Darryl “DMC” McDaniels talks with Ethan Sacks at the NY Daily News about Darryl Makes Comics and the release of his second graphic novel DMC#2!
BY ETHAN SACKS
Rapper Darryl (DMC) McDaniels grew up in Hollis, Queens, dreaming of either being the next Grandmaster Flash or the next Stan Lee.
He long ago accomplished the former — selling more than 25 million records as a leader of the legendary hip-hop act Run-DMC — so now he’s concentrating on the latter.
The 51-year-old rap legend is heading to his second straight New York Comic Con this weekend with nothing less than industry domination in mind for his fledgling comic company, Darryl Makes Comics.
“I want to leave a legacy that inspires my young hip hop people,” McDaniels, the DMC publisher, told the Daily News. “The whole thing with the DMC universe is to introduce characters and entities and stories and ideas that will rival ‘Star Wars.’”
Now two graphic novels into his partnership with editor in chief Edgardo Miranda-Rodriguez and former Shady Records A&R executive Rigo Morales, DMC envisions eventually spawning a superhero universe like that of Marvel or DC.
He’ll be selling copies of his new graphic novel, “DMC #2,” at the Javits Center on Friday and Saturday in the Artist’s Alley section.
“DMC” is set in an alternate 1980s New York City where the rapper is a costumed vigilante.
The key for the real DMC was setting his superhero universe in a time he considers a golden age for New York.
“We live in an ignorant, disrespectful time,” says McDaniels. “Everything about the ’80s — the music, the fashion, the look, the vibe, the sounds (were all better). Old school isn’t just a time period, it’s a consciousness.”
“Action Comics” writer Greg Pak, a big name in the business, fell in love with that consciousness when he read “DMC #1.”
“I was pulled in a New York City of DMC’s imagination. It was just a beautiful place to hang out,” says Pak, who ended up being recruited as a script supervisor for the second book.
McDaniels has been captivated by comics long before Joseph (Run) Simmons convinced him to start rapping. Once a bespectacled kid who was picked on in Catholic school, he has his own secret origin story.
As a kid, he used to wear his blue blanket as a cape, held together by a safety pin, as he jumped around pretending to be Batman until his mother yelled at him to get off her couch.
“For me, hip hop was make believe,” he adds. “It did the same thing that comics did — made me pretend I was a superhero.”
“DMC” #2 will be available at his Comic-Con booth over the weekend for $20. For info, visit dmc-comics.com
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STATEN ISLAND, N.Y. — Danny Aiello has a 320-page memoir out with an epic title: “I Only Know Who I am When I am Somebody Else: My Life on the Street, On the Stage, and in the Movies”(Gallery Books).
Lotta words for a lotta life.
Thought you already knew this Oscar-nominated actor? Well, turns out he just “backed” into a four-decade career in Hollywood and on Broadway.
“It must be something I was more or less destined to do,” the 81-year-old first-time author told me recently. “The reason being, I didn’t voluntarily leave one life for another; it just so happened to be that way.”
Oh, and don’t expect a tawdry tell-all: “My book is not ‘Daddy Dearest.’ I didn’t know him well enough to dislike him, and my mother never once talked badly about him. I’ve seen so many people killing their relatives in books, but I love most everybody. There’s a little bit of stuff in there about a Scorsese and Lauren Bacall in there (chuckles), but not too much.”
The main takeaway from his compelling tale: This veteran entertainer is, well, a lot of people. A family man — and tough guy. An elected official — and a pool hustler. An every man — and a unique talent.
“It was out of necessity — I wasn’t Walter Mitty or Zelig,” Aiello said, in his smoky, soft-spoken voice. “I was just a guy that something happened to, so I couldn’t do one thing anymore and I had to find something else to do.”
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by Edwin Arnaudin
Laura Reed describes Asheville as “a fusion city” with an unapologetic, intuitive soul scene that brings in elements of jazz, hip-hop and funk. Juan Holladay, guitarist and lead vocalist for The Secret B-Sides, sees the genre as broader still: “For me, ‘soul music’ is the music that energizes a community to be what it can be and to move into greener pastures.”
Such label-defying spirit will be in full effect Friday, Aug. 29, at Isis Restaurant & Music Hall with the celebration of new albums by The Secret B-Sides, Reed, HoveyKraft (multi-instrumentalist Ben Hovey) and Slo_Gold (the side project of Secret B-Sides’ keyboardist Jeff K’norr). All four acts will perform original sets, as will legendary singer Sidney Barnes.
The show marks a homecoming of sorts for Reed, a former fixture in the Asheville music scene with her Boone-based band Deep Pocket. After relocating to Atlanta in 2010, the singer-songwriter called up her Grammy-winning producer friend Paul Worley, with whom she hadn’t spoken in nearly three years. While in the middle of recording Lady Antebellum’s Need You Now, Worley invited Reed to Nashville. She drove up the next day and played him a demo. Worley said, “I can’t help you in Atlanta, but if you move to Nashville, I can help you.”
That same afternoon he called producer Shannon Sanders, with whom Reed would go on to write roughly 40 songs, 10 of which made it onto her new album, The Awakening. “I hit it off immediately with Shannon,” Reed says. “I wrote with a lot of people when I got to town – that’s kind of a Nashville thing – but I kept finding myself going back to the songs I was doing with Shannon. They were reflecting where I was the most.”
On records for India.Arie, John Legend and Pink, Sanders built a reputation for taking R&B and hip-hop elements and weaving in pop sounds. “He’d say, ‘Let’s talk about the world and make this bigger – make the message about humanity.’ He takes a personal song and makes it something people can relate to,” says Reed, who recently moved to the Raleigh-Durham area to be closer to family, but maintains Nashville as her musical base.
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Written By: Hannah Ellis-Petersen
A sculpture to commemorate Amy Winehouse is to be unveiled at Camden market, near the singer’s last home.
The memorial, which has been designed by Scott Eaton, will be a life-size brass sculpture of Winehouse and will stand at the centre of the Stables market, a short walk from the townhouse where the 27-year-old died of alcohol poisoning in July 2011.
The jazz and blues singer was a much-loved and commonly sighted figure in the north London borough and her father, Mitch Winehouse, said he could not think of anywhere more appropriate for a memorial for his daughter.
“I had a meeting with Camden council and they told me they don’t usually allow statues until 20 years after someone has died, but in Amy’s case they made an exception,” he said.
“It’s a great honour to have the statue in the Stables. Amy was an integral part of Camden and still is, so you couldn’t really think of putting a statue for her anywhere else, could you really?”
The statue will be unveiled on September 14, which would have been the singer’s 31st birthday. Initially it was to be located at Camden Roundhouse, but it was decided to move the sculpture to the Stables for greater accessibility.
Winehouse’s mother Janis and brother Alex, as well as several of her close friends, have been involved in the design, which will feature her distinctive beehive hairstyle as well as information on donating to the Amy Winehouse Foundation, which was formed after her death and works to prevent the effects of drug and alcohol misuse on young people.
Winehouse’s father described the unveiling of the statue as a “bittersweet moment”. He said: “Of course it’s a double-edged sword, because they don’t put statues up of people who are still with us.”
5 years ago, Do The Right Thing was released. Follow Spike Lee as he strolls down memory lane (in this case, Stuyvesant Avenue) with the cast from the iconic film and residents of the legendary block.
Then, enjoy the 25th Anniversary Block Party with guests Dave Chappelle, Wesley Snipes, Yasiin Bey (aka Mos Def), Erykah Badu and one very special performance from Public Enemy.
By Lars Brandle
Universal Music has pressed the button on its classical portal Sinfini Music in Australia — marking the service’s first expansion step outside the U.K.
Speaking ahead of Wednesday’s launch, Universal Music Australia Classics & Jazz GM Cyrus Meher-Homji said Australia was an obvious choice for a classical push. “We have a vibrant classical market in Australia and a classical department with a strong market share. We want to get classical to the widest possible audience and that’s what Sinfini does,” he tells Billboard.biz.
The Australian site will feature editorial written by local and international journalists, and it’ll feature a magazine-type television program, which will also air terrestrially on Studio and other TV channels Down Under.
Australia’s Creative Industries Launch Digital Content Guide
Sinfini Music launched in the U.K. in November 2012 with a goal to provide a global online destination for new and existing classical music fans, as well as reaching a younger demographic. Roughly 30% of its visitors have been U.K.-based, while it gathers an international audience from the U.S., Canada, Germany, France and Australia. “It’s a Website that is part magazine, part shop, and I think it has everything that’s good about classical music,” explains Universal Music Group International chairman & CEO Max Hole in a statement.
The music major unveiled its Australian service with a function in central Sydney, where Decca-signed artist George Perris performed for guests.
wo of the most highly respected roots musicians of the last three decades are coming to the Upstate.
John Hiatt and Robert Cray will perform July 24 at the Peace Center for the Performing Arts in Greenville.
Legendary singer-songwriter John Hiatt and blues guitarist Robert Cray will co-headline a concert at 7:30 p.m. July 24 at the Peace Center for the Performing Arts in Greenville.
Tickets are $45 and $55 and available at the Peace Center box office at 300 S. Main St., online at www.peacecenter.org or by phone at 800-888-7768.
Hiatt, known for his distinctive blend of rock, country, folk and blues, has a rich catalog of fan favorites that include “Thing Called Love,” “Memphis in the Meantime” and “Have a Little Faith in Me.” A member of the Nashville Songwriters Hall of Fame and a recipient of the Americana Music Association’s Lifetime Achievement Award, Hiatt has had his songs covered by a diverse range of artists including Bob Dylan, Bonnie Raitt, Buddy Guy, Willie Nelson and Iggy Pop.
Cray, who has a reputation as one of the greatest guitarists of his generation, has written or performed with everyone from Eric Clapton and Stevie Ray Vaughan to Bonnie Raitt and John Lee Hooker. In 2011, the five-time Grammy Award winner became the young living member to be inducted into the Blues Hall of Fame.
Both artists will perform with full groups: John Hiatt & the Combo and the Robert Cray Band.
Written by Paul Zollo
he’s got a lot of questions. Not unlike an actor researching a role, she responds to my craft questions often with queries of her own. Of course, she is an actor – a famous one – and she studied acting a lot before ever writing songs. In fact, the first time she did try writing a song, she said, she did so by acting out the part of a songwriter. She got in character, and she followed through.
Though the sun is blazing full-force outside, here inside the Hotel Café in Hollywood, it is dark. Hours before music will commence, the only light is that of her cellphone, softly illuminating her face as she reads texts from her daughter, laughing.
It’s a face I recognize, even in this shadowland, as I’ve loved her for years in movies. She’s famous as that beautiful, mysterious actress that so many of us fell in love with in David Mamet movies such as The Spanish Prisoner and Heist. Mamet also fell in love with her: Married since 1991, they have two children, Clara and Noah.
She’s acted in his movies and his plays, and in other movies and TV shows – while also maintaining a vital and concurrent career as a songwriter-singer. The leader of the British band Ruby Blue from 1986 to about 1990, she left to pursue movie work. But soon she was back inside the music, and in 1994 released a beautiful solo album of originals, The Four Marys, which she followed with a collection of Celtic folk songs. She’s got a gentle, understated sweetness to her voice and a winning way with hypnotic rhythms that is always compelling. Greatness abounded on Tough On Crime, which emerged in 2005 with the great Walter Becker, from Steely Dan, on guitar, and the late great Billy Preston on organ. Simmering grooves, fluid soul, smart & crafty songs that soar in many directions at once. She’s the real deal.
When she isn’t singing her own originals, she often performs unique takes on famous songs, such as “Spanish Harlem,” the Phil Spector- Jerry Leiber standard that was used in her husband’s movie about the infamous record producer, Phil Spector, starring Al Pacino as the infamous producer. Her great take on Brian Wilson’s “Wouldn’t It Be Nice” reduces it to its purest form, like a laser beam of melody, showing us where the source is under all those harmonies. And when she takes on Warren Zevon’s “Searching For A Heart,” she brings in so much gentle affection to this delicate play of romantic yearning that even Zevon would swoon.
She and Mamet met while she was acting in his play Speed-the-Plow during its run at the National Theatre. Evidently a true muse for him, he cast her in a succession of his plays and movies, including The Spanish Prisoner (1997), The Winslow Boy (1999), State and Main (2000), and Heist (2001). For Mamet’s 2008 movie Redbelt, she had a small role and also performed the music in it.
In addition to their cinematic and theatrical collaborations, they have also collaborated on songs. He is, she said without any reservation, an excellent songwriter. “Different than me,” she said with a smile. “We have different musical tastes. But very good.”
Upon meeting Mamet at a show in L.A. by his friend, the legendary magician Ricky Jay, I waited as fans paid their respects before taking the opportunity to tell him I was a fan of his songwriting. He laughed, and said, “You’re the first person ever to say that to me.”
She was born to English parents in 1965 in Cambridge, Massachusetts, and grew up Stateside at first while her father, Carl R. Pidgeon, was a visiting professor at MIT. Then in 1970, the family moved to Edinburgh, Scotland, where she fell in love with Celtic folk music. She always loved music, singing it, listening to it, dancing to it. But she wanted to act, and attended the Royal Academy of Dramatic Arts in London, landing several roles in English theater.
Today after our shadowy talk, she kindly agrees to be photographed, although this requires stepping outside into the sunny alleyway behind the venue, where many fans are already lined up for the evening show. Several call her name upon seeing her, and she waves, gently, from a distance, gracious but vigilant. Afterwards she signs two autographs, smiles at those seeking to photograph her with their phones, and steps back into the shadows till showtime. “One must be careful not to give away too much, you know? But also not to keep too much within. There’s always that fine line,” she explains, adjusting the dynamics. “You want people to like you, of course. But not too much.”
When did you start writing songs?
I was 20 when I started writing really. I was at drama college. Got together with a friend. And this friend and I sung together and played at parties. We thought we’d get something together to send off to record companies. So we sat down and the way I started writing was that I imagined what a songwriter would do, and what I would quite like to listen to. Never thinking of myself as a songwriter.
Which songwriters were you thinking of?
At that time I was probably thinking of Joni Mitchell. And on the other end of the spectrum, Siouxsie, of Siouxsie & The Banshees. Kate Bush as well.
Growing up, did you have musical heroes?
Growing up, of course, it was The Beatles in my family. Not so much The Stones. Some Dylan. Then Neil Young. It was all the American crew. I was born in the States – my dad was working at MIT – and my parents got into the American folk thing, and The Beatles.
You grew up in Boston?
I grew up in Cambridge till I was six, and then we lived in Edinburgh in Scotland. But when I got married, I came full circle and came back to Boston. And we lived there for ten years, in the South End of Boston. I love Boston.
You’re a gifted actor. And not a whole lot of songwriters are good actors. Is the craft of acting wholly different from songwriting?
I used to think they were very different. Now I realize they’re more similar than I thought. Dave [Mamet] writes as a character – in song and other work – and that is difficult for me to take on. But I find when I allow myself to write from a character point-of-view, it’s quite freeing for me. And that’s similar to acting.
I have found that as well, whereas I used to think writing in a character would be restrictive, in fact it gives you license to say things and do things you would not do. It is freeing.
Yes, and you can go to an emotional place that’s something quite powerful. I’m moving towards that more in my more recent work.
When you choose other people’s songs to sing, you choose very interesting covers. I loved your version of “Spanish Harlem.”
I don’t know why I chose that one. I loved it and didn’t know who wrote it, I didn’t know the Phil Spector connection. I chose it and liked singing it. And then, ironically, Dave ended up writing this movie about Phil Spector, and we used the song in it.
Your version of the Beach Boys’ “Wouldn’t It Be Nice” is wonderful.
That was the idea of [producer] Larry Klein. At first I balked. I thought, “A Beach Boys iconic masterpiece? Really?” But he talked me into it.
Your rendition is so pure – their version is all about all those voices in harmony, and yours is about the melody.
Yes. That was Larry’s genius.
And you did Warren Zevon’s beautiful “Searching For A Heart.”
I love that song. That was Larry’s find. Larry and Warren had been very close, and wrote some songs together. I didn’t know much about [Zevon] except hearing “Werewolves of London” on the radio as a kid. So Larry thought of that song for me. But one nice thing I heard about Warren is that The Spanish Prisoner was a favorite film of his. He is a great writer, truly one of the best American songwriters. He doesn’t get the full acclaim he deserves, yet he’s as great as Tom Waits and Randy Newman.
I agree. You wrote “Sweet Hand of Mercy” with David Batteau and Larry Klein. How did that start?
That started with an idea David had. Usually I have an idea to start with of my own. He and I have a lovely simpatico together. His resonances speak to me, and I think he feels the same about my work. He is the person I can collaborate best with.
Do you usually start with words?
Usually. Some time it starts with sort of a jam, and I think I have to do something with that. But then it’s a bit tougher if there’s not an idea first, an angle or something I want to say. What do you think? How do you usually start?
I usually start with words, often with a title. I am surprised by people who start with no lyrical ideas at all. Randy Newman said he almost always starts with pure music.
Really? That is surprising. Yes, I find a title is a great way to start a song. I haven’t done it that way for a long time. Dave used to give me titles. I should try that again, cause that’s an evocative way to start. Thank you for reminding me.
Zevon always liked a good title.
Yes. “Werewolves of London.”
You’ve written several songs with your husband, Mr. Mamet.
Yes we wrote “Baby, Please Come Home.” We wrote that a while ago. And we wrote a new one on my new album.
He’s a great writer, as the world already knows. But is he a good songwriter?
Yes, he’s a wonderful songwriter. His style is very different from mine. Much more classic blues. He writes music and words. He writes very male lyrics. Kind of Randy Newman-esque, as you might expect. He writes in character.
People think any writer can write a song, but songwriting, it’s –
It’s hard. It is. It’s hard, I find, to write a song I’m happy with.
Do you play your songs for him when they are done?
Is he a tough critic?
Yeah. Sometimes he’ll say, “That’s really not my style, but off you go.” [Laughs] But he doesn’t say, “Oh God, don’t do that.” I mean, we do have different tastes in music.
I imagine it can be challenging when two artists are together.
It’s not really challenging, no. It works. Thank God it’s not challenging.
Do you find there is any time that’s better for writing? Does anything affect what allows a good one to happen?
Don’t you find that when a good one happens, it’s sort of easier than the others? It happens faster?
Yes. Though I know some writers distrust ones that come too fast and easy.
Oh. Interesting. That gives me hope, because most of my songs, they don’t come fast. [Laughs] And when is a good time for me to write? I don’t write all the time, I wish I did. I have to really focus all my attention on it. And I have a lot of other things to do in my life. My family, I have to look after them. I have two kids. I got a cuddle from both of them today. Joy.
Clara is 18, just about to move out. She wrote, directed and acted in a movie. Two Bit Waltz. It is really good. She’s it. She’s a filmmaker. She’s amazing. And Noah is 14. And big into beautiful presents.
You wrote “Lonely Place” with Freedy Johnston?
Yes. We got together. I love him. I came to him with the seeds of this song and said, “Let’s do it.” And we knocked it out in a day. We also wrote “I Loved No One.” Same thing. It was funny. It was like a successful blind date. I walked into a room with him. We had never met before. And we made a song. We have to do it again. But we live in different places.
It is like a date, writing a song. It’s intimate. It can be a good date, or not. You have to really be careful of the feelings of the other.
Actors usually bring a lot of subtext to their characters, that you know a lot more than we never see. Do you approach songs like that as well – is there subtext there?
That helps. Sometimes you know more than the songs tells you, and that is good. That informs the work. Sometimes you don’t, and it remains mysterious.
I used to think one had to be so true in a song, for the song to succeed. But one really doesn’t have to be so true. One can imagine things, and slip into that persona and be true about the emotions that you imagine.
Sure. You can fudge the facts to make the song work.
Exactly! The most important thing is the song. If you have to make it that you’re bereft in the song, so be it. Or desperate. Or happy even! Whatever you need, that is what you need. Whatever works best works best. Each song is different.
Article Source: americansongwriter.com