing, and in 2004 Olivia found a new home in the most successful record label currently, Interscope records. “I was the first lady of J and it was a different experience for me. I couldn’t be myself. I was basically what Clive Davis wanted me to be and what my A&R wanted me to be. When I got out of that situation, I got into a much better one.

I stayed at the top with Jimmy Lovine, of course.” Later, the change would bear fruit and she would connect with 50 Cent through their shared manager, Chris Lighty of Violator Management. “I actually got hooked up with 50 Cent via Chris Lighty. Probably three months after my deal was signed with Interscope, he said ‘I heard your music. I think J Records didn’t know what they had and what to do with you.

I want you to come over to (G-Unit Records) and be the first lady of G-Unit’… I waited a day and called him and it was all good.”

A string of hits has followed her to G-Unit Records including the massive Candy Shop and the current Best Friend song. Willing to earn her position, she has a great work ethic, song writing ability and a great working relationship with 50 Cent. “It is a lot of fun working with 50.

We always have fun working together because our work ethic is kind of the same. I like to work. We are both pretty good with melodies,” says Olivia. A 24 year-old Brooklyn native with Jamaican heritage, Olivia is also not intimidated and is very self assured, “I know I’m hot. I just have to get everybody else to believe I’m hot, I’ve always believed in myself.” With this belief she is ready to present her next project to the awaiting public. Working with 50 Cent has also taught her a lot about how to manage a career, “50 is very intellectual. He has taught me so much, as far as, just incorporating street knowledge inside here (the corporate world) because they don’t know what’s going on out here. We are the ones in the clubs and in the streets talking to the consumers.” These lessons, paired with a determination to be great, promise a great future for Olivia. “Having the hunger to know what you want to do, knowing your own direction coming into the door always helps,” coaches Olivia. And though, she is a stunning lady, she is determined to market herself as classy, as well, “Olivia is just sexy even if I throw on sweat pants and a G-Unit tank top, I’ll be sexy… But, I’m classy, too. I won’t degrade myself.”

As the only woman signed to the massive G-Unit Records, one has to wonder how she handles herself around all the guys. But, Olivia proclaims she fits in seamlessly. “I watch basketball, football, and 74 • OwnerS Illustrated • Womens Issue

WORDS Damola boxing….I’m a tomboy, for real and I have two brothers, so we hang out all the time, it really is a family.” Family is very important to Olivia, as her family is constantly around and is involved with her career. “My cousin is my personal assistant; I have to keep grounded people around me.” Having her family around has also brought great benefits. She has already begun diversifying her portfolio, “I was always into real estate. My cousin got me into that. He was in the construction business for twenty years.”

With anticipation for her album growing rapidly, you can expect a masterpiece overseen by the best songwriter in the business, 50 Cent. “My album is intimate; it’s called Behind Closed Doors, and is a real sensual album… tastefully sexy”. In addition to the album, Olivia also has plans for a lingerie line and other endorsements. What else can you expect when you learn from the best, such as 50 Cent.

Most impressive about Olivia, however, is her mentality and advice she has to give to other young women, “your looks can go away. Put your hand on something tangible, that you know is going to bring you revenue down the line”

“I actually got hooked up with 50 Cent via Chris Lighty. Probably three months after my deal was signed with Interscope, he said ‘I heard your music. I think J Records didn’t know what they had and what to do with you. I want you to come over to (G-Unit Records) and be the first lady of G-Unit’… I waited a day and called him and it was all good.”

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Womens Issue • OwnerS Illustrated • 75

Photo courteay of Universal Motown Reocrds Group

ENTERTAINMENT • REVIEWS

Teena Marie — “ Ooh Wee” Fresh off the success of her initial project La Dona, under her new deal with Cash Money Records, Teena Marie returns with her first single from her new album, Sapphire. Self-produced along with Doug Gigsby, “Ooh Wee” is a lush contemporary number on the album that moves with guitar licks and percussion arrangements. Her vocals are just as seductive as her vintage songs. Undoubtedly, true legends just get better with age.

— Deity Dah

76 • OwnerS Illustrated • Womens Issue

Photo courteay of Universal Motown Reocrds Group

ENTERTAINMENT • REVIEWS

India.Arie — “ I Am Not My Hair” Remixes India.Arie has always been a trend setter and a true artist. She first captured mainstream music enthusiasts with her seminal release, Acoustic Voyage. Being a well accomplished musician, she has won several awards including multiple Grammy’s and 12 nominations. After a four year hiatus, she returns with the refreshing, uplifting song, “I Am Not My Hair.” This single also marks the first time India has allowed other artists to remix her work, enlisting the talents of Swizz Beatz, Akon and Jazzy Pha. Singer Akon lends his vocals to the remix with his trademark passion and urban narrative style. The single is the first release from India.Arie’s forthcoming album, Testimony: Vol 1, Life & Relationship due in stores June 27.

— Deity Dah

Womens Issue • OwnerS Illustrated • 77

78 • OwnerS Illustrated • Womens Issue

GIVING BACK

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usic recording artist Jaheim has been #1 on the Billboard charts and has recently been #1 with his third major recording label release, Ghetto Classics. Due to his many successes, Jaheim recently is feeding an urge to give back to those who have made his albums go platinum by offering to help single mother’s purchase a home.

Jaheim was raised in public housing in New Brunswick, NY and the harsh streets of East Orange, NJ in a single family home. His father died when he was just two years old. Jaheim encountered problems early in his youth because of this and often saw his mother struggle to raise him and his younger brother. Recognizing a correlation between his life and many other families, who are struggling to survive, Jaheim works to help these families stay afloat in this ever-changing economy.

Beyond just expressing his opinions through his music, he is taking an active position to assist as many single mothers as he can become homeowners. “I created Urban Dreams Foundation for people and children like myself who grew up in the same environment, getting into trouble. I’m trying to create something for single family moms that are struggling.” Since UDF is a newly formed foundation, Jaheim will like to give away the first home on Mother’s day and then try to continue the initiative throughout the year. “We are going to make this so big and do this throughout this year. We are now going into the cities to get very familiar with the area to set plans up…and we are going to launch a website. Currently, we are putting the final touches on it. My background is from the church, first and foremost, you know. God is the head of my life. And at the end of the day when we all leave this place, we always have to remember that we can’t take none of this with us. So, it’s all about giving something back and doing something you know in your heart is good and for God,” proclaims Jaheim. Final details of the program were not available as of press time, but Jaheim’s personal website is www.jaheimmusic.com and people can also visit his record label, Warner Brothers Records website www.wbr.com for more info. — Damola

Womens Issue • OwnerS Illustrated • 79

TECH

MOTOROLA RAZR (PINK) Cool. Sleek. And now in pink. Motorola’s popular RAZR mobile phone has now added pink to the existing color line-up (it’s also available in silver and black). (www.motorola.com)

80 • OwnerS Illustrated • Womens Issue

TECH

PHILIPS MIRROR TV Mirror TV is an LCD display integrated into a mirror, allowing you to watch TV, or surf the internet while brushing your teeth, styling your hair, or applying your makeup. To ensure that when the TV part of the mirror is switched off you get a good reflection, the LCD part of the mirror has been coated with a special film which allows almost all light through [for the mirror], or none at all [for watching the TV]. Available in sizes from 17 inch up to 30-inch screen, it’ll bring innovation, connectivity and convergence to your home. (www.philips.com)

Womens Issue • OwnerS Illustrated • 81

REAL ESTATE

The State of Maryland Wants To Help You Buy Your Next Home

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ith a recent report documenting the median net worth of a black person at just over $6,000, just roughly 10% of whites at $67,000; there exists a huge disparity in the creation of wealth.

The study claims the gap exists because home ownership numbers for African Americans is at 56%; and for

Caucasians at 76%.

The state of Maryland is offering a program for home buyers seeking to build a legacy of wealth through home ownership. The objective is to offer “more house 4 less,” and targets home buyers who may have problems finding money for their closing costs.

According to the Maryland Department of Housing, down payment costs and settlement costs can overwhelm first time homebuyers and is listed as the #1 barrier to homeownership. Through a 0% interest deferred loan that is not due until a transferring of the title of the home or a refinancing of the initial mortgage qualified, parties can get up to $5,000 contributed towards their closing costs. Borrowers must cover at least 1% of their closing costs, however this no-interest loan is a great product as it can be applied to homes purchased in every county

82 • OwnerS Illustrated • Womens Issue

WORDS&IMAGE Damola

within the state of Maryland. With over 30 approved lenders partnering with the “More House 4 Less” program, there is help in obtaining a great loan product. For a 30 year mortgage, current interest rates are at 4.950% with 3 points at closing; 5.250% with two points at closing; 5.5% with one point at closing; 5.750% with zero points at closing; and 6.125% with a 2% grant toward closing costs. The mortgages are government insured by the following agencies: Federal Housing Administration (FHA) insurance, Veterans Administration (VA), Rural Housing Services (RHS) guaranty, and Maryland Housing Fund (for 40-year mortgage only). They are privately insured by: Genworth Financial (GE), Mortgage Guaranty Insurance Corporation (MGIC), Radian Guaranty, Inc. (RGI), Republic Mortgage Insurance Company (RMIC), PMI Mortgage Insurance Company (PMI), Triad Guaranty Insurance Corporation (TGIC) and United Guaranty Residential Insurance Company (UGRIC).

For persons looking to receive assistance from the state of Maryland, mandatory classes are offered on homeownership. Maryland also has a very helpful website where you can calculate what your monthly payments would be, in addition to finding out information about what kind of home you can afford. Visit www.mdhousing.org for more information.

HUSTLENOMICS WOMEN

OF POWER O WER

Mona Scott

Wendy Washington

Olivia

Sylvia Rhone

Judy Brunson

Zane

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Rw Collection Intimates R I

by Lanre’ en … …How are e children e born c when n souls Hls mate? ma ?

Is it sexual or natural when a woman reveals more than what’s deemed appropriate?

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Too many quarries my fairy, but can we bond and live on and even have our carcasses jointly embalmed?

Well, if so, take my hand.

Let’s connect palms and walk over rose petals Wooing a queen

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