Host Marc Lamont Hill with the man known as "Q". (Image: Courtesy of Black Enterprise)

This week on a special edition of Our World with Black Enterprise, host Marc Lamont Hill visits with legendary musician, arranger, composer and 27-time Grammy Award winner Quincy Jones, just in time for Black Music Month. The man also known as simply, “Q”, candidly discusses his work with such music icons as Frank Sinatra, Ray Charles and Michael Jackson, as well as the future of the recording industry.

As a conductor, record producer, musical arranger, film composer, television producer, and trumpeter, Quincy Delightt Jones Jr. has a career that spans five decades in the entertainment industry and a record 79 Grammy Award nominations, 27 Grammys, including a Grammy Legend Award in 1991. Jones, 78, is particularly recognized as the producer of the album Thriller, by pop icon Michael Jackson, which has sold more than 110 million copies worldwide, and as the producer and conductor of the charity song “We Are the World.” In 1968, Jones and his songwriting partner Bob Russell became the first African Americans to be nominated for an Academy Award for Best Original Song The Eyes of Love from the Universal Pictures film Banning. That same year, he became the first African American to be nominated twice within the same year when he was nominated for Best Original Score for his work on the music of the 1967 film In Cold Blood. In 1971, Jones would receive the honor of becoming the first African American to be named musical director/conductor of the Academy Awards ceremony.

Married three times and the father of seven children, Jones, born in Chicago, shares his larger-than-life journey in his 2001 book Q: The Biography of Quincy Jones (Doubleday).

Our World with Black Enterprise is the award-winning weekly 30-minute program, hosted by Marc Lamont Hill, providing a fresh mix of interviews with today’s top newsmakers and celebrities, eclectic roundtable discussions concerning the hottest topics affecting African Americans, and profiles of some of the world’s most intriguing people.

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How did you get interested in music?
My father [moved] me and my brother to Bremerton, Washington. We broke into an armory one week because we heard there was lemon meringue pie and ice cream. I broke into this supervisor’s room and I saw this piano and almost closed the door, and thank God something above said ‘Go back to that door, idiot,’ and I went over to that piano and I knew when I hit it, that was what I would do for the rest of my life. Every drop of blood and cell in my body could tell me that. And I stayed after school and played tuba, sousaphone, trombone, so I could be up front with the majorettes in the marching band. I really wanted to play the trumpet, and I finally got to trumpet. That’s why I love to write for brass. I write for anything from a dance band to symphony orchestra.

Most people don’t have that range. Was that something that somebody mentored you to do?
In a way Ray [Charles] did. In Seattle in the ’40s you had to play everything, from Jewish weddings and bar mitzvahs to the black clubs. I studied in Paris in the ’50s with the greatest composition teacher on the planet [Nadia Boulanger], who was a mentor for Stravinsky, Aaron Copland, and Leonard Bernstein. No genre has ever bothered me whether it’s big band, bebop, doo-wop, hip-hop, nothing.

You’ve taught artists to own their stuff, whether it’s copyrights,
masters, or negatives of film. How did you know to do that?
If you don’t have a copyright, a negative, or a master, then you’re not in the music business. The value is in the ownership of those things. [Early in my career,] I’d go in on a record and I’d sign a contract, and they’d say, “You can say anything you want, but you’re only getting 1%.” And I’d sign it, and they’d put somebody else’s name on it as the writer, and they’d publish it. They owned 75% of the song before I walked out the door. I said we’re not going to have that. That’s some plantation stuff. It took me a few years, though, because everybody was going through that back then. The exploitation, especially of black entertainers, was probably at its peak in the ’50s.

Tell me your thoughts about the future of music.
We are at an amazing crossroads right now. We’re at the end of the recording industry as we know it, and that hurts me a lot. All over the world, there’s piracy because of digital, CDs, and DVDs. The kids just take the music now. I’d say in 10 years there won’t be a recording industry. We’re going to have to reinvent it.

Funny business (Image: Press)

There are only a few great talents who can disappear from the spotlight and return to a warm embrace from devoted fans. Chris Tucker is one of them. After the release of third installment of the blockbuster trilogy, Rush Hour 3, Tucker left the business and has remained low-key until now. The funnyman is preparing to embark on his first comedy tour in three years, kicking off on August 19,  and plans to invite his loyalists back into his world one joke at a time. BlackEnterprise.com caught up with Tucker to talk comedy, bad movies and good business sense.

BlackEnterprise.com: Long time no see! Your fans have missed you. What have you been up to?

Chris Tucker: Just traveling and enjoying life. I’m also doing a comedy tour from August to September.

BlackEnterprise.com: Why return now?

I have never stopped doing standup in-between films, but now I really have the time. I’ve missed it, so I’m looking forward to being on the road again.

BlackEnterprise.com: In addition to acting, you’re also producing films. What inspired that transition?

Honestly, the lack of good movies being made. I decided to take matters into my own hands and plan to produce the kind of projects that I’m interested in.

BlackEnterprise.com: Was that always a part of your plan?

Tucker: Yes, I always wanted to do my own thing and I love movies. It’s always been my dream to put my imprint into movies and develop compelling stories.

BlackEnterprise.com: How important is it for actors to work behind the camera to become truly successful financially?

I think it’s good if you want to get more of your vision out there. If you’re directing, you got to tell the story to the audience the way you want to and it also gives the actor a little more pull to make that character the way he or she sees fit. So yes, if you can eventually direct, do so. I don’t think it will necessarily ensure financial success; but it will allow you to share your vision with others. I believe if you continue to do good work and accept great projects as an actor, eventually the money always comes because your work will speak for itself.

BlackEnterprise.com: What do you consider your first “big break”?

Tucker: Of course, Def Comedy Jam for my comedic career, but for my acting, definitely Friday. That film became a cult classic—something that no one would have imagined. I auditioned for that role completely improv. We had fun making that film.

BlackEnterprise.com: Folks are still reciting lines from that film! How have you grown as an entertainer?

My personal experiences and opportunities have helped me grow. I’ve been blessed to learn from legends like Sidney Poitier, Quincy Jones, Ruby Dee, Harry Belafonte and James Earl Jones. All of them gave me great advice, and I admire those people who can teach you to learn to appreciate “here is where you [are]” and “where you should take it” as far as your career.

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BlackEnterprise.com: Why have you taken a break from acting?

Tucker returns to centerstage (Image: Press)

Good movies just aren’t being made right now. If I was presented with one I most certainly would do it, but I haven’t come across any. I will return to doing film when the time and project is right.

BlackEnterprise.com: At one point you said you were no longer going to play characters who used drugs because you had played a few. How important is it not to get pigeon-holed?

It’s important to keep on reinventing yourself because it will open up more opportunities for you. I never thought about it then until I got caught into [those kind of roles]. It’s so easy to do the same thing that you’ve always done because [people] want you to continue to do that.

BlackEnterprise.com: What’s the best money advice you’ve ever received?

Best money advice I received came from Sidney Poitier (mimicks Poitier’s voice) “Don’t be out there spending all your money because you never know, man. Just save it, just save.” (Laughs)

BlackEnterprise.com: What’s the best financial advice you’d give?

Invest in things that aren’t too risky and that you understand; invest in people who you believe in and trust. Whether it’s in a restaurant business or comedy club, make sure that the people you work with are dependable and reliable. In the past, I have invested in good businesses, but I would do it differently and make sure to find a good, strong partner who knows that business so they can be they can be the creative person ,and I would be the money person.

BlackEnterprise.com: Whats the best money move you’ve ever made?

Building my mother’s house. It’s big enough for everybody (I’m the youngest of six children) to come and visit. At the end of the day the most valuable thing is family. You can make all the money in the world, but with family and love it means nothing.

BlackEnterprise.com: What advice do you have for comedians entering the game today about how to manage their businesses and brands?

Work—stay on the stage—because that’s where you develop new material. When you think about branding yourself, make sure not to put yourself in a box so you can broaden your audience. You should just be known as a funny guy to White, Black, Asian, Latin, whomever like Oprah Winfrey, Coca-Cola or American Express everyone knows these brands Manage your business by trying to have a [future] plan, and always get good advice from people you trust and people who have done what you’re doing before. Listen, learn and apply that to what you’re doing.

Also, always keep that passion, because that’s your value. If you have that, magical doors will continue to open for you.

To get tickets to Chris Tucker’s upcoming show or to see the tour schedule, visit livenation.com.

Click here to see Chris Tucker talk about his side hustles and his first job here.

Headline news (Courtesy of Thinkstock)

• Mo’ Money, Mo’ Problems: African American Males Making Over 80K at Greater Risk of Depression

Most men aspire to climb the ladder of opportunities, but does it cost them their mental health? According to a recent survey, it does.

A newly-released study reports Black men making $80,000 and over are more likely to report depression than males who make $17,000 and below.

• NPR Ousts CEO Vivian Schiller

Chairman of the National Public Radio’s board of directors, David Edward, released a statement announcing the media organization accepts the president and chief-executive-officer’s resignation, but David Folkenflik is tweeting a different story.

“The board for NPR NEWS has just ousted CEO Vivian Schiller in the wake of video sting by conservative activist of a top exec,” said the NPR Media correspondent via Twitter.

On the other hand, Edwards’ statement implies it was a resignation, not a provoked removal.“The board accepted Vivian’s resignation with understanding, genuine regret and great respect for her leadership of NPR these past two years.”

Schiller’s departure comes after her fellow executive, Ron Schiller, which she has no relation to, accused the Tea Party of being “seriously racist.” Vivian also received flack for firing Juan Williams.

• Quincy Jones Enters Into International Multi-Media Venture

Music industry veteran turned multi-media entrepreneur Quincy Jones has teamed up with United Arab Emirates entrepreneur Badr Jafar, entering into a joint business venture, The Global Gumbo Group, with plans of expanding multi-media opportunities across all entertainment platforms: publishing, film, music, television and digital applications.

“It is my hope that this partnership with my dear friend Badr Jafar will provide a cultural exchange between the West and the Middle East and North Africa that will foster a better understanding of these regions and an appreciation for our common values at this crucial time in the region’s history,” said Jones.

The business partners plan to expose the specific regions—the West, Middle East and North Africa—to live entertainment and new artists and talent. Jones will serve as chairman of the board, while Jafar will carry out the role of president.

Addisu put more stock in his dreams than the market

Anteneh “Anthem” Addisu, 25, loved working on Wall Street. Making close to $150,000 a year, the Duke University graduate was among a handful of Black men living the fast paced, Manhattan life of a Wall Street trader. During his first year in finance, Addisu’s take-home pay helped care for his mother, who’d been laid off while he was in his senior year of college. But a prestigious job, six-figure salary, and the accomplished joy of being able to support his family wasn’t enough. Addisu wanted to be a rapper. So he approached his mentor, DG, with plans to quit his career and pursue dreams of working in hip-hop. “He didn’t take kindly to that,” says Addisu, with a chuckle. “In hindsight it did sound foolish. [DG] said, ‘Do you have any music?’ I said, ‘No.’ He made a deal and said he’d finance a demo and if it wasn’t good, I’d commit to focus on my career.”

The demo, filled with Addisu’s smooth-yet-persistent and eloquent vocals about the realities of life, impressed DG so much that he decided to partner up with the aspiring artist and make a hefty financial investment into his rap career. “He was the person whose word I respected. When you make a believer out of a naysayer, that was all I needed,” says Addisu, who performs under the name Anthem. “He’s kinda my Quincy Jones, in a sense, of my development as a rapper.”

Despite the surprising support, Addisu’s radical career shift didn’t happen overnight. Continuing to work 12-hour days on Wall Street, he headed home at night and locked himself in a studio to manifest his musical aspirations. “Weekends I didn’t go out,” he recalls. “When you work for your dreams, it’s tough to waste time.”

That focus has been rewarded. In the summer of 2009, Addisu left the world of finance for a full time career as an MC. Since then, he’s performed shows in DC, California, and opened for critically acclaimed rap acts like B.O.B. and Lupe Fiasco. This spring, he’ll perform at the South by Southwest Music Conference, while dropping his first mixtape Manhattan Music, Vol. 1, hosted by 50 Cent’s DJ Whoo Kid. A documentary, about his grassroots marketing and promotions hustle as a rapper, is also in the works.

“I wouldn’t rest my hat on my own talent. My transition has been successful because of organization,” Addisu says. “When you pursue a dream, you’re effectively a start up business. You gotta be organized, but you should never keep a dream to yourself. And never wait on a cue from the world that you’re in the right place. You should just move and act.”

Check out these related links…

• How to Reinvent Yourself and Land that Dream Gig
• 7 Signs You Need to Change Careers
• Transitioning Into a New Career

The staff was working on a tribute issue to Michael Jackson when they got the news, according to Danyel Smith, who was recently promoted to chief content office for VMG, and was the editor in chief of Vibe magazine. “It’s a tragic week in overall, but as the doors of Vibe Media Group close, on the eve of the magazine’s sixteenth anniversary, it’s a sad day for music, for hip hop in particular, and for the millions of readers and users who have loved and who continue to love the Vibe brand,” she wrote in a note to staffers.

Legendary music producer Quincy Jones launched Vibe in 1993 as the hip-hop and R&B version of Rolling Stone. With Vibe gone, The Source magazine is the only large-circulation magazine dedicated solely to urban music.

In a money-saving maneuver, in February, Vibe reduced its circulation and publishing frequency, cut salaries between 10-15% and moved employees to a four-day workweek, according to Folio, a publication that covers the magazine industry.

For the six months ended Dec. 31, 2008, Vibe had a circulation of 817,825, according to the Audit Bureau of Circulations. Vibe magazine had a 42% decline in ad pages in the first quarter of 2009 compared to the same period in 2008, according to the Publishers Information Bureau. Other music titles like Rolling Stone and Spin are also suffering from diminished advertising expenditures, and Blender, which featured eclectic music reviews, features and news, folded in March.

However, despite its struggles, earlier this month, VMG launched “The Most!,” a biannual magazine and Web site. “The Most!” was “to fill a void on national newsstands by reflecting Vibe’s commitment to urban style, celebrity, beauty, and culture through a tabloid-themed publication,” the company said in a press release. The magazine had an initial print run of 300,000, according to Folio.

Steve Aaron, the now former CEO of Vibe Media Group, attributed the company’s demise on the collapse of the capital markets, the inability to secure new investors, and tight advertising market. “The print advertising collapse hit Vibe hard, especially as key ad categories like automotive and fashion, which represented the bulk of our top 10 advertisers, have stopped advertising or gone out of business,” he said.