Welcome to Blonde Intelligence Blog with Ms. Roni where you will experience exquisite cranial repertoire. Let me say before I get started that I have an undergrad in Sociology and a Masters of Science in Counseling Studies so I am going to try to explain to some degree for those that don’t understand.
There are a few words that have to be understood. The first being “white privilege”. According to Oxford Languages, white privilege is the inherent advantages possessed by a white person on the basis of their race in a society characterized by racial inequality and justice. In other words, getting by with something or not punished simply because the person is white. Some example of white privilege (Greenburg, 2017) www.yesmagazine.com are a general positive relationship with the police, being favored by school authorities, attending mostly segregated affluent schools, the privilege of learning about one’s own race in school, finding children’s books that reflect own race, media blatant bias towards one race, the privilege of escaping violent stereotypes associated with race, the privilege of playing colorblind to wipe away the history of racism, the privilege of being insulated from the effects of racism, and the privilege of living ignorant to the actual racism occurring today. There are two forms of racism, overt and covert. Overt racism is racism shown openly. Covert racism is racism that is hid behind closed doors. Example: using the “N” word in a derogatory way to describe a person of color. Whether it would be said openly or just with a select group of friends as a joke determines if the racism overt or covert. The next word is racial discrimination. According to www.equalityhumanrights.com, racial discrimination is when someone or an institution treats a person or a group of people worse than another in a similar situation or a policy is built to disadvantage that group of people based on race. Example: football players kneeling and the officer kneeling in the Floyd case.
Just this morning I witnessed a reporter being arrested and treated differently than another reporter of the same organization and notably the only difference was one’s race. I asked a group of African American women their emotions after watching the video of the officer’s knee that resulted in the death of another unarmed person of color. Some of the emotions were angry, hurt, disheartening, weak, tired, and exhausted. Angry that people try to justify what is wrong. Hurt that the same thing keeps happening over and over. Disheartened because the feeling is always defense mode. Just exhausted and tired because people keep choosing denial instead of self-reflection. One of the African American women from the group, who happens to be a licensed therapist, feels that the problem is people saying they don’t see color is using that an excuse to not acknowledge the problem.
Lawyer Brigance said “Now close your eyes…….close them…now imagine that he was white” (A Time To Kill, 1996). Imagine that a white man was handcuffed and a grown man of color had his knee in his neck. Imagine a white man being handcuffed and shot in the head by a person of color with the excuse of he thought it was mace. Imagine a young white boy just going to the store for Skittles and fought and shot by a grown man of color. Imagine a white man just plain pleading for his life simply because he was being deprived to breath.
Remember that rope burns won’t heal with your knee on my neck and yes it an uncomfortable truth.
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Welcome to Ms. Ron’s Blonde Intelligence Blog, where I provide exquisite cranial repertoire. Today’s blog subject is the role of an artist manager. New independent artists coming on the scene and even some seasoned independent artists have a slight confusion in the role of a manager. First question, what is a manager? The reason we have to ask this question is because there is a bit of cognitive dissonance (what a person believes to be true but is not reality) in what some artists believe to be the role of a manager and what a manager’s duties actually are. According to Oxford Languages, a manager is a person who controls the activities, business dealings, tactics, and other aspects of the career of an entertainer, athlete, group of musicians, etc. So, on a basic level, the artist and the manager have a relationship based solely on trust. The artist trust that the manager will make the best decisions beneficial to the artist in all aspects of the artist’s career.
How does a manager go about making the best decisions beneficial to the artist’s career? This is achieved by a clear understanding of the what a manager actually does. According to music-jobs.com, the responsibilities of a music manager include: negotiating contracts and fees, finding bookings/venues that aligns with the artist’s CAREER STRATEGY, input in career decisions, publicity and promotion, Input on producer selection, input performances, etc. Music-jobs.com summarizes the role of an artist manager as a person who works on behalf of an artist or group to promote the artist career and run their business affairs.
Now let’s get into the cognitive dissonance. How shall I pose this? Is there any listening involved in the communication process? Does a strategy have to be devised? Do time schedules have to be adhered to? Do directives have to be followed from the devised strategy? Does a team have to be built? Is being open to working with new people involved? The reason I asked these questions is because I spoke with several managers of struggling independent artists to research for this blog. Some of the stories will make you cringe. One manager had a story of the artist not showing up for an event and then replaced as a manager via social media. One manager had a story of his client only wanted to work with one videographer, but the videographer was always out of town leaving the manager to stall on projects. One manager had an issue of the artist not wanting to make any explicit free music. Another, a client rushing music registrations but not meeting strategy deadlines. Another, artist secretly booking shows without manager knowledge so that the manager would not have to be paid, etc.
In a nutshell, if a music manager works on behalf of an artist to promote their career and run their business affairs….know the role of the manager. Do not leave the manager asking, “Are you shittin me or kiddin me”
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u This week I had the pleasure of speaking with new and upcoming Hip Hop artist, Big A Da Boss. We spoke about his inspiration for each track on his first official EP, Pressure, as well as his upcoming musical plans. Aaron Laron Lasley Jr, also known as, Big A Da Boss is a new Hip Hop artist on the scene straight out of Humphrey, Arkansas. Big A’s lyrical style brings a new flava to gangsta rap. His lyrics are saturated in truth, honesty, a reality that is faced by many, with his unique style and southern slang.
Big A has opened for 8 Ball & MJG as well as performed on a small tour with a local radio station. Big A began recording under the independent record label, Barnone Money Gang, created by Terell “Barnone” Mac. It was there that Big A linked up with Demetri “Meechie Capone” Duren who produced two tracks, 10 Toes and Young Nigg@ Shyt, on the Pressure EP. Other producers on the EP include Kodi “Phunkifoot” Owens (Pressure, I’m A Bo$$) and Twizz (My Word & My Balls). I asked Big A what was it like to collaborate with E Side Shawty and Keisean Da Don on the project? He response was, “Keisean my nigga so I work with him every day. Working with E Side was cool because I like his music”. He also stated that he felt that My Word and My Balls might be the realist lyrics that he ever wrote because everything he said was facts.
Big A displays his personality through his lyrics. Pressure, “I know my nigg@s ride with me till the death, but I don’t need help cause I bring the pressure myself”. The song, 10 Toes, “I’m a boss and I stand 10 toes, with big nuts and they hang down to the floor”. I’m a Bo$$, “Keep money on my mind, the only thing I think, you got to hustle or struggle, I learned that from the street”. Big A is currently promoting his first release from the Pressure Ep entitled, I’m A Bo$$ and shooting the first two videos to the release. He has an on air radio interview coming up on The Real Reality Radio Show with Houston’s own, DJ Headstrong. Big A will also be out networking and promoting his latest single at the 2020 SXSW Conference & Festivals in Austin, TX.
Big A Da Boss’ new EP, Pressure was released on February 24, 2020 on all major platforms. He can be found on social media using @BigADaBoss1. Inquiries can be sent to BigADaBoss2020@gmail.com
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Hi, this week’s Blonde Intelligence Blog is on female Hip Hop Artist, Bad Azz Becky. I first saw Becky a few years ago on Facebook doing a Monica “So Gone” challenge. I thought by far that Becky’s challenge was one of the best. She has a beautiful singing voice and a strong lyricist.
As an artist it is important to have a signature style and sound that sets you apart from other artists. Lauryn Hill comes to mind, in respect to having a powerful rap voice and an angelic singing voice. After writing the blog on some of the “So Gone” challenges, I observed some of their personal projects. I think Jay Z is resurrecting the element of truth in Hip Hop as do Bad Azz Becky in her lyrics. Who is she? I think she best introduces herself with her single, My Story. This song gives some synapses of her early struggles in life; child abuse, loss of a parent, domestic abuse, and her relationship with God.
I can see Becky as a spokesperson for young women/girls empowerment due to her style and the truthfulness in her lyrics. Becky’s way of sharing her experiences through music is an attribute of a true artist.
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Originally published May 22, 2018 on www.rpentradio.com/ms-roni
Image retrieved from Google
Hello everyone. This week’s blog is about criticism. According to Merriam Dictionary the act of criticizing involves observing unfavorably. I taught a class that teaches criticism in negative and confrontation is positive. The reasoning is criticism focuses on the negative that confrontation is positive and promotes clear understanding between two parties. According to Business Dictionary, constructive criticism usually ends with suggestions of positive change. Yourdictionary.com describes another type of criticism, destructive criticism. Destructive criticism is described as criticism performed with the intent to harm someone, derogate one's creation, prestige, reputation and/or self-esteem.
So, if a professional provide criticism how do you take it? How do you determine what type of criticism is being provided? If you are a professional how do you give criticism? How do professionals handle the confrontation process of their criticism? Just food for thought, be conscious as a professional between constructive criticism and destructive criticism because it matters in the confrontation process.
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