Music to your ears– the conceptual aspect of music is a complex one which lies within a multitude of elements; its beat, harmony, rhythm, sound, tempo, and response reflects expression in its purest form. The word ‘response’ alludes to the listener, audience, and the participant on the receiving end of the performance. Critically acclaimed composer Raphael Mostel explores a responsive tactic through his newest production entitled, ‘Le Voyage de Babar.’
Le Voyage de Babar (Travels of Babar) will be given its first U.S. adaptation presented at Florence Gould Hall in New York City on November 2nd (in French) and November 3rd (in English), 2018. Presented by Source Music, Inc. complete with its original score by Raphael Mostel for eight musicians to perform. The production will be narrated by Leah Pisar, who has been narrating the text written by her late father for Leonard Bernstein’s Symphony No. 3, “Kaddish,” with orchestras around the world. “Le Voyage de Baba” is a multi-media composition based on Jean de Brunhoff’s classic picture-book of the same name using the original watercolors of de Brunhoff’s illustrations.
A truly one-of-a-kind experience that is honest, transparent, and magical in every sense which appeals to a general audience of all ages, a first for Mostel. The adaptation takes the viewer on a journey as they witness the transformation of literature into a musical work of art. Dating back to 1940, French composer Francis Poulenc was the first to set a Babar story, “L’Histoire de Babar” (the first book by de Brunhoff). The original text tells the story of the childhood and adolescence of the famous elephant until he marries.
Mostel continues the musical history of Babar by setting “Le Voyage de Babar,” (de Brunhoff’s second book) which picks up the story when these fanciful elephants leave in a balloon on their honeymoon and subsequent adventures to return home. Mostel’s score was originally commissioned and recorded for Japan in 1994, and his “Voyage de Babar” was first publicly performed in California and New York in 1998. In 2017, the Berliner Philharmoniker presented the first performance of the new production which will make its U.S. debut this November.
The score will be performed by eight musicians representing an orchestra in miniature: two winds (clarinet/bass clarinet and bassoon), two brass (cornet, trombone/bass trombone), two strings (viola and cello), plus piano/celesta and percussion. Mostel embodies the spirit of de Brunhoff while incorporating a sense of modernity to the classical work. This task was often challenging yet exhilarating, as he interprets de Brunhoff’s illustrations through various elements of music taking the audience through a myriad of emotions that brought the production full-circle.
The “alarming and very amusing twists of fate” transforms into a wide-ranging voyage viewed through a lens of power, play, and passion. Mostel references his work, “My music has always had a spatial dimension; it’s essential.” The approach allows him to work from a place of the unknown to address each piece with a newness that surprises the audience and surprises himself.
Raphael Mostel is an American composer, writer, and lecturer based in New York City. His works have recently been performed by the Berliner Philharmoniker, New York Philharmonic, Orchestre Symphonique de Montréal, New York City Opera, the combined brass of the Chicago Symphony and Royal Concertgebouw orchestras. Mostel’s compositions were also performed at the atom bomb commemorations at Hiroshima and Nagasaki in Japan and honored with a retrospective exhibition at the Performing Arts Library at Lincoln Center.
For over a decade, Mostel has been co-teaching the “Architectonics of Music” Advanced Studio with architect Steven Holl at Columbia University’s Graduate School of Architecture Planning and Preservation. Both Mostel and Holl met in a chance encounter at a gallery opening featuring the work of composer John Cage and video artist Nam June Paik; it’s safe to safe the rest was architectural history as the duo has worked on a number of projects since there meet and greet. “Architectonics of Music” investigates the interface of architecture and music as a sense of innovation for the modern-day architect. The program gained immense recognition awarded by an (anonymous submission) the Studio Prize as the top class in the U.S. by Architecture Magazine.
Photo Credit: Jay Muhlin
Courtesy of Source Music, Inc.
Photo Credit: Jean de Brunhoff watercolor,
Bibliothèque Nationale de France
We recently sat down with Mostel to gain a better understanding of his role in the new adaptation of “Le Voyage de Babar,” what being a composer means to him during the 21st century, and how entrepreneurship played a great deal in his career.
RAINE: It’s been two decades since “Le Voyage de Babar” was first publicly performed in California and New York. We now live in a new era, decade and climate, can you describe what being a composer meant to you during the 1990s and how it has differed during the 21st century?
Raphael: The work of the composer never really changes, like being a cook you always have to know your way around the kitchen to create tasty dishes. The task of a composer is to provide a nourishing experience that people will want to experience again and again. The challenge remains– how does one do something both worthwhile and individual? In the past few decades, it has become more challenging for anything that doesn’t fit into a readymade pipeline to make its way into the world.
RAINE: We at RAINE pride ourselves on introducing the world to entrepreneurs who have paved and created their own path through various industries. As a composer, writer, and lecture how do you define entrepreneurship in your sector and has this influenced the way in which you operate your business taking on significant risk as a musician?
Raphael: Taking risk is necessary if you want to achieve anything worthwhile, and without it, one is only repeating. Useful perhaps, for short-term gain but where is the interest in the long-run? There were many things that were wrong with ‘Le Voyage de Babar’ for example, it violated this or that rule but if I hadn’t violated those rules then ‘Le Voyage de Babar’ wouldn’t have done as well as it has. When we finally put the work together, they said, “Oh, it all fits!” It was said to be an unusual work in a number of directions.
RAINE: Take us through your methodology, when composing a performance is there a specific thought process or lens you work through?
Raphael: That’s a more difficult question because I never repeat the same approach. Each project deserves its own set of inquiries by meditation; what are its own terms? After that, what is it that speaks to the project and how many different ways. This last one required multiple personalities imaging myself as the audience and working to fathom as best I can how can different personalities perceive this piece. The goal is to create a new work that will redefine whatever genre it’s in and also to stand the test of time.
RAINE: You were quoted saying, “This production has become an adventurous ‘voyage’ within ‘Le Voyage de Babar.’” Can you elaborate on this statement and explain your journey with Babar?
Raphael: This question aligns with the last. There’s an elaborate new slideshow I created 400 cues in the hour to accompany the music and the narration which makes the production as if performing in real time. It’s all about the larger voyage of what is being created from entrepreneurial efforts that will allow the public to experience the form the work deserves. I thought of Tchaikovsky when he composed The Nutcrack who would have thought such an imaginary and whimsical illustration would come through a dance company, and moreover through ‘Le Voyage de Babar’ there’s a decent chance that it will become an equal success.
Babar is essentially an outlier that demanded the approach of traditional classical music, so I used that but adapted it to my approach. It’s something the musicians have to get used to, but once they get used to it, they can perform various approaches in the work that covers the entire vocabulary of music.
RAINE: How have you brought a sense of modernity to this adaptation of Babar while remaining authentic to Jean De Brunhoff’s original text?
Raphael: As a living composer I can’t help but bring in the sense of today into my music. Maurice Sendak called Voyage de Babar a ‘masterpiece’ for a reason, as it rises above its time with a liveliness that will forever win through. His illustrations have such an amazing complexity; I know it’s a paradox, but it’s a real one, and I emulated his approach to the musical catalog and the 46 scenes of the story. Touching upon what I stated prior regarding the vocabulary of music using analogs of the images.
RAINE: Travels of Babar appeals to a general audience of all ages; do you feel it’s necessary that an audience can deduct the processes and ideas behind a work solely from the music?
Raphael: Le Voyage de Babar is pure joy, anything else is optional. I challenge anyone to leave without at least a smile and judging from its track record its response will display more than that. Adults usually find it a guilty pleasure that makes them seem like they are kids again, and kids are just beside the music as they imagine how they are doing things themselves, so I played on that.
When I was a kid, I taught myself how to play music. My first music lessons were being taught how to write down what I was already playing, so when this project came to me, I went back to my memories of how I managed to teach myself music that’s why it’s so different from every other work I’ve done.
RAINE: Do you believe improvisation and composition share equal merit during the production process?
Raphael: I love chance and serendipity. Improvisation is essential in understanding anything and composition is partly improvisation, but decisions have to be made for a piece to work. I don’t see improvisation and composition as opposition, as it depends on what one is doing. Within composition, three aspects need to be taken into consideration: written, performance, and listening are all considered. Regarding the performance and the viewer’s take away there are several points for the musician to take off and soar.
One of my musical jokes for the musicians, “One of the most conservative soundings is the most improvised one.” I was playing with this idea in terms of improvisation and composition of Babar as it’s woven into the work. It’s a braid between the two, and it’s not always what one expects.
RAINE: What is the future of “Le Voyage de Babar?”
Raphael: The future of the work is working on a portable version of the production in high quality so that it can travel through neighborhoods and not have people come to a single theatre. The production will travel in places where families are because this is a work that is family friendly. We want to bring the performance to a high quality, it’s a high-cost production but if you advertise over several performances the cost comes down, and it becomes much more attractive for sponsorship. The goal is to have this traveling production that can keep on going.
It also has a very deep educational agenda that teachers, music teachers, people who want to encourage literacy are interested in. I’ve been speaking with a number of people that we may develop a program that can be used from the National Director of Young Audiences. It’s useful for multiple forms of literacy and numerous grade levels. I’m here to have the work applied to that goal.
RAINE: For over a decade, you have been co-teaching within the “Architectonics Music” at Columbia University’s Graduate School of Architecture Planning and Preservation. What is your role in this program?
Raphael: The “Architectonics Music” class at Columbia University is taught with Steven Holl, the architect where the program is specifically for architects, not musicians. The knowledge of music is not required which makes my role a little bit more challenging then it would otherwise be. Steven had the vision to use the interface of architecture and music as innovation for his architectural students. It’s been a huge step, and you’ve seen an anonymous submission a Studio Prize just awarded the class last month as the top class in the U.S. by Architecture Magazine.
I’m so fortunate in meeting Steven Holl by accident; talk about serendipity, chance, and improvisation as we hit it off in a conversation where one thing led to another. I’ve even consulted on some of his architectural projects. The new Lewis Art Complex at Princeton University has just opened last year, and that was the first project I interfaced as a consultant on for Steven. Architectural Record asked me to write about my involvement with the art complex as I was one of the first persons Steven called before even being commissioned with the project. The complex is inspired by the work of avant-garde composer Morton Feldman. Steven does brilliant architecture, and the music genuinely inspires it.
RAINE: What advice would you give an aspiring composer today?
Raphael: Consider another job. You have to be driven, passionate, and find your path. There’s no cookie-cutter way to go. The people who become composers know they’re composers because they can’t do anything else. It’s a consuming passion. It’s a complicated process to incubate yourself and the challenge of creating music in the world that is individual while bringing it to the public.
RAINE: With a repertoire of work ranging from several critically acclaimed productions to being honored with a retrospective exhibition at the Performing Arts Library at Lincoln Center, how have you maintained a successfully long-standing career?
Raphael: By not adapting and repeating myself. I’m always amazed by people who fall in love with my work and then discover how completely different another work is, “That’s the same person?” My job is to go as deeply as I can into any particular work from conception to fruition. If I can do something entirely new and surprising for the audience, then I’ve done my job.
‘Le Voyage de Babar’ will leave a lasting impression as an “enriched musical travelogue with an elaborate visual production.” Mostel brings New York City alive returning to our childhood selves, an age of innocence, youth, and endless wonder to unfold. Le Voyage de Babar debuts in New York City on November 2nd and 3rd at Florence Gould Hall for an evening of harmonious fascination and fulfillment through the vocabulary of music.
Ticket Information: $25 and up | Box Office and Ticketmaster • www.Ticketmaster.com or 1(800) 982-2787
Clarence “KD” McNair a Baltimore, Maryland native, started his career as an entertainer and entrepreneur at the early age of 2. With the help of his mother, McNair was able to pursue his dreams. McNair was discovered by Brian Dickens and the CEO of University Entertainment, Haqq Islam. Following his discovery, McNair was teamed up with his music group Majusty, later named Prophet Jones landing a million dollar recording contract with Universal/lnterscope Records, joining a roster of notable artists such as The Black Eyed Peas, Dr. Dre and Mya. Due to changes at the record label, McNair, (then nicknamed “KD”), later moved to Motown Records with the assistance of Russell Simmons, founder of Def Jam Records.
As a recording artist, he has worked with video director Gil Green, who shot for platinum artists such as Lil Wayne, Rick Ross, and Akon, as well as famed video director Jessy Terrero. McNair has also worked with Tricky Stewart from Red Zone Entertainment who has produced artists such as Rihanna. As a songwriter, he had the opportunity to work with Jazze Pha, (producer for Ciara), McKelly Jamison, (Faith Evans and Carl Thomas), Grammy Award winning songwriter Gordon Chambers. McNair is also featured on the soundtrack of the action comedy film Bait, starring Jamie Foxx. It featured a successful single, Mya’s “Free” which peaked at #42 on the Billboard Hot 100.
McNair being equipped with entertainment industry experience and knowledge, has also been sought after to do consultant work for Box 10 Entertainment, whose roster includes Beenie Man, Andrew Tosh, Mavado, and Patra. His background includes acting as an entertainment management consultant, specializing in branded entertainment management and project development for a number of entertainment firms, concert promoters, and major video directors.
McNair is consistently in demand not only for his knowledge and experience but for his innate ability to be a brilliant strategist. Fie has a natural ability to problem solve, making him a sought after entity. Not only has McNair dedicated his time and attention to the entertainment industry, his skills in life and career coaching has helped inspire and redirect the paths of many. McNair is known to “see into the future” as it pertains to lifestyle and business. McNair has overcome many obstacles; however he refuses to stop moving forward because he firmly believes that God has something great in store for him. As McNair would say “No matter what….Keep going!”
For three seasons now, the group show Art Hearts has closed New York Fashion Week at Lincoln Center, and this season was no exception. However this wasn’t just the last show for the season, it was also the last show of Mercedes Benz Fashion Week as we know it; when New York Fashion Week returns in the fall it will be without Mercedes Benz sponsoring it, and it will be at a new (and still undisclosed) venue. While Art Hearts brought down the curtain on the Lincoln Center era, instead of saying “the end” it would be more appropriate to say “to be continued,” as the show focused on new and bold designers who’s stories are just beginning. Among the seven designers showcased there was extremely smart menswear from House Of Byfield, luxury evening wear from Mimi Tran, chain-mail inspired dresses from Li Jon, and a show-closing burst of male nudity from MT Costello. The show is presented in conjunction with the AIDS Healthcare Foundation, and at the center of it all is producer Erik Rosete. He isn’t just the ringmaster but also a participant, as his street wear brand Mister Triple X kicked off the show. We asked Erik about the meaning of Art Hearts, the motivation behind Mister Triple X, and what comes next
RAINE: Tell us about the genesis of Art Hearts, and how you go about selecting the designers.
ROSETE: I created Art Hearts Fashion to support the artistic designers that celebrate the art of fashion. Anyone can make clothes, but my designers create ART! I am blessed by living in Los Angeles California where Art and Fashion go hand and hand. International designers gravitate toward Hollywood to supply red carpet and music video attire to A-List celebrities and I am connected enough in this industry to be introduced to extremely talented designers.
RAINE: The Art Hearts show has been the closing show for New York Fashion week the past few seasons, how did that come to be that you got that slot?
ROSETE: I worked with IMG years ago as a model manager and I was producing Art Hearts Fashion in Los Angeles as a cool underground event with artistic designers. I realized that NYC was missing my heart so I decided to bring my event to the big apple. I planned on having Art Hearts Fashion at a platform called Style 360 that featured streetwear brands and figured that would be a good fit for my type of event. Unfortunately (fortunately) Superbowl came to the NYC area last year and NYC had one of the harshest winters in history. Style 360 got cancelled and I had nowhere to go. I made a few calls and contacted IMG asking if they had space for my event. They not only had space for it but they also gave me the closing show at their largest venue.
RAINE: Besides Art Hearts, you also have your own label, Mister Triple X. The collection this season was titled “All X In Wonderland” and you describe it as edgy street-wear. But how much is too much? How do you walk the line between being creative and edgy but still being wearable?
ROSETE: In the process of creating my event I realized that fashion was more than an industry, but it was such a powerful art form. I wanted to do something different with fashion, I wanted to tell my story. Mister Triple X was born from my hard work and a true labor of love. Every season I have had hidden meaning in my collections, from the start “The Reflexion ColleXion” was a tribute to the world around me in my belief that we are all reflections of each other and that I was able to reflect all of the negative energy I had experienced and turn it positive. My follow up collection was entitled the RessereXion Collection which featured floral prints and spiritual undertones representing my spiritual transformation. Last season I showcased my “Pair-A-Dice” Collection featuring tropical inspired prints and also representing the huge gamble I was taking in rolling the dice on my career and my event. The gamble paid off and now with my most recent collection titled “All X In Wonderland” I wanted to showcase how everything has come together in a funky fantastic way by expressing my current attitude
in my collection. Follow me down the rabbit hole through the magical world of Mister Triple X. I believe we are all on a crazy journey and my brand represents the sexy streetstyle I would want everyone in my world to be wearing. This is my journey through wonderland and everyone can relate to that because we are all on a journey through life, and I love being able to tell the story through my fashion brand. It is something that has never been done with fashion and something that I am very proud of.
RAINE: For the MTX runway shows you’ve used some people outside the fashion- model norm, including really muscular guys and people covered in tattoos. How do you go about choosing the models?
ROSETE: I love using unconventional models as well as pop-culture celebrities to help tell my story. These are all the characters of the magical story of Mister Triple X. War veteran Amputee Alex Minsky walks in my shows with a custom designed leg by me, Jimmy Q embraces the sexy edge I embrace with my fashion line.. I want all of my models to be Gods and Goddesses in their own right, and I would like people to celebrate and admire the human physique while wearing my clothes. The girls in my shows represent the sexy counterpart to the “Mister’s” in the show. I have been blessed to work with Jourdan Miller, Nadia Mejia, Colleen Shannon, Anna Demidova, and an endless list of female icons that empower women to be their best. From winning America’s Next Top Model to being the star of their own TV shows on major networks, these girls are ruling the world. My models are all people that work their asses off to get in top shape and master their craft. I don’t need the skinny anorexic waif models to tell my story, I would much rather have a super sexy costume party called “Mister Triple X”
RAINE: What’s next for Mister Triple X? What’s waiting further down the rabbit hole?
ROSETE: World Domination is on my bucket list. Love what you do and do it well! The rest will follow. I am excited to have just opened my first boutique at Hollywood and Highland, the most popular retail destination in Hollywood and next door to Louis Vuitton. My clothing is being featured on major television networks in the next few months and will be seen by millions. I am feeling blessed and grateful to have such amazing support from my super sexy models and friends. I believe that everyone plays an important role in our story, and I hope to encourage other designers and artists to tell their stories as well. My platform is all about sharing my stage with others, and my brand is all about my interpretation of our life’s journey. Follow me down the rabbit hole, and find yourself in the process! You never know what magical things you might discover about yourself and the world around you.
Latin superstar Eduardo Verastegui is a man of many talents and after finding success in the music industry and later as a soap opera heartthrob, he broke into Hollywood alongside Sofia Vergara in the feature film Chasing Papi.
Since those early days he has continued to evolve as a creative entrepreneur and as a co-founder of his own production company Metanoia Films, which has produced movies such as the 2006 Sundance favorite and winner of the People’s Choice Award at the 2006 Toronto International Film Festival Bella. In 2007 The Smithsonian Museum honored Eduardo with the Legacy Award, for the film Bella in recognition of his positive contributions toward the Latin community within the United States.
More recently Eduardo produced and starred in the WWII drama Little Boy, which Eduardo describes as a love letter that captures the heart and soul of America. He can also be see in the upcoming film from Sony Pictures Paul Blart: Mall Cop 2 out in April 2015.
When he is not on screen or behind the camera, Eduardo alongside his non-profit organization, Let’s Be Heroes, works globally to provide food, shelter and medical supplies to those in need. He also works with his second non-profit Manto de Guadalupe, which works to provide quality medical care to pregnant women around the world who are unable to take care of themselves.
RAINE: How did you decide to make the leap from actor to establishing your own production company?
VERASTEGUI: I didn’t plan it. At the time I was 28 years old and I met someone on a plane that invited me to audition for a film with many Latinos. I did the audition and got the part. During that time, I met my English teacher. She asked me “are you part of the problem or part of the solution”—are you involved in projects that are designed to elevate Latinos or not? Right there I made a promise that I wouldn’t do anything that would offend my family, faith or my people. For four years I had to turn down every project until I lost everything. It was a great cleansing time period for me. I realized that by creating a production company, I had the power to create the stories. We started this company with one goal—to create projects that leave people inspired, and in 2004, we released Bella and won the People’s Choice Awards.
RAINE: The film, Little Boy is an inspirational story about both faith and the enduring love between parent and child. What message would you like for creative entrepreneurs to take away from this movie?
VERASTEGUI: This is the thing – even though you may write the movie with a particular theme – for example, this movie is about “love” between father and son and how they will be divided —however I don’t like to say what the movie is about because what the audience will take away from it could be different. I do not want to put a label on it because there is so much that you can take from it. For someone, it’s about love – for someone else it’s about spending “time” with my children.
RAINE: What has been the one piece of advice that has served you best in your career?
VERASTEGUI: Stay close to your roots and to recognize that I am not called to be successful but I am called to be committed to my principals and my values and then if success come after that, then it’s a blessing. I realized it’s not the same when you compromise, especially in this career because it is very easy to be lost — at one point when I thought I had everything I had nothing. The integrity of the person is what’s most important. Your faith and integrity comes first. Do NOT compromise.
RAINE: Your production company, Metanoi is Greek for “repentance,” what significance does Metanoia have for you?
VERASTEGUI: It is turning to God—when you turn to him, you can see. How beautiful would it be that when you leave the theater that you will leave with light in your hearts? Hopefully the light will leave a kindling.
LeGrande Green is a man that exemplifies bold! His harrowing journey along the path to success has been full of career highs and lows. As a creative savant and producer behind the scenes of The Oprah Winfrey Show, 4-time Emmy Award winner LeGrande Green was on top of the TV world, but lurking behind the veiled curtain of success was a life in dire straits.
Before Green stepped into the limelight with Oprah Winfrey, he was already making his mark at KING-TV in Seattle, working as an associate producer on a morning talk show. After a chance meeting with Oprah Winfrey in 1989, his professional life was propelled into the stratosphere; at 24 he became the youngest producer on her team, quickly outpacing his peers to become a supervising senior producer.
Eight years later he hit a wall. Green was emotionally exhausted and out of steam as the creative genius behind some of the highest rated moments on The Oprah Winfrey Show. His life had begun to spiral into a downward cycle. Unbeknownst to him at the time, Green was battling with bipolar disorder, characterized by drug abuse, suicidal thoughts and bouts of depression.
Through it all, Green valiantly pushed forward to emerge on the other side. Today he is working harder than ever as the driving force behind BOLD, a daily podcast featuring inspiring interviews with provocative people.
RAINE: Can you tell us how your experience at KING-TV changed your life?
GREEN: My first job right out of college was working as a production intern at King Broadcasting in Seattle. I was thrust into a thrilling world of news as I shadowed the stage managers and floor directors in the studio. Eventually, I was allowed to cue the anchors during live newscasts. From there, I met Karen Melamed (to this day, one of my best friends on the planet.) She was the boss of the morning talk show Seattle Today. She had just moved from Baltimore where she worked with Oprah Winfrey on a local show called People Are Talking.
RAINE: When you worked at Oprah, you were one of her youngest producers. How did that experience shape your career?
GREEN: At age 24,1 was hired to work at The Oprah Winfrey Show. Karen Melamed was a close personal friend of Oprah’s executive producer Debra DiMaio. She, Oprah and Debbie all worked in Baltimore together. Having worked in local television gave me a leg up on many of my colleagues. In Seattle, I worked in the newsroom, on documentary units and cut my teeth on all kinds of talk shows before I came to Chicago.
RAINE: Your career has had many highs and lows. What were some of the happier moments?
GREEN: Obviously some of the high points have been the awards. I’ve won four Daytime Emmys for my work at Oprah and an NAACP Image Award for Best News/Talk Documentary. The NAACP Image Award came for an Oprah episode called “Unsolved Hate Crimes of The Civil Rights Movement” in 1994. It all began when I researched the story of a scared little white boy who witnessed a racial massacre before World War II. We took our cameras into the most racist counties in Georgia to re-enact the story. All of the interviews were raw, emotional and powerful. When the whole thing was said and done, I remember looking at Oprah with a tear in my eye. I knew then that I was privileged and blessed to be able to harness my creativity on such a powerful national platform.
RAINE: As an entrepreneur you often advise others to “own their own story”. Can you explain that concept in more detail?
GREEN: For many years, I taught classes and seminars around the US and Canada under the banner “Get Booked on Any TV Talk Show.” The question that kept coming up: ‘How do I get on Oprah?’ Now that the show’s over, it’s obviously not about being on Oprah anymore. The goal is to “be your own Oprah!” With all the tools available on the internet and social media, no one has to sit back and wait for a third party to share their messages. There are three basic principles I share with my clients.
Lesson No. 1: Know what your hook is.
Lesson No. 2: Package yourself Lesson No. 3: Don’t give up.
RAINE: Tell us about your new show BOLD and what excites you most about it.
GREEN: After working closely with Oprah for years, here’s one thing I never forgot: inspiration is everywhere. Wellness is healthy living. It’s the strategy you choose to lead a balanced life. My interests run from lifestyle trends to pop culture to last night’s “lip-sync for your life” on RuPaul’s Drag Race. I was looking for a podcast that spoke to the heart but was also edgy and entertaining.
When I couldn’t find it on iTunes, I said, “Heck, I’m a producer. I’ll create it myself!” My guests are provocative people with inspiring ideas. It’s that blogger, that YouTube video, that celebrity or entertainer everybody’s talking about. It’s everyday people making huge breakthroughs. It might even be you tomorrow. If you break down the word BOLD, it might mean “bring on love divine.” Or my favorite, “blessings of life daily.” There is only now. I profile people and topics that influence the way we live, laugh and love out loud. That’s more than a catchy slogan. It’s really my sole-and my soul-intention. There’s no reason enlightenment can’t be entertaining.
RAINE: How has life changed for you now that you are no longer behind the scenes but at the center of your own show?
GREEN: The podcast took off like a rocket, which surprised and delighted me. In our first month on the Live 365 radio platform, we pulled in 5.5 million listeners. The greatest gift has been finding and booking the most incredible guests.
The other day I was talking to Grammy-winning superstar Jody Watley about confidence and inspiration. She said, “I don’t do many interviews but I wanted to come on BOLD. It’s a place where people can come to be classy, share stories and have great conversations.”
I’m humbled by the thousands who love the positivity of the podcast and they are demanding ‘more, more, more!” We are now developing products and books to support our message of transformation and healing. I close each show the same way and that message has become a mantra: “Shift happens right where you are. Be the change and get BOLD today.”
Bright, enterprising, strikingly beautiful, multi-faceted, and an undeniable talent are all ways Jerrika Hinton can be described. In 2015 Hinton can be seen starring as the ambitious and headstrong “Dr. Stephanie Edwards” on ABC’s long running, award winning series “Grey’s Anatomy.” Joining the cast in season nine  Hinton quickly became one of the most talked about characters on the show.
In addition to “Grey’s Anatomy” Hinton is currently in pre- production on SOLACE, an independent film which she is producing. The film is a dark, coming-of-age story about a young girl sent to live with her estranged family after the death of her father. Loneliness and sadness cause her to strike up a questionable friendship with the girl next door, who further pushes her to spiral out of control.
In 2012 Hinton wrote, produced, and directed the short film THE STRANGELY NORMAL, which received the distinction of being official selections at the San Francisco Black Film Festival, Out In The Desert LGBT Film Festival, and the Atlanta Black Film Festival.
RAINE: Can you talk about the moment when you realized that you wanted to pursue a career as an actress?
HINTON: I’ve been onstage since I was a kid so, career-wise, pursuing an acting career as an adult has never felt like a life-altering consideration. If anything, the decision to actively follow it as a profession came about once I was already in the midst of my career; the choice was more about deliberately choosing this life rather than letting it happen to me. Which is a great lesson to apply to so many things.
RAINE: In 2012 your short film Strangely Normal received the distinction of being an official selection at several nationally recognized film festivals. What was it like to receive that type of recognition?
HINTON: Gratifying. You create these stories in a vacuum and, ifyou’re fortunate, they are received in a meaningful way by the world. That’s really what all that fancy ‘official selection’ talk means: “This resonated with us and we have faith it will resonate with others.” It’s strange and beautiful validation.
RAINE: You’ve worked both in front of and behind the camera. Which do you prefer most and why?
HINTON: Ooh, this is a hard one. It depends on how I’ve come into the process: When it’s a story birthed from my own brain, I 100% prefer to remain behind the scenes where I can better care for its growth. Acting relies on different muscles. Similar instincts but different muscles. In either capacity, what’s paramount for me is finding the best way to serve the story — giving myself permission to get naked (metaphorically) and bolster the emotional intelligence good projects are built on.
RAINE: What words of wisdom do you have for aspiring creative entrepreneurs in your industry?
HINTON: Know and understand yourself first and foremost. You are your most worthwhile commitment.