Home → Professional RP targets ABA hoop tourney By Dennis U. Eroa Philippine Daily Inquirer First Posted 23:21:00 12/05/2009 Filed Under: Basketball, Sport LAS VEGAS—The long-cherished dream of a Filipino cager strutting his stuff on American soil may soon become a reality as the American Basketball Association holds its summit for global expansion on Dec. 8 at the Las Vegas Country Club in Winchester, Nevada, here. Singapore-based Filipino sportsman-businessman Paul Monozca, current vice chair of the ABA Global, will head the Philippine delegation to the summit where ABA will formally announce its plans for the expansion and reiterate its commitment to the league. “This a huge step toward opening the eye of the world to the talents and skills of Filipino cagers,” said Monozca. “ABA Global which is on a $200 million global expansion program knows the importance of the Philippines and the capabilities of its basketball players.” He clarified that doors are open for the Smart-Gilas Team Pilipinas, the PBA and other stakeholders in basketball to compete in the World Cup and other events under the ABA Global, which is the international arm of the organization. Singapore will host the ABA World Cup Basketball Asia qualifiers. “I am in talks with Filipino basketball leaders because this is all about making our country proud,” said Monozca, also the first Asian to sit on the ABA Board of Directors. Expected to attend the summit are past and present ABA stars, including Julius “Dr J” Erving, Connie Hawkins, George “the Iceman” Gervin, and Moses Malone. Also attending are legendary college coach Bobby Knight, former LA Lakers stars Isiah Rider, hip-hop legend Duane “Spyder” Hughes and other personalities. The NBA acquired the ABA in 1976 and absorbed its top four teams—the New York Nets, Denver Nuggets , Indiana Pacers and San Antonio Spurs. After getting back the rights from the NBA in 2000, the membership of ABA has since grown from 10 teams to 60 teams presently.

A candid interview with Billy Wilson And His Historic History With Rap Music





reported by: Michael Braxton (Freelance reporter/ godisgoodstories@yahoo.com)

I was pretty excited to do this interview. I have heard of Billy Wilson president of the Motown Alumni Association, but never really knew much about his history in the entertainment business.

This particular story evolved around the history of Hip hop music.
I wanted to know if there was any connection to Detroit, and the Hip hop beginning years 1979 through 1985. Though I knew of the early New York years with Kool Herc the DJ, I needed to know if Detroit had it going on like New York did.

As a young freelance reporter straight out of the school of hard knocks, I didn’t know how hard it was to search for cultural events that didn’t have as much literature on its cultivation as it did word of mouth history. I did notice that many people have tried to write down the history of Hip hop in colleges, but they usually never tried to experience the back bone of the history by talking to the people that made the history. Maybe they were scared to go into the hood themselves!

In my research I looked high and low for some kind of Michigan connection. As I was browsing through the Internet sites, I ran across a recording that seem to have a Detroit hook.

There was a recording that was released on the cuff of 1979/1980; the recording was called "Big Apple Rappin", and boy was I excited! The recording was released on January 1, 1980; a couple of months after the major smash hit "Rappers Delight". At the time I couldn't find Spyder D the rapper that originally rapped over the booming bass line that dominated the track. I couldn't find him anywhere on the Internet, and there wasn't a lot about old school rappers on the internet until recently (2004 until current).

An unauthorized release of rare and classic recordings titled "Big Apple Rappin': The Early Days Of Hip-hop Culture In Nyc 1979-1982", was released by Soul Jazz Records.

Now that I found a possible connection to the Hip-hop world, where was Detroit in this mix?

A friend of mine told me of this guy that he knew, that was part of the Hip-hip revolution, and he has something to do with Motown.
This guy by the name of Billy Wilson supposedly knew a little about Motown, but what could he know about Hip hop? Motown was old school music, back in the day music when people were singing under street lambs, a far cry from the bass pumping, car rattling sounds of Hip hop music. My original thoughts were Motown ... Hip Hop ... music ... there might be a connection maaaaaybe. I didn’t give that thought much credence until later in the story.

So I got the guys number and continued to research. The song "Big Apple Rappin" was my connection, I knew it; because the original label on the Internet said that it was produced in Detroit.

I continued to look for musicians, producers, writers, anyone that could give me insight on this Detroit based recording. To make matters more interesting, the name of the record company that originally distributed the song was called Newtroit Records, a porteneau of New York and Detroit. I referenced, cross referenced, and cross referenced some more, until I ran across the writers of "Big Apple Rappin". None of the names were familiars to me at first until the one name popped up B. Motley. In my cross reference, the name B. Motley is the sudo-name for a guy by the name of Billy Wilson. Wow, could this possibly be the Billy Wilson on this little sheet of paper I have that has that Motown organization? I dismissed that thought for a moment because the two music genre didn't really match; what would one have to do with the other?

So, the following day I decided to call this Billy guy, and ask if he knew that someone with the same name is part of the annals of Hip-hip history.

I was a little bit nervous about talking or asking to do an interview over the phone when I called, so I asked for an appointment to do an interview personally, on his career in music, though my real purpose was to find out if he knew anything about Hip-hop, and if he could possible by one of the writers of this song that connects Detroit to the Hip-hop world. To make a long story short, here is the interview;


MB: Mr. Wilson this is an honor to meet you.

BW: It’s an honor to meet you too.

MB: What I'm here for is to find out Detroit's connection with the early years of Hip-hop and its impact on the music history.

BW: Ok.

MB: My very fist question ...pause ... Did you know that a guy by the name Billy Wilson aka ... Billy Motley co-wrote this song by the name of "Big Apple Rappin", that was produced here in Detroit in the late 70s?

BW: Yes, I think I know that guy really well.

MB: Wow ... do you know where I can contact him?

BW: You're sitting in front of him.

(My eyes bugged with shock)

MB: Oh my God ... you are kidding?

BW: I don't joke about stuff pertaining to the music business. I was about 22 when all of that came about.

MB: You were a young guy when the industry started.

BW: Yeah, so was everyone else. We were all close in age. I think I'm the oldest of the guys that co-wrote that song.

MB: May I ask, how old are you now?

BW: I’m 52, and everyone else should be close to their 50s also. All the people that you are looking for should be looking in the mail for their AARP card soon.

(I laughed ... I did think that was funny!)

MB: What did you think about Hip hop then?

BW: It wasn't called Hip-hop, it was called Rap. Some wise guy took a piece of "Rappers Delight" and decided to call it Hip hop and it caught on.


MB: I didn't know that, I thought my generation created that term?

BW: Your generation doesn’t know any better, that's cool its not important. You want to claim it, that’s ok; just remember listen to the very beginning words to the verse of “Rappers Delight”.

MB: So what did you think about Rap music then?

BW: I didn't care for it. I thought Rap didn't acquire any real talent, so it was worthless; but it was fun music to dance to, whether it was worthless or not. Disco was happening then, and the beat was all we cared about. After a while the words caught on, and now every 'old school fool' knows "Rapper Delight".

MB: Do you know it?

BW: Hell yeah, that worthless ass music (LOL). But seriously, I really like Rap now. It’s an expression of a generation that has their own issues and their own values. If you understand the importance of the issues, you will understand the content of the Rap. My generation has been out of the loop for a while, because we have our own issues to deal with; we don’t have time to understand anyone elses.

MB: So tell me how you got involved with "Big Apple Rappin"?

BW: A buddy of mine from Eastern Michigan University called me to come and play on a recording with this rapper. That buddies name was Ruben. He told me that they didn't want to use the bass player they had, that they wanted me to play on that session.

Ruben was a drummer and had a group called Frosted. The groups of musicians that he used for that session were guys that I knew from college. This guy by the name of Earl was on keyboards, Wayne was on guitar, and Ruben was on drums. We actually recorded the song at a little basement studio in Ann Arbor, Michigan. The studio was well known amongst Ann Arbor musicians ... I heard the studio was around when Noah was building the ark! LOL

We, met this guy that introduced himself as Spyder D. We didn't know his real name at first, until he started explaining where he was from. He was from New York and was in our area by way of Eastern Michigan University in Ypsilanti, Michigan where I lived also. He was there on a basketball scholarship I believe, and he blew out his knee; he was getting home sick, so he decided to come up with a rap that represented home (New York).

MB: What year was this?

BW: About summer of 1978

MB: Wow, this takes you back even further in this Hip hop scene.

BW: Yes, it takes me back further in the "Rap" scene.

MB: I stand to be corrected ...

BW: That's alright; this is your generations expression to continue the term Hip hop, but get the history right; we are talking about Rap music during those years, it evolved into Hip hop.

MB: So how did everyone start writing the song?

BW: Spyder was a really cool cat; he let us know that he wasn't a singer, he was a rapper, and he gave me a general idea of what he wanted to here on bass guitar. I'm very good at picking up the essence of what people want; they don't have to actually know how to sing, all they have to do is give me an idea. The rest of the band followed me; what you here on the record is the one take session that we produced. Apparently it was exactly what Spyder wanted on the first take. We were in there all of 15 minutes from start to completion.

MB: So did Spyder pay you for this historic session?

BW: No, he could barely afford the studio session; he was working on college students money. But he did offer co-writers rights on the song. He didn't have to do that, because we originally were doing it for Ruben, but since he offered, everyone said ...ok.

MB: So why did you use B. Motley or Billy Motley on the song registration forms?

BW: Because I didn't like Rap at the time, and I didn't want to be associated with it. I thought if my musician friends found out that I was playing on Rap music, they would laugh at me forever. Motley is my fathers last name, my official last name is Wilson, which is my mothers last name - I was born out of wedlock, and had to take my mothers last name officially. What's interesting about that last name stuff is that ... when I was born, my birth certificate said Billy James Wilson, but my parents were living in Detroit at the time and my father wanted me to have his last name; so from the time I was born until about 6 years old, I was going to grade school as Billy Motley; wasn't until we moved from Detroit to Willow Run, Michigan (about 20 minutes west of Detroit) that I started using my real name. I think the schools forced my parents to tell the truth about my name.

MB: Did you ever use that name again ... after grade school?

BW: Not until "Big Apple Rappin".

MB: So did you and Spyder become friends after the session?

BW: No, I met him that one time, and only knew him as one cool brother.

MB: Did you ever here the final product, the final recording?

BW: No, I heard the recording in the studio, but I never heard it on the radio. I thought it was just a shot in the dark kind of song. I didn't even here the Rap. You have to remember, we had just played the music, there wasn't a rap that we knew of, not yet. He probably had it all stored up in his mind or something.

MB: So when did you know that a recording was released?

BW: I was on an Arms Forces Entertainment Tour around the country, and my great aunt who I talked to all the time while I was traveling, told me that a package had come for me at my grandmothers (her sister); at the time that’s where I was living when I came home off the road. I asked her to get the package and open it up, and she seen that there were two LPs both were the same, and on the label was a song called "Big Apple Rappin".

MB: When was this?

BW: ah, about 1980.

MB: The song was released January 1, 1980 right.

BW: Yes, I think Ruben sent the songs eventually. I gave one to my grandmother and the other to my aunt.

MB: You still had not heard the song?

BW: No!

MB: When did you actually here the song?

BW: About 2 years ago.

MB: What! You never heard the song that made history on the Rap scene; the song that you helped write?

BW: No ...

MB: How did you know that the song you heard was the right song?

BW: I could tell my bass line instantly. The style of playing that I had was unique. I know my own style from anywhere.

MB: Were you shocked?

BW: Yes, I also recognized Spyder's voice; the two together really set me back for a moment.

MB: Well, today is June of 2009, it has been almost 30 years since you last seen Spyder or the rest of the group of musicians? I mean ... when was the last time you seen anyone from that era of time?

BW: Actually I found Spyder.

MB: You did?

BW: Yes, I was looking on the Internet, and I happen to be thinking about the "Big Apple Rappin" song. As I was looking the song up, I run across Spyder's real name Duane's Hughs; little did I know was, this is the same Duane that produced the Smerf song and other rockin songs that I liked.

MB: Duane ...Spyder is an icon?

BW: Yeah, then I found out that he owned the ABA Krunks Basketball team. I thought that was cool.

MB: Where you excited or anything like that?

BW: I was very happy for him.

MB: So how did the two of you hook up, I'm taking it that you have come together again?

BW: Yeah, I called him one day and once I told him who I was he tripped! You could tell that he was shocked. We've been good friends ever since.

MB: So what's in the future for the two of you?

BW: Duane is re-opening the Newtroit Label, after 30 years. He's bringing on various people from the Detroit area Ruff (David Ruffin's grandson), Donut, Shelley, and a variety of other artist to fill the roster of Detroit branding that he started 30 years ago.

MB: There is one thing that I missed asking you Mr. Motley, where does Detroit have a piece of the pie in Hip hop?

BW: Most of the production was done in Detroit I believe. The music was done in Ann Arbor, Michigan. I'm not sure where the mastering was done, but the essence of the record company was Detroit branded. That's why he called it Newtroit Records, there's a little bit of New York, and a lot of Detroit area magic in the music. The fellas and I were like the Funk Brothers of Newtroit Records. He (Spyder) was living in Detroit at the time. That’s where the music idea culminated.

MB: So what are you doing and were are you going from here?

BW: I’m currently working with Hitsville Venture out of Detroit. They are a gaming and branding company for many of the Motown stars. I’m also the president of the Motown Alumni Association.

MB: Really? Any stars you want to tell that you are currently working with?

BW: Yeah, we are working with The Four Tops, Otis Williams of the Temptations, Mary Wilson of the Supremes, The Vandellas, The Contours w/ Joe Billingslea, Freda Payne, George Clinton, Laura Lee, Brenda Holloway, Carl Carlton, Scherrie Payne, The Originals, Caroline Crawford, producer Michael J. Powell, Clay McMurray, Spyder Turner, The Velvelettes, Keith Washington, Maxine Powell, Gino Washington, and many others.
I’m also working with Spyder on various projects that we will get up and running.

MB: Wow, that’s a lot of stars?

BW: Yeap!

MB: Is working with royalty of the music industry humbling?

BW: No, you don’t have time to be humble, they want results. That’s all they care about. All the stars I mentioned have been on every latter of the music industry possible. They need people that will tell them the truth, and get things done.

MB: So kissing up Like I would is out of the question?

BW: You have to do a little bit of kissing up, because they are still proud artists, and they stand on a different plateau than the average local or regional artist. When you get to their level, you want to be respected. So what you show is respect, while you are laying down the truth. There’s a fine line.

MB: Are you going to do something with Newtroit Records if and when it opens its doors?

BW: If Spyder asks. He’s my friend, and we go back to his roots in the business. I don’t think “Big Apple Rappin” was his first recording he ever done, but Newtroit Records was the first record label owned by a rapper during the hay-days of Rap music. When Rap went national, Newtroit was right there with them making history. I was a part of that and that’s my proud moment in history too.

MB: Well Mr. Wilson … Motley, thank you for the interview, this was an honor and joy to meet you.

BW: You’re welcome.





Listen to "Big Apple Rappin here"

Friday, August 14, 2009
Legendary MC Spyder D. Chooses WaTunes to release his latest single on iTunes!



Hey guys,

It is official! Duane "Spyder D." Hughes, a pioneer of hip-hop & rap music has chosen WaTunes, the world's first free online music distributor to sell his latest single 'Who You Follow (My Twitter Baby)' from his final full-length album 'Legendary'! For those who is not familiar with Spyder D, he is considered the first rap artist to ever start a record label (Newtroit Records) and has laid acclaim with his hit single "Big Apple Rappin' in 1980.

Excerpt from Wikipedia:

"As an artist/producer, Duane Hughes (aka Spyder, or Spyder D), shared the 80’s musical spotlight with fellow Hollis natives Run-DMC, LL Cool J, Davy D, Hurricane, Orange Krush and Alyson Williams. Childhood schoolmate Russel Simmons later became his manager and mentor in 1983. As a young upstart with entrepreneaurial ambitions, Spyder formed Newtroit Records with college friend Tito Lewis with financial backing from his mother, Doris Garrett. That endeavor spawned the above mentioned classic "Big Apple Rappin'", listed in "Ego Trip's Book of Lists" as one of the all time 12" rap singles. Other hits followed, including the twice Gold "Smerphie's Dance", co-produced by "Bounce, Rock, Skate, Roll" artist Vaughan Mason & Butch Deyo, which was based on the 808 beat created by Spyder in Vaughan Mason's East Orange, NJ basement studio (this beat became the backing track for the Dr. Dre/Fifty Cent produced "How We Do" by The Game which earned Spyder a 1986 BMI writer/publisher award . Spyder produced several more classics for artists such as Infinity Machine's DJ Divine, Sparky D, Roxanne Shante', as well as a string of independent record label hits for Profile Records , Select Records, Spring Records and a joint label venture with Next Plateau (launching Fly Spy Records)."



Spyder D's new single "Who You Follow? (My Twitter Baby)" is now available on iTunes through the revolutionary business model of WaTunes!

July 14, 2009

For Immediate Release Media Inquiries: Dretam PR Tel: 678-495-1465 Email: pr@dretaminc.com


Spyder D, here with LL Cool J, 2008



Legendary Emcee Spyder D Releases Single from Final Project First Single, Who You Follow (My Twitter Baby) With the popularity surge of online communication and texting, rap legend, Duane, Spyder D, Hughes speaks on it in his latest single "€œWho You Follow (My Twitter Baby)". "€œThese days people are barely having phone conversations. Relationships are blooming through Twitter, texting, Facebook and others. I think its fun and we don'€™t have to talk anymore, Hughes says laughing, "€œas long as long as it's within a certain amount of characters of course."€

Click below to hear the single:

www.reverbnation.com/spyderd

About Spyder D

"Spyder D" (Duane Hughes) is a classic "old school" rapper and producer from New York City who combined elements of jazz and funk in his live instrumental backing tracks. "Big Apple Rappin" was perhaps his most famous 12" released on his own Newtroit Records in 1980, becoming the first rapper to do so. The bass player, Billy Wilson, and now president of the Motown Alumni Association, along with Spyder is starting the Newtroit label again with this release. Another notable release was "I Can't Wait (To Rock the Mike)" released in 1986 as single version of the Nu Shooz hit "I Can't Wait". Other Spyder D releases include "Buckwheat's Rap" (Profile, 1985), and the house party hit "Smerphie's Dance", now an often-sampled cult classic. Spyder D's brand of music was characterized by a laid back attitude, humor, and skills on the microphone. During several stints in the 80s and 90s, Spyder worked for Power Play Studios in Queens which was the focal point of Hip-Hop recording. He engineered and mentored to several up and coming acts including the then eighteen year old Teddy Riley, Salt -N- Peppa producer Herbie Azor and a pre teen Peter Gunz. Through the urgings and tutelage of legendary disco era producer Patrick Adams, Spyder began a dual role as both engineer and manager for the renowned studio. He brought back in to the studio such luminary clients such as DJ Run of Run-DMC, producer Larry Smith (Whodini, Run-DMC Grandmaster Flash), BDP'€™s KRS One, Herbie Azor and Salt & Peppa along with superstar producers like P Diddy and Hit Squad producer Ron (Amen Ra) Lawrence.

###

Bernie Mac dies at 50

Comedian Bernie Mac died this morning in a Chicago hospital

By Kelley L. Carter and Glenn Jeffers | Tribune reporters

9:43 AM CDT, August 9, 2008

Comedian and actor Bernie Mac (Bob Fila, Chicago Tribune / December 6, 2000)

Comedian and Chicago native Bernie Mac died early Saturday morning from complications due to pneumonia, his publicist confirmed.

Mac, 50, had been hospitalized for about a week at Northwestern Hospital, according to his spokeswoman. A few years ago, Mac disclosed that he suffered from sarcoidosis, a rare autoimmune disease that causes inflammation in tissue, most often in the lungs.

The comic born Bernard Jeffrey McCullough could cut an imposing figure. He stood 6-foot-3, was built like a fullback and carried himself with a bouncer's reticence. But perhaps the strongest weapon in the Chicago comedian's arsenal was that voice, that amalgam of thought and a delivery that could rise like a tidal wave, outpace a Gatling gun and remained, to his last days, loud and unapologetic.

He wasn't scared, he told us time and again, to tell anyone what he thought, to say what others were afraid to say. That fearlessness wasn't always welcome, considering Mac didn't get his big break until his 30s. But when he did, the comic skyrocketed to success in stand-up, television and the big screen.

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• Bernie Mac

Mac shared screen time with some of Hollywood's larger-than-life leading men, co-starring with Brad Pitt, George Clooney and Matt Damon in the "Ocean's 11" remake and subsequent sequels.

Most recently, Mac garnered attention for making unsavory comments at a Barack Obama benefit that the presumptive Democratic candidate had to distance himself from.

Growing up on the South Side a hard-core White Sox fan, Mac discovered early on that he wanted to make a go at being a comedian.

Before his 10th birthday, Mac was performing comedy standup, honing his skills on CTA trains and parks before graduating to well-known haunts like the Regal Theater and the Cotton Club. He came to a realization during those first years as a struggling comic: If he could kill in front of a black crowd, he could kill in any crowd.

"Black audiences are hard," he told the New York Times in 2002. "You got to come with a little extra to satisfy them."

He also learned that comedy isn't a lucrative business when you are starting out. During those lean years in the '80s, Mac drove a Wonder Bread delivery truck to pay the bills.

Life changed dramatically for Mac when he was 32. He won the Miller Lite comedy search that year and that performance took him to the standup stage, which ultimately led to regular performances on popular shows like HBO's "Def Comedy Jam."

In a few short years, he was able to put a stamp on this tell-it-like-it-is brand of comedy that audiences had come to know him for. He was a hit on the stage, delivering sordid tales of his early life growing up on Chicago's South Side.

His work hit home to the African American audience -- his aggressive, brash comedy had a down home feel to it, tackling everything from family life to black romantic relationships -- yet Mac was able to cross it over, connecting with a majority entertainment scene.

"When I started in comedy in the clubs in 1977, blacks couldn't do certain clubs -- not because they were segregated. They just didn't want to put the [black comics] out there. In Los Angeles, the clubs would have a black night. People would say, 'Why don't you come by and do something?' I would say, 'I'm a comedian -- don't put a title on me.' Don't limit yourself. How you start is how you finish," he told the Tribune in 2007. "If you let people put tags on you, you'll never be able to remove them. You've got to make people respect you. Respect is bigger than dollars and cents."

Mac got his respect and he gained national attention after his set on HBO's popular late-night series Def Comedy Jam in 1992. Decked out in a pair of jeans with his face illustrated, graffiti-style, on the right pants leg, Mac expounded on one taboo subject after another, from the benefits of snitching to his prowess in the bedroom.

"I ain't scared of you [expletive]!" became his signature tagline.

Many took note of the blue comic's performance, which later led to a bit part in 1992's "Mo' Money," and later an HBO Special, "Midnight Mac."

In 1995, Mac earned a spot in the cult-classic "Friday," and the film helped Mac break out. His portrayal of Pastor Clever was one of the film's highlights, however small it was. He followed it up with bit roles in other films, including "Booty Call," and "Def Jam's: How to Be a Player."

But he wanted more.

Mac sowed the seeds for his success on a cloudy day in North Carolina while taping the 2000 Spike Lee concert film, "The Original Kings of Comedy." There, on a rain-soaked basketball court, buttressed by co-stars Cedric the Entertainer, D.L. Hughley and Steve Harvey, Mac issued a challenge to Hollywood:

"Do I have a television show? Nah," Mac told the cameras. "Why? 'Cause you scared of me, Scared I'm a say something. You [expletive] right. Think I won't say something?!"

A year later, Mac got his chance. "The Bernie Mac Show" debuted on Fox in November 2001, drawing critical acclaim, numerous awards, including two Emmy nominations for Mac and, most important, high ratings. Its premiere episode drew 11.4 million viewers. The second episode, which immediately followed the first, drew 12.4 million.

For the next four years, Mac spoke to the American public--via a break in the fourth wall a la Dobie Gillis--with all the befuddlement of a 40-something taskmaster father lost in a sea of talk therapy and "timeouts." "Now, America," Mac would often begin before going into a rant about undisciplined children, cuddling parents or, one of his favorite topics, the differences between black and white people.

But in 2005, the show went off the air. Several reasons contributed to cancellation: The show's ratings had dropped, Mac was getting more lucrative offers from the movie studios. Before the 2000 concert film, Mac's biggest credit was a recurring role on "Moesha."

But Mac's health was also a factor. In 2004, he halted production on the show while recovering from exhaustion. A year later, he disclosed that he suffered from sarcoidosis, a rare autoimmune disease that causes inflammation in tissue, most often in the lungs.

In spite of that, his star had risen a great deal. In addition to the highly popular "Oceans" films, he co-starred with Ashton Kutcher in a reverse remake of "Guess Who's Coming to Dinner" in 2005.

Last spring, Mac said that he was hanging up his standup career, and instead would focus more on movies. In 2007, he co-starred in "Ocean's Thirteen," "Pride" and had a role in the blockbuster "Transformers."

Scheduled for release is "Soul Men," with Samuel L. Jackson, which will be released this year, and "Old Dogs," with Robin Williams, which is due next year.

Mac is survived by his wife Rhonda McCullough, their daughter, Je'Niece, a son-in-law and a granddaughter, Jasmine.

NEW SPYDER D SINGLE

March 1, 2007

March 21, 2006 -- Pioneering New York rap producer/artist Spyder D signs distribution deal with TOFA/Empire Musicwerks/Universal Records.

Everyone knows about rap music's introduction to the world via the Fatback Band's King Tim III, and the phenom of the Sugar Hill Gang's Rapper's Delight.

Very few know that one of New York City's pioneer rap artists, "Spyder D", Duane Hughes of Queens, NY City was going to school in Ypsilanti, Michigan, on the campus of Eastern Michigan University in 1978 when he met the Billy Motley (now known as Billy Wilson, president of the Motown Alumni Association), a bass player and Rueben Pierce, a drummer, of a young group of musicians who formed "Frosted".

Neither of them knew that their collaboration together, would combine the raw talent that would produce one of the top 12" singles of it's era, the "electro funk" smash "Big Apple Rappin'/Rapple", which even today, is one of the most bootlegged vinyl offerings in the history of recorded music, still fetching upwards of $300 on eBay.

No one knew, that at the time, the group collaboration was the launching of the Motor City into the Hip-Hop world.

Today, there is the brilliant lyricist known as Eminem, and his protege's D-12 hailing from Motown. And there's the Hip-Hop influenced rock sound of Kid Rock.

It's a safe bet to say that that all started with a collaboration of a New York City street ball player, frustrated that his basketball career was rapidly ending with knee problems, and, according to Billy, "a group of young musicians who had grew up heavily influenced by the sounds of Motown in it's heyday."

Spyder reflected on the moment by saying, "... It is one of the times in one's life, where you're at a crossroad, and you get very creative because your back is up against the wall. We went into the studio with no rehearsal, and no real game plan other than to vibe with each other and see what we come up with. I was home sick so I wrote about New York. I hummed out the base line to Billy who took the basics of it and funked it the way Motowners know how to do it. I spliced in a sound effects recording of a Delancey street vendor on the intro, and, bam! Big Apple Rappin' with the Motown flair was born."

Spyder, not quite twenty years old yet, with Detroit born and raised Tito Lewis, and his Mom's financial backing, launched Newtroit Records first and only single.

"We got a lot of notoriety from that single right off the bat" recalls Spyder. A young Tom Silverman (who became Tommy Boy Records founder) published a strong review in his Dance Music Magazine and, "Afrika Bambaata came to my crib on Jamaica Avenue in search of a new record deal with Newtroit, as he was unhappy with his deal with Winley Records. To this day my mother and Bam always ask about each other", says Spyder, who now owns an ABA basketball franchise in Charlotte, and his Spydo Music Incorporated music production and wireless company. Now that's Hip-Hop history for you!

Under this new umbrella of TOFA/Empire Musicwerks/Universal, Spyder will release his farewell to Hip-Hop, a CD simply titled "Legendary". Scheduled guest appearances include legendary peers such as Doug E. Fresh, C&C Music Factory's Freedom Williams, Chuck D, Mikey D, Large Professor, Grand Daddy I.U., Sweety G, Roxanne Shante and Sparky D to name a few. Spyder says, "we will also launch careers of the new generation with a compilation album called "Spyder D presents Krunk, Funk and Soul", that will feature several "unsigned hype" type of artists in the Hip-Hop/R&B genre. We also have a powerful contemporary gospel group in Keith Holland & Friends in Christ, and Charlotte's own Young G.O.D.Z., and Gary Graham's North Clik Records posse who put the capital K in Krunk."

Spyder has requested the services of good friend and longtime record promotion guru Al Pizarro of VIP Record Pool and Heavy Rotation of New York to be his VP of Operations. "Al's experience in record promotion is well documented over the years, and I trust his judgment completely. He has handled NY area promotions for all the major labels for their artists in the New York area for years. We are blessed that he would consider helping us in our quest to be one of the top major independents."

Production will be handled by himself, the artists, and a bevy of up and coming beat makers, including former Sparky D DJ, Grand Creator K-Wiz, and the legendary Infinity Machine DJ, DJ Divine, and the incomparable Larry Smith, who produced all of the early Run-DMC and Whodini hits.

"We will get together with musicians and artists in Detroit to bring Newtroit back full circle", says Spyder. "Mike Pierre and Billy Wilson will oversee the marketing and promotion for the projects. That will be perfect as I continue to seek out more talent.

"Through 19 Communications and my wireless division, we will evolutionize how artists are introduced to radio and potential fans. Radio and music listeners will be able to use "Push and Pull" technology to communicate with their favorite artist or radio station. Tour schedules, release dates and contests will be sent to fans' wireless devices. They will control how much content, and when to receive that content. Virtual Promotion Campaigns will be sent and received in real time. Text, text to voice messaging with simultaneous landline and e-mail alerts will take these vertical industries by storm! Spydo Music and Newtroit Records, through TOFA/Empire Musicwerks/Universal, will offer 19 Levels of communications through branded pre-paid phones, debit cards and sponsored messaging. The first release date for this distribution deal has not been announced yet.