Newspapers / The Charlotte Post (Charlotte, … / March 8, 2007, edition 1 / Page 27
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3D A & EAS^Ije Cljarlotte $ost Thursday, March 8, 2007 Lloyd grows into stardom Continued from page 1D move as I please all the time," he said. Ultimately, Lloyd wants to conquer all aspects of music and entertainment with the memory of his late father driving him toward his goals. He often refers to a poem by Frederick Douglas, "No Struggle, No Progress.” “I.just apply that to my life,” said Lloyd. Afley’s stamp is on N.C. Dance Theatre CHiSide diltdsrs pressiils Aet»r'S tff HyReolnaTayiar based on the book by Michael Gonninghinn and Gi^ HarMiw NORTH CAROLINA DANCE THEATRE Veterans of famous troupe make mark in Charlotte Hie influences of the Alvin Ailey American Dance Hieatre can be seen'in the perfor mance of N.C. Dance Theatre veterans Dylan Holmes, Ayisha McMillan and Ben Kubie. years with Alvin Ailey. He and pathways to dance, served as production man ager and has been involved with many famous works all around the world. “Working with Alvin Ailey taught me how to tour dance very well," said Singleton. "1 taught me to understand dance, and the best way to know a culture is to see its dance. Singleton is also fiscal director. “1 produce a cre ative working environment and one that is financially stable." NCDT Edu cation Direc tor April Berry was a princi ple dancer at Alvin Ailey for over 10 years. “One thing I learned is that should be made By Brandi Woodson THE CHA(?LOnE POST Three former employees of the world-renowned Alvin Ailey American Dance The atre - Douglas Singleton, April Berry, and Dwight Rhoden - work with NCDT, which was founded in 1970 and is the oldest professional ballet compa ny theatre in North Caroli- Berry Rhoden na. This theatre is known for its artistic excellence and diverse styles of dance. Singleton, NCDT’s execu tive director, got his start with Alvin Ailey when he graduated from college. “I wanted to be an actor," said Singleton. "When I saw Ailey perform ‘Revelations,’ that changed everything for me.” Not knowing much about dance in the beginning, Sin gleton had five successful dance accessible to all people, because it came from peo ple," said Berry. Berry teaches jazz and Katherine Dunham tech niques to students and works with Charlotte Meck lenburg Schools to reach children with dance. "When 1 retired knew that I wanted this to be my next career," Berry said. "Now I reach the community to create access Dwight Rhoden also danced with Alvin Ailey for seven years and attributes a large part of his career suc cess to the work he has done with the company and Alvin before he died. "1 think diversity and multicultural- ism is very important,” said Rhoden. "That's one of the things that Alvin taught me." Rhoden is a full-time choreographer for his own contemporary dance compa ny Complexions, which he founded in 1994 with former Ailey principle dancer Desmond Richardson. This company is located in New York with 13 dancers that travel the world performing. Rhoden is also the resident choreographer for NCDT, where he teaches 3 new dance pieces a year. With all that Rhoden has accom plished in his life he still hopes for more to come. "1 hope to dig a little deeper, said Rhoden. "You’re always a work in progress until the day you die.” For information on Dance Theatre events, education programs and ticket prices go to www.ncdance.org/educa- tion. Move over rockers: Rappers make their way into hall of fame By Larry McShane THE ASSOCIATED P/?ESS NEW YORK ■ Ask Grandmaster Flash about hip-hop stars deserving of the Rock and Roil Hall of Fame, and he’s quick with a list of rap icons. “Afrika Bambaataa. Run-DMC. KRS-One,” he says, barely pausing for a breath. “Big Daddy Kane. LL Cool J. Eric B and Rakim. Tribe Called Quest. The list goes on and on. Flash left himself out, with good reason: The DJ and partners the Furious Five enter the Hall on March 12 as its initial rap inductees. The Bronx hip-hop pioneers are part of an otherwise traditional class: R.E.M.. Van Halen and a pair of fellow New York City performers, Patti Smith and the Ronettes. As the first citizens of hip-hop nation in the Rock Hall, the arrival of Grandmaster Flash and the Furious Five signals a new age at the Cleveland attraction: Smith like ly marks the end of the ‘70s punk inductees, and the time of hip-hop is upon us. "This announces the beginning of the rap era for the Hall,” said Bill Adler, a hip- hop historian - currently editing the “Eye- jammie Encyclopedia of Hip-Hop” - and member of the Hall’s nominating commit tee. "Flash and the Furious Five are going to open the floodgates.” Adler, a publicist for the hugely influen tial Def Jam Records in the mid-1980s, offered his own list of rappers destined for induction; “The Beastie Boys, very quickly. Run-DMC and LL Cool J will get in pretty quickly. Slick Rick.” Grandmaster Flash and the Furious five enter 25 years after their groundbreaking single, "The Message,” about hard times in their native borough during the Reagan Administration. It was the first popular rap song with a social theme - "It's like a jun gle sometimes, it makes me wonder how I keep from going under,” went the hypnot ic chorus. “One of the pivotal points in hip-hop his tory,” said Furious Five rapper Melle Mel, who acknowledged his group initially wanted to pass on the song. The group, which also featured Kid Cre ole, Cowboy, Mr. Ness and Raheim before an acrimonious 1983 split between Flash and Mel. had missed induction on two pre vious occasions. So when word arrived of the honor this year. Flash said he was ini tially skeptical. “When it sank in that we were in, it was a good feeling for hip-hop,” Flash said. "1 think it’s bigger than Grandmaster Flash and the Furious Five. To get that kind of respect is good for hip-hop.” Melle Mel recalled lying in bed - "1 usual ly sleep with the TV on” - when he heard the news that R.E.M. and Van Halen were in. Before he could roll over, the announc er added the name of Grandmaster Flash and the Furious Five. “The fact that we’re in the Hall of Fame speaks volumes,” said Melle Mel. Mar.Bat?:30pm Mar.9a{8iiin Mar.10at8|ini Mar.11at2:3Dam illiar.1Sat7:%imi Maf.ffatSBin Mar. 17 at Sam Mar.18312;30nil Mar.22at7-.30pii (Pas What You Gaa Nigin) llhR'.23at8im Mar.MMWHn M»r.2Sai2:3Wimi Waves of gospeli sorngs-, diance' amdi sttoii^ telling flow flFeeiy arnoingj a sea* of fnyti-layeredi tieis- m CSiiS' of liasf yeaf’s- fiiiti staindi-iiip-aindi-ttesf^ nnwsioail. cm^ioniE n 660'E, Stomeiwalli Sf. ItiDKatbl S3SI-S28' OrouRKilBUQuretfe- availahlhi GaliittS' resems’ ^ur seatl’ When using Black-targeted Kewspaj^fs, marketers reach the nurawr one s^nfe in Ik household—Women; Women witnChiiirenal home. The opportunity for long term gjrwth branding of goods & services. MEN-A6E1d'^ W0M£N>-A6E 18 i 18.8 28.4' I STAGE IN UFE STAGE IN UFE STAGE INHUFS STAGE INWE CYCLE-CHILDREN CYCLE-CHILDREN CYCLE~GHIL0REM;6 GYCLE-CHILDREHi ANYAGEATHOHE UNDER6ATH0BE PUUSATHQME ISRIMSATHOIII Source: The Media Audit National Black-tatgeled newspaper 2fl()3 ‘or mors informaton about tbs Black consumsr or Bladt-largslsd nevuspapsrs contact! WOgh'Sl Brown; Jt Director of Uitan Marketing, The Media Audit at 1.800-324t9921t or direct' ati404i-243-0278;
The Charlotte Post (Charlotte, N.C.)
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March 8, 2007, edition 1
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