The Eclectic and Amazing Skateboard Icon turned Musician, Tommy Guerrero

From cofounder of the skateboarding company REAL, to a diverse musical sensation, Guerrero is hitting his stride.

 

By Dr.Al Carlos Hernandez, Special Contributor to the Herald de ParisHOLLYWOOD (Herald de Paris)

As a teenager, Tommy Guerrero was one of the most prominent members of the Bones Bregade, Powell Peralta’s professional skateboarding team that was successful during the 1980′s. He was well known for his relaxed style in street skateboarding and his Bones Brigade footage was primarily filmed in his hometown of San Francisco. The videos Future Primitive, The Search for Animal Chin, Public Domain, and Ban This all featured the street skateboarding of Guerrero.

After riding for Powell Peralta, Guerrero and Jim Thiebaud, a hometown friend and Powell Peralta teammate, started the skateboarding company Real.

Karl Watson, professional skateboarder and founder of Organika skateboards, also grew up in San Francisco and revealed in 2012 that, as a young boy, he moved into a house in which the Guerrero formerly resided. Watson has stated that upon moving into the house, he discovered a drumstick that was used in the Animal Chin movie and explained: “… and that was in my room; and right then and there, I knew that I was destined to be a pro skater.”  Watson referred to himself as “blessed” as he subsequently received packages of skateboard goods that were addressed to Guerrero.

After his success in the world of skateboarding, Guerrero decided to pursue his musical interests and was a member of the skate rock band Free Beer and the experimental group Jet Black Crayon. However, Guerrero’s work as a solo artist has so far been the most commercially and critically successful. Guerrero’s albums, EPs, and various singles incorporate a diversified style of music, from rock, hip-hop, and funk, to soul, and jazz.

Click HERE To Listen

The EA video game skate has featured numerous unreleased compositions that were written and recorded by Guerrero.

In 2004, Rolling Stone magazine named Guerrero’s third studio album Soul Food Taqueria (2003), number two on its 2003 “Best Of” list.

At the 2013 15th Annual ‘Transworld Skateboarding Awards’ Guerrero was the recipient of the ‘Legend’ award. On the red carpet preceding the awards event, Guerrero stated:

I’m super grateful, that anyone really cares, to be honest. Um … conflicted; I’m not one to rest on my laurels and it’s hard to accept accolades for something you did thirty years ago, you know? I’d rather be appreciated for what I do now, but I … I … I’m super grateful … I can’t believe it [street skateboarding in the 21st century]. I mean the technical aspect and the consistency, combined with that, is mind-blowing … but just where it’s at now, is, is insane; I mean, what Rodney [Mullen] sort of started, with the technical aspect, to a whole another level, you know? Making it extremely gnarly, extremely technical … I’d hate to be growing up skating now.

Following his receipt of the Transworld “Legend” award, Guerrero invited all “street skaters” onto the stage to stand alongside with him at the Avalon Theater in Hollywood, California USA.

It’s 2014 and Tommy Guerrero’s resume reads like a dream. Bones Brigade skate team in the 80’s, movie appearances, co-founder of Real Skateboards and 40’s Clothing, art director for Krooked Skateboarding, and prolific recording artist. From the Fat Jazzy Grooves and Another Late Night compilations, to albums for Mo’Wax, Galaxia, Function 8, Rush [Japan], and Quannum and Ubiquity, Tommy Guerrero has lead a full life. Then there’s the collaborations with Lyrics Born, Jack Johnson, Curumin, Bing Ji Ling and Prefuse 73, remixes for Money Mark/Nigo, Poets of Rhythm and Shawn Lee. His band, Jet Black Crayon, has toured with Isotope 217 and Tortoise. He’s scored tunes for Thomas

Campbell’s surf film Sprout, the EA video game Skate and had the honor of being the sole provider of music for Todd Oldham’s show Hand Made Modern on HGTV. His songs have been licensed for zeitgeist television shows like Queer as Folk, Sex in the City, and CSI Miami. His designs are found on Levis in Japan, Vans shoes worldwide, and Sutro eyewear.

Tommy’s music, like his graphic design, is beguilingly simple. He sounds like a guy messing around on his front stoop and maybe that’s exactly what he is – but the result will touch you down to your toes. From Mission District punkers to Shibuya-ku hipsters, his melodies dance lightly around your head while the rhythms build under your feet and move your hips. His is SOUL music, made by a street kid raised on Santana and Bill Withers (with more than a little nod to the Clash and Public Enemy in there, too).

Herald De Paris Special Contributor, Dr. Al Carlos Hernandez took a verbal ride with the post modern mogul, Mr. Tommy Guerrero.

AC: Tell us a little about your folks and growing up in SF. How did those early years influence who you are today?

TG: My brother and I were raised by our mother. We lived with my aunt and cousins on and off over the years. As most people know, San Francisco was much different than it is currently – much more of a working class feel. Now days San Francisco is just rich kids using the city as a stepping stone. No roots will be planted.

           I had a pretty standard lower class childhood and started skating when I was nine. We lived on a hill so that informed my approach to skating.

AC: What was your first skateboard experience like and when did you realize you were really good at it? How does SF lend itself to boarding?

TG: A friend gave me a Black Knight board – clay wheels etc. I was hooked! Where we lived was surrounded by hills so being surrounded by hills forces a skateboarder to learn to deal with speed. You need to develop the skills to control it. The ability to do this became ingrained in the way I skated.

I have never had an epiphany about my prowess on a board and am still waiting…

AC:  When did you become interested in music? Who did you listen to when being inspired? Who would you like to fashion your career after?

TG: I started playing music with my brother when I was around twelve. At that time the punk movement arrived on the West Coast with a fury. We naturally gravitated to it as it went hand-in-hand with skate ideology.

My brother and I went to see The Ramones in ’78; they played a free gig in front of the San Franciscan city hall. That experience changed everything! I wanted to be part of that scene.

AC: Tell us about the Bones Brigade – pro skateboard team – how did you hook up and what about that seminal video shot in SF? How old were you?

TG: The Brigades main guy, Stacy, approached my brother at the second San Francisco street style competition in Golden Gate Park.

My brother Tony told me that they really liked the way I skated and wanted me in but I didn’t believe him. They were major! Then I spoke with Stacy a bit later realized that the offer was real, so I joined.

The future primitive video – that was my “debut” so-to-speak. Stacy and his buddy came to SF for a day. I took them around The City to a bunch of different spots – various places I had been skating for years.

Back then, you didn’t have a year or even a month to film – it was maybe three days at best for a solo part. I wish I had a bit more time but that’s the way it was. I was one of the first to do that sort of thing and it was successful. Hopefully it opened some doors for the skater community.

AC: What is life like as a ‘Pro Skateboarder?’ Travel, shows, completions . . . what is the good and bad of this life?

TG: Being a pro skater was a dream job! You kidding me?! But it was also demanding. It beat the crap out of my body and I am in pain –  even now during this interview!

There is quite a bit of traveling but very little time to really experience any local culture. It was always on to the next event. Always trains, planes, autos, etc… on the constant move.

AC: Tell us about the 2013 annual Skateboarding Awards. When you won the Legend Award you mentioned that it seemed weird receiving an award for doing something 30 years ago.

TG: Actually I wasn’t into it. A couple of friends – Jim Thiebaud and Juilen stranger – convinced me that I sort of had to participate. I am not one to sit back and ruminate on “the good ole days” as-it-were. I’m still being creative and skating and trying to stay in the streets… that’s where life is happening.

AC: After success in skateboarding, you went into music. Tell us about your first bands. How is performing music different than performing as an athlete?

TG: I am still in skating! Me and Jim Thiebaud formed Real Skateboards 23 years ago! Still here, still doing it! Music isn’t my job, not yet anyway.

My first bands were just my brother and friends playing punk. I grew up playing bass. The guitar just happened out of necessity – just as being a solo musician.

We played all the local San Francisco punk clubs – the Mab, the On Broadway, Ruthies Inn, Tool and Die, etc. We played with similar bands such as Fear, Bad Brains, D.O.A., Social Distortion, Minor Threat and so on.

I don’t consider myself to be an athlete nor do I feel that skating is a performance for me. It’s part of life. Competitions were necessary at the time, so I learned how to play the game. I was decent at it.

Playing to an audience can be nerve wracking. Putting your soul on the line isn’t easy and people love to criticize and diminish others for what they do. It’s difficult.

AC: Your solo work is critically and commercially very successful. Tell us a little bit about each of your albums.

TG: Ha! I wouldn’t say successful by any means. Very few people actually pay for music anymore. The only way an indie artist can make any sort of income is to license work. Definitely not commercially successful. All of my albums are written/recorded at the same time. I don’t make demos etc. It’s very spontaneous, raw and of-the-moment.

I don’t like flogging songs until they become lifeless; then you’re just going through the motions which loses the emotional impact of the tune.

AC: You incorporate jazz, hip hop, funk, and soul. What inspires you to write?

TG: Inspiration can come from anything/anywhere really. A solid deep groove or a melody, or perhaps just the tone of an instrument. It’s endless.

AC: What kind of music moves you?

TG: Honest music. I dig all genres, just has to be true.

AC: Where would you like to be musically?

TG: A better musician !!!!!

AC: In 2004 Rolling Stone Magazine named your third album (Soul Food Taqueria) number two on its ’2013 Best’ list. For those who haven’t heard that joint, why do you think it is so well received?

TG: I think someone was paid off! I have no idea why. Taqueria is not anything truly special. I think it was being marketed as a down tempo recording as well, but I am grateful.

AC: Tell us about your live performances and your recent tour of Europe. How did that go? How do you like touring and what are touring plans for the future?

TG: The tour had its up and downs; there have been some promotional miscues as well as venue choices. The next time I would reach out to local skate shops to help spread the word. Maybe even play shops, drop a hat, and hope it fills up! But I had a great time and would do it all again.

The next tour coming up is Japan. In the Fall we are doing nine cities and eleven gigs.

I usually don’t do extended tours like most bands. I don’t have label support, the funds, or a band, although I hire musicians on occasion. It’s quite difficult to make it happen. I love being on the road though.

AC: What are you working on now? Tell us about some of your new endorsements and how people can find out more about you.

TG: I just finished an album for the Japanese label named Rush that I work with – relearning the tunes and rehearsing the material – then the standard work – and hanging with my son.

AC: This is what Tommy writes about himself:

tg is old.
he likes to play music anywhere anytime.
he wishes he could still skate but his limbs are a mutinous lot. so he pushes to the beer store.
by day [ partial ] he sits in front of a monitor [at deluxe ] and makes …
sense of gonz’s artwork and puts it on skateboards for krooked.
art[mis]director.
by eve/night he tries to write/play/record/music.
[ artcorn ]
he likes to use glue stick and paper. like kindergartners.
he likes wood boxes.
his son diego is 6.5 and rules. and is smarter.
his knees hurt as he’s typing this.
he needs a beer. [ but it's too early. ]
he does lots of things. none worth mentioning but some people think
so. dumb and dumber.
he googles himself daily.
he has too many records and t shirts. most are in storage. oh and skateboards.
he likes bill withers and coltrane.
he likes joseph cornell and rupert garcia.
he needs to stop typing and get to work.
thnk you. tg

Edited By Susan Aceves

Producing the musical greats, Narada Michael Walden is a household name

Narada Michael Walden is a musical legend who has produced the likes of Aretha Franklin, Carlos Santana, George Michael, Mariah Carey and the late great Whitney Houston.
By Al Carlos Hernandez, Herald de Paris

Narada Michael Walden

     HOLLYWOOD – Music writer and producer Narada Michael Walden has produced many household names including: Aretha Franklin, Gladys Knight, Regina Belle, Steve Winwood, Ray Charles, Wynonna Judd, Whitney Houston, George Michael, Mariah Carey, Barbara Streisand, Lionel Ritchie, Elton John, Sting, Carlos Santana, Shanice Wilson, Tevin Campbell, Lisa Fischer, Stevie Wonder, Tom Jones, Jeff Beck and The Temptations. He was awarded Grammys for Producer of the Year in 1988, Album of the Year for the movie soundtrack The Bodyguard in 1993 and the R&B Song of the Year in 1985 for Aretha Franklin’s Freeway of Love. Billboard Magazine also named him one of the “Top Ten Producers with the Most Number One Hits.”
      As impressive a production and songwriting resume as Narada Michael Walden has assembled over the past thirty years, he has earned equal acclaim as a recording and performing artist in his own right. Beginning as a drummer with the pioneering Mahavishnu Orchestra (replacing Billy Cobham at 19 years old), Narada also toured with Jeff Beck, Tommy Bolin, and Weather Report. With eleven acclaimed solo albums of his own which produced dance hits such as I Shoulda Loved Ya, Divine Emotions, I Don’t Want Nobody Else to Dance With You along the way, he has achieved greatness in a wide range of sonic arenas. Walden’s music includes groundbreaking soundtrack work on such blockbuster films as The Bodyguard, Free Willy, Beverly Hills Cops II, 9 ½ Weeks and Stuart Little to the EMMY-winning One Moment In Time - the theme to the 1988 Olympic Games.

The Mahavishnu Orchestra

      In February 2012, Narada Michael Walden returned from a well received ten day stint of shows at the Blue Note in Tokyo and Nagoya, Japan to perform at the White House in an all-star band for President Obama’s “Red, White and Blues” concert with legends B.B. King, Buddy Guy, Mick Jagger, Trombone Shorty, Booker T Jones and more. Narada enlisted some amazing musicians and performers for his band on Thunder 2013including: Nikita Germaine (Stevie Wonder, Chaka Khan, James Taylor, and Patty Austin) on vocals, Frank Martin (Lady Gaga, Mary J. Blige, Madonna, Jennifer Hudson, John McLaughlin, Elton John and Bruce Springsteen) on keyboards, Angeline Saris (Gretchen Menn, Zepperella) on bass and vocals, Matthew Charles Heulitt (Zigaboo Modaliste, Salvador Santana, Megan Slankard, Eion Harrington) on guitars.
     Tarpan Records is pleased to announce the national release of Thunder 2013, a new full length album by Narada Michael Walden on September 17, 2013. This release features new songs that span rock, fusion, funk and even a ballad or two. This is the first worldwide official release by Narada Michael Walden on his new imprint, Tarpan Records. Narada enlisted some amazing musicians and performers for his band onThunder 2013 including: Nikita Germaine (Stevie Wonder, Chaka Khan, James Taylor, and Patty Austin) on vocals, Frank Martin (Lady Gaga, Mary J. Blige, Madonna, Jennifer Hudson, John McLaughlin, Elton John and Bruce Springsteen) on keyboards, Angeline Saris (Gretchen Menn, Zepperella) on bass and vocals, Matthew Charles Heulitt (Zigaboo Modaliste, Salvador Santana, Megan Slankard, Eion Harrington) on guitars. Thunder 2013 is a strong new direction from Narada Michael Walden, inspired by his recent successful two-year tour with the Jeff Beck Band. Narada returned home to finish this album and put together his band to tour on his own.
On September 24, 2013 the label will also release Narada Michael Walden’s Rising Sun, an instrumental EP that features Narada and his new band performing remakes of his greatest fusion hits.

      Herald de Paris Deputy Managing Editor Dr. Al Carlos Hernandez was truly honored to interact with this contemporary music icon and innovator.

AC: What kind of a family did you come from, where did you grow up and when did you decide to play the drums? What kind of music did you listen to as a child?
NMW: I come from a very cool family in Kalamazoo, Michigan. My dad was 18 and my mom was 19 when I was born. My dad wanted to be a drummer and my mom played some piano, but she loved music. She was a very sensitive person. For Christmas my whole thing at three years old, four years old, and five years old was getting Toyland drum sets - and the drumheads were made of paper! It would be orgasmic to try and play those drums on Christmas morning and the heads would break. And when the head would break, that would be it. So for me that was my early education in music. Also watching records spin on the record player and looking at the album jackets. My uncle played piano, my twin aunts played flute and clarinet - there was always music around. So I was just inundated by music being around of all sorts at a very early age.
      I listened to Patty Page’s Old Cape Cod, Johnny Mathis’ Chances Are, Nina Simone Live at Town Hall: Summer Time, Cotton Eyed Joe, I Love You Porgy. Porgy and Bess songs, their sound track from their Broadway play.Wake Up Little Susie Wake Up. Oh, and at ten year sold Fingertips, Stevie Wonder, Ray Charles . . . carried home in the snow . . . Live & in Person Ray Charles, Froggie Went a Courting . . . Little Richard’sLong Tall Sally on Specialty Records 78 set me on an electric current.

AC: At the age of 19 you replaced Billy Cobham with the legendary Mahavishnu Orchestra. How did that happen? What was is like, the first gig with cats of that caliber?
NMW: Actually I was 20 years old, and I don’t look at myself as replacing Billy Cobham. No one can replace Billy Cobham. Just keep that straight. I joined the second incarnation of the Mahavishnu Orchestra but no one can replace Billy Cobham. And how did it happen? I went to the Mahavishu Orchestra concert when Birds of Fire was out, in Hartford Connecticut, and saw Billy and John going at it. Maybe in 17, something like that.. a strange odd meter but playing really furious and fast. It went on so long I walked up to the edge of the stage and could see up in Mahavishnu’s eyes on the lip of the stage, his eyes were back in his head and he’s just playing for so long and so furious I realized it was beyond the mind, it wasn’t memorized, and it just completely touched my life to see that and the whole audience was just spellbound. So, afterwards I met John McLaughlin backstage and I said I want to be like you and I gave him my number and told him my name was Michael Walden and a week later he gave me a call and I was invited to come meet his guru Sri Chinmoy. I went to meet the guru and I became a disciple that night. I was 19 at that time and it changed my life. I went from being a bus boy in a restaurant to then about eight months later joining the Mahavishnu Orchestra.      
     The first gig would be in Buffalo New York. Michael Tilson Thomas was conducting and we played one song, a very long song called “Hymn to Him” and it was just glorious! I did not want to leave the stage! To play with Mahavshnnu, Ralphe Armstrong, Gail Moran Jean-Luc Ponte!! Unbelievable!! With a full orchestra!!! Then we went from that to rehearsing the album music for Apocalypse, then flying to London with George Martin, Beatles producer and Beatle engineer Geoff Emerick and again with Michael Tilson Thomas, this time with the London Symphony at Air Studios in 1974.

AC: What was the music scene like at that time? Who are some of the musicians of that period that inspired you?
NMW: Return to Forever, Chick Corea, Stanley Clark , Lenny White, Bill Connors. What Hendrix had done in 1970 Band of Gypsys, I have always loved that music! You see, jazz/rock/fusion was really hot… anything bubbling with jazz and fusion and rock mixed with Indian overtones was hot. So you know, hard to say, but I remember it being very alive, a very electric time, no holds barred…go for the walls type thing. Spirituality was rearing its head, it was cool for those on the cutting edge to be involved in meditation, be vegetarian, seeking higher consciousness . . . that was all fresh brewing. Carlos Santana was a disciple of the Guru Sri Chinmoy, so all that was going on.

AC: How did your jazz peers react when you started to do R&B, pop, and rock projects? What are some of the greatest songs you have ever written? NMW: My jazz peers, I think, were kind of thrown for a loop when I went more disco. But hell. I had to sell records to save my career. In 1978 Atlantic Records said they would drop me if I didn’t have a hit so I went to I Don’t Want Nobody Else to Dance With You and it saved my career. So at that point it was more important to save my career than to appease jazz critics.
      Greatest Songs? Freeway of Love, Who’s Zooming Who, How Will I Know. My whole first Garden of Love Light Album, my entire second album I Cry I Smile, the third albumAwakening, Dance of Life, Victory Confidence, Looking at You, Looking at Me, Divine Emotions… I got lots of music you see, for Angela Bofill, Sister Sledge, I am very proud of all that. I am very proud of being in music, period.

AC: Early on, you worked with Weather Report and enjoyed a serious reputation as a jazz drummer. Then you worked with Jeff Beck and you have recently toured with Beck - what is the connection with him and his style of music?
NWM: I never thought of myself as a jazz drummer. I come from more of a music and a rock background with a jazz understanding, but I mix it all up with the power of a heavy hitter that’s why my friends call me the original heavy hitter. So in playing with Weather Report on Black Market I brought my arranging skills, my drumming skills and my backbeat. See, Weather Report, they were at a time when they wanted that funk, they wanted that back beat, they didn’t want a jazz drummer, they wanted that pop, so I brought that pop to the jam called Black Market with the brilliant Chester Thompson and Joe says, “Will you join the band?” But I said that I wanted to go more rock after Mahavishnu Orchestra but that I know a bass player. So we brought Jaco Pastorious. Then Jaco auditioned on a song called Cannon Ball with me on drums. Joe trained Jaco by saying, “Don’t play that shit on my song, just play what I tell you to play,” and Jaco got put in the fire and became the Great Jaco Pastorious that we now know. But I never thought of myself as jazz drummer. I am a fusion, I do it all!
      Jeff Beck and I are like old brothers, old friends. I understand him and he understands me. Like he comes from the 60’s which I also love, like he came from the Yard Birds and he brought up Jimmy Page who went on to Led Zeppelin. He was around when Hendrix was blowing up in London and Jimi was tearing it up with Eric Clapton. Mick Jagger was all screaming and carrying on, so Jeff understands all that world. When Jeff hits the stage he wants to bring it on and I do too, so we are an excellent match for each other. And I will say this, where as Mahavishnu is a professor and can be very lofty, Jeff is a hot rod, screaming down the highway, just hot, and you know… we all can get it. I mean he can be very beautiful at moments, like in Nesson Dorma, those types of things, but in general he just brings it like a hot rod.

AC: You are very good friends with Quincy Jones. Can you tell us how he inspired you to become a producer?
NMW: I call Quincy “Borda” and he calls me “Chorda”. Borda means older brother, Chorda means younger brother. He gave me those names. He told me early on, “You could be a good producer and a good songwriter. Take more time to develop your production skills.” I said, “Okay.” He said that the world needs more producers, more helpers and I knew it was true. So after I had my early hits with Stacy Lattisaw and Angela Bofil, he said, “Keep doing it!” Then he asked me to produce my girl Patty Austin, then he brought Tevin Campbell. “You wanna produce Ray Charles?” I said “Sure,” and produced some stuff for Ray Charles; this is Quincy Jones, Quest Records. We became really good friends; we would hang out for hours and just talk shit. He’d tell me everything. Quincy’s mind is like an encyclopedia. He remembers walking down the street with Duke Ellington. He remembers hanging out with Stravinsky. He remembers hanging out with Picasso! I mean he’s got it all in his brain. And he went to Paris to study with Nadia Boulanger, the great classical arranger. He has all those kind of chops he brought to jazz and Frank Sinatra and Count Basie.

AC: What was your first hit as a producer and how did it feel?
NMW: My first hit as a producer was Stacy Lattisaw’s Let Me Be Your Angel. The whole album -that dynamite and jump to the beat for me. It was like heaven on earth hearing my music on the radio, and wow!! Stacy Lattisaw was 11 years old, a little girl. It was For Henry Allen at Cotillion Records. It was such a powerful record, a powerful sound. Then Clive Davis called me and asked, “How did you learn to make that music?” and I said, “I’m a student of music, a musician, that’s what I do,” and he said, “Do you wanna produce Dionne Warwick for me? Do you want to produce Aretha for me?” So that was how my door opened to Clive.

AC: Tell us about your working relationship with Clive Davis. He mentions you quite favorably in his book.
NMW: I’m glad I’m mentioned favorably in the book because I want to be on his favorable list. I want to be one of the people who can say we had more hits together than any people together in music history and I’m very proud of that. Clive is the kind of cat who runs the company but he needs a producer to go and take his visions, take his ideas or even the songs he may find and blow life into them. That’s what I did. That’s what I do. So I’m very proud of my work with Whitney Houston for Clive, I’m proud of everything I did for Aristae, like Kenny G. We sold more records than probably anything with Kenny G. Then I did Germaine Stewart for Clive’s We don’t Have to Take our Clothes off - a song composed by Preston Glass and myself. That’s a lot of music I did for Clive Davis.

AC: You are responsible for Whitney Houston’s seven number-one-in-a-row hits? Given the nature of the new music business, do you think this could happen again?
NMW: Well thank you very much for Whitney’s success. I think that everything in life keeps changing, that nothing remains the same. It either goes up or it goes down and we have certainly been on a bit of a downward spiral recently. But we are going to head back up again and I’m going to help it come back up again with the advent of Tarpan Records and president Steffen Franz, Kimrea, Jim Reitzel, David Frazer, JoeL Angelo Margolis and our staff here finding new talent and new ways to get the music out again. So that’s my hope to really bring quality and class, great beauty and depth and hit records to the top ten.

AC: You were devastated at Whitney’s passing. Did you ever succumb to the pressure of fame and fortune? Does privilege diminish artistry?
NMW: I think you are born a great artist. Whitney Houston was born a great artist. I think our great artists are born with a great gift. I keep thinking, looking at Jimi Hendrix looking at me around the corner here on the wall…see he was born that way. “Jimi” his dad would say, “you sweep the floor” when he was seven or eight years old. And Jimi would clean the room, but then he starts playing the broom like a guitar and there’s straw all over the floor. Father says, “I told you to sweep!” and Jimi says, “I did dad, but then I was playing the broom!” He was born that way. People are born that way. Then you get teachers and coaches to help you refine that talent. You know Carl Lewis, he needs a coach who can teach him how to run that fast, how to jump that far every time. But his natural talent is natural talent.
      God blessed me early on. I had my little dose of doing LSD and it opened my eyes to spirituality and so I’m very blessed that God opened my eyes to spirituality. When Guru’s call came through Mahavishnu John McLaughlin, I went the meditation prayer way, not the drug way, cause I knew the drug way would take you out eventually. But through prayer and meditation you make your inner life stronger. And you can lean upon that and that’s why I have been able to accomplish and still be here now, fresh as a rose.

AC: What has kept you healthy, growing and functional?  
NMW: Spirituality and love of God because I know that all of this is a gift from God. Music is a gift from God and I look at it as such. I want to be able to say that when I die and God says to me, “Narada, did you do what you were supposed to do?” “Yes I did Lord and I had a ball doing it.” “You sure did,” the Lord will say, “I watched you every step of the way and you were having fun.”

AC: How has winning awards affected you?
NMW: Winning awards opened my eyes to a whole new stratosphere of feelings. Before you win a Grammy you think, “Well, you know, it’s kind of cool.” But when you win one, it does change you. It’s like saying, “Yeah, I won’t change when I get a whole bunch of money.” But you do change when you get a whole bunch of money because now you got to watch a whole bunch of money, decide what you’re going to do with a whole bunch of money, who you going to take care of with a whole bunch of money, so it does change things.
     Not in a bad way, just as an eye opener. When I won my first Grammy for Freeway of Love, Aretha Franklin’s first platinum seller! Lord! What it felt like when I went backstage and Quincy Jones is shaking my hand and hugging me. There’s Michael Jackson, there’s Sinead O’Connor walking around, all kind of folks backstage saying congratulations. There’s Jeffrey Cohen, my great writer, so happy. So it does change you for the better. I believe in accomplishment and congratulations on accomplishment. It makes you a better person.

AC: How did you get into movie soundtrack work? What is the up and down side of that sort of thing?
NMW: Easy, the phone rang and someone said, “Would you make us a smash out of 9 and ½ Weeks?” or “Would you make smash out of License to Kill for James Bond?” There’s only up side to it. The up side is to challenge yourself to see how vast your imagination can be to make a hit out of a title License to Kill and the other up side is when you hear it and see it in a movie house, when the credits are rolling. It’s just overcoming to hear your music in those types of things. It’s all good, there’s no down side, and it’s all good. I want to do many, many more movie soundtracks and in fact, I want to direct movies. I want to bring to life to the screen: the Louis Armstrong story, the Stevie Wonder story; there are so many great stories to be told. And then put the music to those. That’s what I want my life be fulfilled with, not just the music half but also the visual.

AC: In the beginning of this story I have included the who’s who of artists that you have worked with. Is there anyone left who you haven’t been able to work with?  
NMW: Yeah, I’d love to work with Prince. He and I are friends. I hung out with him when he was cutting Morris Day with The Time Gigolos get Lonely Too. You know it would be nice to work with him because we are both cut from the same cloth. I’m from Michigan and he’s from Minneapolis. He loves Hendrix, he loves rock, he loves funk, he loves disco, and he loves Joni Mitchell. He’s like I am. We both love an eclectic blend of music where we take all those worlds and spin it together in our own brew. So it would be fun to work with him because he gets it. I would have liked to have worked with Michael Jackson but he passed before we had a chance to work together. Joni Mitchell’s still around - I love her. My girl, Laura Nyro’s passed, I world have liked to work with her more. Sting; let’s get a smash on him. Bono, Beyonce, GagaI . . . I always say don’t block a blessing. Who ever wants to come, let them all come.

AC: I understand President Obama is a huge fan and that you have done some things for the White House. How does that make you feel? What kind of White House things have you done?
NMW: Great! The president is awesome. When I was there, I took my mother there to meet him. My mom almost fainted. He said, “That’s your mom?” I said, “Yes,” and he said, “Well I got to hug and kiss your mom.” He bends over, hugs her and she almost fainted. It’s so important! Michelle is gorgeous, tall, thin, black dress, black high heels looking just incredible! So for me it was one of the best moments of my life to play in front of him with, you know, with BB King The Thrill is Gone, who’s played the White House over 20 times. Buddy Guy . . . Jeff Beck’s there, Mick Jagger. Oh that was wonderful! I love the president. I am a real fan of our president and there is nothing I wouldn’t do to help . . . play there more often and do more things with the president.
      At the very end of Bill Clinton’s era I played at the White House as Stevie Wonder’s guest on our Christmas song I Love You More. It was a Special Olympics gathering in a tent outside the White House that the Shriver’s were putting on and Bill Clinton came on stage and hugged and kissed everybody. And Stevie! For those of you who don’t know, there’s talent! There’s genius! And there’s Stevie Wonder. Oh and there’s Ray Charles too! They both live in that rarified air. They can’t see, so God said, “I’ll give you something extra.” They got something more!

AC: Tell us about your brand new album Thunder 2013. I’m told it’s inspired by your recent collation with Jeff Beck.
NMW: Yeah, it’s inspired by my touring with Jeff. Jeff and I got out there, we hit it so hard with the rock and the blues and I saw how people can just open up their hearts to the blues. And Jeff… just … Jeff plays that stuff! I got really inspired, reactivating my love for what I knew Jimi Hendrix does and we actually played Little Wing with Jeff, Jimi’s song. I was singing that and playing. So all that comes back to me again. Thunder’s like my own version of how I would do my own blues/rock soul/jazz thing now. And Rising Sun is like revisiting some of my early jazz stuff now. My next album could be dance again, but I like doing homage to different periods in my life.

AC: How do you feel about touring? Why do you still do it? What kind of venues do you prefer? What has been the audience reaction? Are they young, old?
NMW: I love touring because it brings out the best in me. You know producing a record can bring the best out over a long term, but walking on a stage and having to do something that is going to make people go wow or scream or applaud is a whole other special talent. Playing the Albert Hall with Jeff and playing Madison Square Garden were highlights. I like the big halls. I like the big joints. I like to think, “Can I rock the person that’s way up at the top of the very tier? Way, way up there! Can I get him?” and then I look in the spotlights and I see Mother Mary come down, or I’ll pray Jimi comes down, or I’ll pray Mitch Mitchell comes down, or Santa Claus even. That inspires my live show. That only happens on the stage, not in the studio. That’s why I like touring.
      Everybody comes. Young and old. Like Carlos says, “We don’t leave anybody out!”

AC: You have some heavy hitters in your new band. Tell us about the musicians, what is the direction of the music, and what is your highest hope for this project?
NMW: My highest hope is musical liberation, where we can just fly high and be free. On keyboards is Frank Martin, my old veteran who’s played with me since I first moved to San Francisco in 78’ - I Should Loved You Days. On bass is a newcomer who I met at my house when she was only 13 years old. She was with her high school band. Angel Funk Angeline Saris! She’s a bad ass on the bass, funky chick. And on guitar is Matthew Charles Heulitt, an up and comer, a new cat who can play all the styles I love and can burn it and kick it hard. There’s Nikita Germaine to sing when I want Whitney stuff and Aretha stuff and our new sound. I have a great, tight, small powerful band.

AC: I understand that there is an instrumental EP being released at the end of this month as well.
NMW: Rising Sun, the four compositions that I did earlier in my life. We re-cut them with this new band so we can play them for our live shows and people can enjoy them again. I think a lot of my early stuff. People kind of forget about the early stuff so I just want to cut them again and keep things alive. Some of that stuff is way ahead of its time

AC: Would you characterize the music fusion, R&B, rock, or are you in a position to transcend traditional categories at this stage in your legacy?
NMW: I have always been able to transcend categories, even as a youngster, because I love music so much that I never bought into names and categories. I never understood that. Something was either good or bad.

AC: You still tour and just came back from Japan - do you see your music as global? Do other countries esteem the type of thing you do more than folks in the USA?
NMW: I think the world market place is more open-minded generally than America. America’s this place where we invent the music, blues, jazz, funk, it comes from America, but the rest of the world is more open to appreciating it. And this is what I love about the rest of the world.

AC: I was told by Linda Ronstadt that there is no music business anymore – the whole model has changed because of new media. Is that true, based on your experience?
NMW: Yeah - not that there is no music business – there is a music business; it’s just that it’s changed. I mean in the sense of how you get your music and how you get your music heard and how you make a living with it. But people still want music and cherish music. When I’m out touring with Jeff, every hall we played was packed. They want the experience. They want to be shake, rattled, and rolled and feel something. If I hadn’t done that tour with Jeff, I might be sitting here thinking people don’t care about music any more. But they do; they want it! We just got to give it to them. You got to find people that will help you give it to them. Where are the promoters who will stand up and build with you, growing with you?

AC: What do you think of shows like The Voice and American Idol? Do they find real talent? Why are you not a judge on this type of programming?
NMW: I would judge if they would ask me. Some of these people are narrow-minded and think they want household names for their judging - more so than a good judge. I would be an excellent judge, because that’s what I do, I put together vocals in the studios for the greatest singers of all time. But even when I let them know I’d like to do it, I don’t get a return phone call..
These shows are double-edged swords. On one hand, they can give exposure to great talent. Kelly Clarkson was great, Carrie Underwood was great and my other chick, Jennifer Hudson, was great even though she came in second. They do give exposure, but the bad thing is that to get the exposure on the things that you’ve got to do to be noted are so over the top, that it become less musical. What you’ve got to do to win the damn thing is be so over the top that often times the song is lost

AC: In which musical directions would you would like to move? Who are some of the newer musicians you listen to?
NMW: Classical! I am working with an opera singer named Hope Briggs. I saw her when she played a black nun in the Sound of Music, singing Climb Every Mountain. I got her in to cut that and I’m going to put some dub step to it and do an aria with her and another thing that Barry Manilow wrote called One Voice - I’m composing new pieces. I love all forms of music.
      Justin Timberlake’s got a hot new sound, I like that. He’s been around for awhile but his new album is hot. I like Miley Cyrus’s music. I know people are in arms about her performance but she has good songs. I’m a student of music. I learn from the music. All music. And that’s why I try to keep my mind open, to not close my mind and become old. I want to stay young and fresh and with it. Daft Punk with my man Pharrell. Pharrell is always hot! I am glad to see my man Nile Rogers back on the scene with Daft Punk and Pharrell. That makes me happy. Greg Porter, he’s good too, and I like Katy Perry. I like that Robin Thicke was able to be inspired by Marvin Gaye on Blurred Lines, again with Pharrell. That’s definitely Marvin Gaye. But see, Marvin’s always hot. You wanna have a hit, rip Marvin.

AC: When you look back, what would you like your musical legacy to be? What impact do you think you have made on music since the 70′s?
NMW: Well, God’s blessed me in that I’ve been able to hit music from different sides of the fence. I started out in jazz/rock/fusion doing high Mahavishnu Orchestra. I mean I may never play that high again. I hope to, but playing with John McLaughlin is a completely different planet, and those who have done it will attest to what I am saying. The man’s phenomenal! To work with Joe Zawinul of Weather Report? God, I am so happy I did that! I worked with Tommy Bolin before he passed. Now I can say I worked a lot with Jeff, who I love.
     There are a lot of great things that I am proud of . . . working with Ray Gomez and Will Lee and David Sanchez. And then going over to working on the pop side of things with all the great diva vocalists with Gladys Knight, Patty Labelle, Whitney, Aretha, Mariah, Barbara Streisand and Grace Slick, of all people! I’m just proud I’ve crossed so many genres that I think my legacy is that I’m boundless, a music lover. If you’ve got it, I can work with you. If Merl Haggard’s up here, we can do a smash on Merl Haggard. Who ever it is, I don’t care. If you’ve got some talent, bring it! I’m ready for you!!

AC: What kind of advice would you give to the tens of thousands of young musicians who want to be as successful as you have been?
NMW: Wash your hands, take care of yourselves, be safe, and slow things down. It doesn’t happen over night. Practice, enjoy practicing, enjoy writing your songs, and enjoy doing what you do. Like Lou Rawls said, “It’s supposed to be fun.” Keep it fun. Always take time to be courteous and kind to people because all people appreciate someone who’s nice. Nobody wants to be around the most talented cat who’s a jerk, so be nice! And be consistent. It may not happen the first year, the second year or fourth year . . . it may happen the fifth year. It may happen the sixth or seventh year. So that’s the test of how bad you want something . . . that you can hang in there and stay inspired with your love of God and your gift.

AC: Aside from music, are there still some things in life you haven’t accomplished yet? Do you have a bucket list?
NMW: I wouldn’t do it at this stage of my life, but when I watch the cats fly in the sky like birds in the bird suits . . . if I was a younger, younger person, I would have liked to have done something like that. It looks like something I could easily do, fly in a bird suit. But I’m glad I didn’t, and I’m not doing it now because I’ve got too much to live for. But I coulda easily done that.
      Earlier in my life I would have liked to have been an astronaut. But now in my life, I want to do movies. That’s my next thing. I want to have a company big enough to do wonderful things in the world. That’s my wish.

NARADA MICHAEL WALDEN FOUNDATION

Edited by Susan Acives

Latina co-stars in NBC's Grimm

Deep, mysterious and dignified: Our interview with Bertila Damas
By Al Carlos Hernandez on May 7, 2013

     HOLLYWOOD (Herald de Paris) – Berlita Damas is a multi-faceted actor and business woman. She is co-starring on NBC’s Grimm as a mysterious seer of the future, which I find ironic since she is also well known for her Vulcan and Borg characters in Star Trek.
     Born in Cuba, Ms. Damas grew up in NY and Miami and began acting in her youth. She won numerous awards in her junior high school years while participating in the National Forensics League Dramatic Interpretation competitions.
     Damas began her formal professional work in Miami working in Spanish-speaking theater. She worked eight shows a week for $35.00 while also attending college. With the help and grace of a college friend, she was able to attain an audition and be accepted to the Circle in the Square Professional Workshop, which she attended in NYC.
     At Circle she met Terry Hayden who took her to the Actors’ Studio. She was introduced to the work of the Actors’ Studio and to Lee Strasberg where she remained a guest at the Studio until Lee’s death. She eventually met Stella Adler and studied with her as an advanced student. She found herself in Stella’s acclaimed Script Analysis classes for two years.
     Bertila has worked in both the NYC Broadway/off-Broadway and the regional theater scene. She played “Juliet” inRomeo and Juliet for Joseph Papp’s NYSF on Broadway, directed by Estelle Parsons. She considers the job on Broadway with Joe Papp & Estelle Parsons to have been the breakthrough that got the agent/casting/producer world to notice. That breakthrough eventually would bring her to LA.
     On international Spanish television Bertila is known for her role as the villainous Marta on Angelica Mi Vida for Telemundo. She has been in dozens of commercials and voice-overs in both Spanish and English. Most notably she was the voice for Guess Jeans and starred in the award

winning Ariel commercials during the 80′s. Damas has received critical acclaim for her roles in film, television and in theater, most notably as “Rachel” in the film Mi Vida Loca (directed by Alison Anders) and in Electricidad as “Clemencia” at the Mark Taper Forum.
     Bertila has served on the SAG board of directors (2010 – 2012), on the SAG AFTRA Board (2012 -2013) and as the legacy SAG and new SAG AFTRA National co-chair of the Ethnic Employment Opportunities Committee (2010 -2013).
     Herald de Paris Deputy Managing Editor Dr. Al Carlos Hernandez was enchanted to spend some time with Ms. Damas:

AC: What kind of family did you come from? Did your parents encourage the arts? What kind of TV, films and music inspired you as a kid?

BD: I came from a very unconventional family in so many ways. My mother was a single parent and a very free spirit. At the time of the Cuban revolution, my mother was 21 years old with three young children and she was faced with an enormous choice: whether to leave my father in Cuba or stay and raise us in an atmosphere of fear. She courageously packed us up and left, taking us with her to exile and freedom. We first settled in NY and later on in Miami.
     My mother is an American, originally from Puerto Rico and NY. My mother’s motto growing up was, “If you do not have love, compassion and gratitude, you have nothing.” We grew as we watched her grow and watched her struggle to maintain food on the table and educate us. My mother wanted to be a flamenco dancer but unfortunately life did not offer up that opportunity.
     My favorite time growing up were the years we watched as she went from a long haired hippie beauty to a liberated lady with chic short hair and wearing suits. That memory still makes me smile and she still makes me laugh with her absolutely irreverent attitude towards all of life. I would say that my mom, Maria Damas, has lived and lives her life with the spirit of an artist.
     I also spent time growing up with my Cuban grandmother whom I am named for. She was a fanatic for movies and I saw every Spanish film and all the Mexican films from El Cine de Oro. I saw everything from Marisol, Sara Montiel to Cantinflas and oh how crazy she was for Sean Connery and the James Bond series. I think movies really helped her pass the time in the difficult first years in the USA after the revolution.

AC:  Did they encourage the arts?

BD: They were both graced with beauty and a love of dance, music, fashion, film and just life, you know? Some very spirited ladies! Both of them influenced me greatly. In addition I grew up with two very loving and supportive siblings, my sister Nancy and my brother Francisco, whom we lost when he was 22 years old. I loved to make them laugh and put on little shows for them. My family in general was supportive; aunts, uncles and cousins were all supportive.
     I’m told that I was a precocious child who early on expressed a desire to be a ballet dancer. I was quite the chatterbox from an early age (nothing has changed LOL) and I sought out all kinds of ways to express myself . My mother says that if I found a book you could not drag me away until I finished it. I do remember, even in elementary school, seeking out all the dance, drama and languages classes.
     Oh, my greatest distraction has always been anything that is adventurous, fun and involves any kind of partying. I have never lived strangled by the need to act. I live my life with the need to live fully, so if a trip to India comes up I take it. Yes, acting is for me very much like a vocation and still it is just a job – my life is made up of so much more and I intend to live it out loud and fully.

AC:  You are getting rave reviews on the character you have been playing on the series Grimm - especially the episode when you and David Barrera spoke Spanish. Tell us about Grimm, your character and some of the storylines.

BD: Oh! Well thank you! Working with David again was so delightful; he is a tremendous person. I loved working with Angela Alvarado, a beautiful human being. And Norberto Barba is fantastic as executive producer. All in all it has been such a lucky thing for me. I love (my character) Pilar! She is deep, mysterious and dignified. It was great that NBC and Norberto brought her back. I mean, where else should you go to sort yourself out than to a wise Latina? Juliette’s visits to Pilar have paid off and her memory is returning which I think will make fans very happy.
     I do hope to return in the third season. If the story pans out and they end up getting married, she will need Pilar’s consultation on a bride’s dress. On a serious note, I think Pilar is a very good fit in the show; she seems to be so spiritually wizened. I think it would be very interesting to see her interact in the Grimm world. For instance: at Rosalie’s herb shop with Monroe or meeting Nick? Well, we shall see…

AC: Because of the success of that one Grimm episode, do you think there will be more of some prime time bilingualism? How can the public be supportive of this type of effort?

BD: Yes, that Grimm episode was the highest rated show in its time slot that night and overall the second highest rating for a Grimm episode. I think if I was NBC then that would be something to note. You just cannot ignore the numbers.
     The public can express their opinion on Facebook, Twitter or write a letter to your networks and let them know that you want to see more of anything you like on TV. Each opinion does make a difference to the networks.
     I think there is a trend in the making with regard to bilingualism. There have been commercials airing that are bilingual already and I do think this is a trend that is going to catch on and continue. Bravo.

AC: What was your first acting experience like? Tell us about the awards in junior high. What were your acceptances speeches like?

BD: In the sixth grade I wrote and starred in a play all about baseball. Oh, I loved it! Particularly during rehearsals when we would hide behind the stage and play spin the bottle…so funny how one does not change…hmmm…
     Ah yes! Well, on my quest for artistic expression I met a wonderful teacher in junior high (seventh grade). Michele Warner was the debate coach and I had come to her recommended by the drama teacher Mrs. Arenas. I became part of the team as the person who did dramatic interpretations - which is basically a performance where one portrays two or more characters. Our Town and Anastasia were my favorite pieces. We had a champion team that competed with other high schools and I often placed in the top three of the competitions we participated in – so much fun! I think Ms. Warner was one of the early pioneers for Junior High School Forensics Competitions, which included ‘Dramatic Interpretation’ as one of the categories. I do not remember my acceptance speeches but I’m sure they were giddy moments. I do remember the joy of winning and I remember myself doing the work, the rehearsals with my teachers, the competition and the fun. I’m very grateful to that teacher, Ms. Warner; she greatly influenced me to pursue acting.

AC: You were on the forensic team. Are you a good debater? What was that like and why didn’t you choose law instead of acting?

BD: Well I was not a debater. I was the dramatic interpretation girl on the team, although I did consider law many years later when studying acting in NY. Looking for work as an actor was frustrating – I took a break and went to work as an assistant editor at MS Magazine. While I was there I contemplated going to law school. Fortunately for me life took a turn and there I was working in the theater. It is so much easier to play and party as an actor than going through law school.

AC: You started your professional career in Miami Spanish Theater doing eight shows for 35 dollars a week and you were going to college as well. Which is more valuable to you now as an LA actor: the acting or the college experience?

BD: Oh my, hard to split those up…BOTH. That theater taught me so much and in college I met my first husband, whom I am ever grateful to for his tremendous support of my work.

AC: Which college did you attend and was it worth the money?

BD: Back in the day when I went to college there were full grants available. I attended Miami Dade and later was accepted to the Circle in the Square Conservatory in NYC…ahh money…yes it was all worth it…back then the Conservatory was reasonable and my husband was kind and generous. I must give credit where credit is due. He was a huge part of my younger life.

AC: What led up to meeting with Lee Strasberg and the world famous Actors’ Studio? What was it like working with Lee and Stella Adler? Did having this training help you when you eventually moved to LA?

BD: A wonderful teacher, Terry Hayden, at Circle took me to the Actors’ Studio and I did not leave till Strasberg died. I spent two years there. Studying with Stella and Lee was the same; they were both tough as nails and had no room for laziness or bad work. They were also fair and full of praise when the work was good. I loved them both equally. And yes, I think that my training has made all the difference in being able to land work – wherever it has led me.

AC: Tell us about your experiences working on and off Broadway in the beginning. What are some of the pivotal things that affected your work, both good and bad?

BD: Oh my … I should just write a book! There were so many instances that were good, bad, ugly or fabulous!Everything you can imagine has been a part of my world as an actor: from sewing costumes for my first off Broadway show (in which I had the lead), to building sets. There have been beautiful and disastrous moments in acting like once forgetting the most famous speech in Romeo and Juliet on Broadway in front of 800 people. Having glamorous and not so glamorous photo shoots, glowing and not so glowing reviews, and bad agents who mess up deals or wonderful agents who then retire. Casting directors that love me or casting directors who bar me from getting a part, to producers or directors who want to sleep with me, to actors that love or hate me….oh my dear. And since I am a woman I remember most of it. Every moment I treasure deeply. It has been such a wonderful part of my life and all of it has made a difference.

AC: Where you the classic ‘starving actor?’ What jobs did you find to support yourself?

BD: Well, I have been working since I was a young person. I have had jobs since I was old enough to work: from working in a Dairy Barn store doling out milk cartons to shop girl to bartender. Growing up, it was necessary for my siblings and me to help out at home.
     When I met my husband in college things changed. There is a bit of a Cinderella story in that union. You see he was the heir to a great fortune and he only revealed this to me when he asked me to marry him after a year of dating. Of course I promptly broke up with him! Ah, the pride of youth. Eventually I allowed him back into my life and we married. Both of us went off to NY to continue to study and eventually work. That was a very magical time in my life. I lived a very different life than I did as a child. It was what some may call a very privileged lifestyle and oh so very different than anything I had ever known.

AC: I’m told you were “discovered” by an LA producer while working with Joe Papp and Estelle Parsons on Broadway and that he convinced you to come to LA. Sounds like a scene out of a movie. Is that how it played out?

BD: Oh no, no, no. Although, aren’t all our lives like beautiful epic films? However it was probably the single most important event in my young career that made people in the business want to meet me and eventually hire me. After all, if you work with Joe Papp and Estelle Parsons then people want to know what the heck makes you so special. LOL! Many of the cast members from that show went on to have very fulfilling and successful careers. Some of them still remain dear friends, including Estelle.

AC: How were things when you came to LA? What was the transition to TV like? Tell us which shows you did and some good memories.

BD: I always say that New York is the city where anonymity rules and LA is a town where you have to wake up and reinvent yourself every day. It was an interesting transition. I went from a place where straight talk abounds to a city where everyone was concerned with ‘feeling good.’ I was perplexed, to say the least. In the US market I started off in films. Actually I was cast out of NY for a movie originally called “Little Havana” that became “Fires Within.”
     While I was here filming I secured an agent and was promptly cast in two other films. It is sad when I think of that time, as I knew so little about LA and the business. I made many mistakes in choosing representation. I had some strange idea about being loyal to agents and managers. I really should have left that agency and moved on to one that was more film oriented. My move into TV was a bit by default and not something I had planned. No complaints. It has all turned as it has turned out and I have, all in all, been a fortunate soul.
     I have lovely memories from almost everything I have worked on; most recently shooting in Portland was delightful. What a fun cast and crew. I loved the city as well.
     Maybe the funniest memory is booking an episode of NYPD Blue in its first season and later finding out I would have to be completely naked and dead in a bathtub. Now that was something!

AC: Tell us about the feature film in which you co-starred with Dan Aykroyd.

BD: Actually on the IMDb.com it is listed as my first film and it is not, You know that IMDb.com is not completely accurate. Now working with Dan Ackroyd, Chevy Chase, Demi Moore, Jon Candy and Taylor Negron was simply an opportunity of a lifetime. I was working with one of my idols: Dan Ackroyd from Saturday Night Live. They were terrific and the work environment was amazing. It was (at the time) a very expensive film so we were really treated as you would imagine movie stars are treated. From the costume fittings to the makeup and cinematography it was all first class. Now if only the film had been as coveted. It did turn out to be a bit of a cult classic and I enjoyed every bit of it – who wouldn’t?

AC: I understand you used to shuttle back and forth to the East Coast. What made you settle down in LA twenty years ago? Do you still maintain a New York state of mind?

BD: Yes I did. I was bi-coastal for a few years before moving to LA and sometimes I think of doing that again. I have done so in smaller spurts – I just got back from five weeks in NYC and I did pursue auditioning. NYC is just the most exciting city in the world although Mumbai comes pretty close.
     Years ago I had some misguided notion that LA would be an easier town to live in. It was during the time I was divorcing prince charming and my career was just taking off here in LA so I stayed. I don’t really know if it has been any easier or not. I do like LA. And yes! I am always a New Yorker at heart - hard to get that out of my blood. I’m a pretty straight shooter and do not do well with BS - typical New Yorker.

AC: Tell us about the type of TV roles you were offered. Where you typecast early on? What kinds of roles did you want to have?

BD: I was fortunate to be involved in all kinds of casting situations. Did I get typecast? Yes, everyone in this biz gets typecast. And the typecasting has varied depending the time of my life, age, look, etc.
     What I always wanted to play - no matter if it was on stage or screen - was a truly great role. Whether the lead or not, I wanted a role that really was an intricate part of the storyline; one that I could get my chops into…and play the hell out of it.

AC: You did the first telenovella produced for the US market. What was that experience like? Do you think that the Spanish networks discriminate when it comes to using American Spanish-speaking actors and/or when doing their productions?

BD: Yes, and it was an opportunity to learn what working in front of a camera was all about. This is where I learned to hit my mark and let the camera find me. We worked in Puerto Rico, which was just gorgeous, and the people were sweet, professional and dedicated. It was a non-union environment so there were many things that were difficult to deal with and I found myself fighting hard for all kinds of things, from costumes to dressing rooms.
     Actors work with devices in their ears and learning your lines is not the practice so that was a surprise. The telenovela experience was eye opening; it was definitely a love-hate relationship. I loved the place, the people, and my part but at the same time I hated the way management treated the cast and crew.
     No, I do not think that Spanish networks discriminate. They have no problem hiring American Spanish-speaking actors from all over the country to work on commercials and in soap operas. They offer them less than optimal working conditions and non-union pay with no residuals. No, unfortunately, no problem at all.

AC: You said you wouldn’t mind working in Spanish media if they would go union. What does that mean?

BD: Exactly that. If they want to produce here in the USA or anywhere and want to use professional talent then honor that talent with the wages and working conditions that they deserve and with benefits negotiated by the union. I love working in Spanish - it is my favorite language and I would love to work on Spanish TV again if they were to hire me under a union contract as a professional SAG AFTRA actor.

AC: I am of the opinion that off-shore Spanish TV ignores local talent, that they carpetbaggers when it comes to providing meaningful programming, and their programming is inane and banal. What do you think?

BD: Yes, yes and yes…although I have seen some things that are really, really good. But not often enough. They have an extraordinary talent pool that they could use more wisely and I do think they underestimate the audience.

AC: You are well known for playing characters in the Star Trek series where you have the uncanny ability to channel the stillness of Spock. Please tell us about your experiences with the Star Trek characters.

BD: It is an extraordinary thing to be part of such a huge franchise with so many fans worldwide. My oh my! What a job! We arrived at 3:30am to start make up on the Borg character. I played Marika and we knew we would be there till 10pm or later only to return again at 3:30am. It took six hours of makeup for a Borg and about four hours for the Vulcan character I played, Sakonna. I love the place I hold in Star Trek lore.
   

I am the only actor to have played two of the most iconic Star Trek aliens: a Vulcan and a Borg. These were the longest hours I have ever worked with the most unbelievably talented actors and crews. I loved watching the original Star Trek and Spock so I must confess that I was a fan. This was a fantasy come true! Yep. I’m a geek at heart and proud of it.

AC: Wouldn’t you agree that a Vulcan Latina could easily run the planet?

BD: Hello? Any Latina could easily run the planet.

AC: You are an advocate for fair treatment of actors. You have served on the SAG Hollywood board of directors and were the national co-chair for the Sag Ethnic Employment Opportunities Committee. Tell us about your work in these areas. Are things changing for Latino actors?

BD: I have never been a Latino actor. I am an actor who happens to be Latina. I am extremely proud of my heritage but when I wanted to be an actor I never said, “Oh yeah, I am going to be a Latina actor.” No, that was not what I said. I said I wanted to be an actor, period. It was everyone else that named me a Latino actor. Everyone gets some title in this business and, as a matter of fact, in all of life. I all-too-often hear people trying to compartmentalize everyone and everything.
     Things are challenging for anyone who chooses to become an actor. And yes, Latino actors come up against unique situations but I have seen it the same, one way or another, for all actors. I think things are changing for Latino actors in many positive ways but I do wish the changes were faster and more significant. I would really like to see more Latino/as represented in the major lead roles on TV shows and in the movies.
     My work at the union involves everything from answering any member inquiries about anything they may have a question about, to dealing with the issues that come before us as a Board of Directors, to producing events that hopefully leave members inspired and a bit more enlightened about the work. Above all, I just want to serve the members and hopefully make their lives as actors a bit more rewarding. I want to help them make use of the benefits in the union to the utmost. It is a responsibility I take to heart and I pray that I am doing a good job.

AC: Why are you so pro-union when many of the new media based independent Latino film projects cannot afford to be union? Is it better to have a non-union project that tells a story that will not be told otherwise or a union project that cannot get funded?

BD: SAG AFTRA has a signatory contract that would work for almost any production at any rate. Some of our contracts have no signatory fees whatsoever. We even give producers deferred payment opportunities so they pay actors later on and only if the production makes money. Where in the world do you hear a thing like that? Try asking a plumber to come to your house, do the work and then pay him later. I don’t think so.
     Any story can be told and anyone can work with the union. It is really a matter of respect.
I loved the movie Beasts of the Southern Wild and I cringed when I saw those actors walking in all that water. And who knows what other safety hazards they faced?
     Do you really think he could not have made a signatory film. With his budget and with the amount of diversity he had, the signatory cost for him would have been almost negligible. Now the film gets nominated for an Oscar and, from what I know, he is no way bound to pay the actors any residuals or even any additional compensation further then whatever they may have received. And with all that amazing work, that pay could have been as little as a minimum hourly wage.
     If the movie ends up selling well in any market, the actors also lose out on an opportunity to join the union and, later on, they will not qualify for contributions to a health or pension plan.
     When you work any union job you are supporting something much bigger than just yourself. You are supporting an overall commitment to an environment of safety, fair treatment and compensation for all those who have ever put in an honest day’s work in any field.
     And just to clarify, this is my opinion and in no way represents what may be the opinion of SAG AFTRA - although I will say that they probably agree with me on this one.

AC: Tell us about your voice work on King of The Hill. Would you like to do more of that sort of thing? Is there a lack of Latino characters in animated programming as well?

BD: You know, my experience was lovely and I am very happy they hired me. I’m always happy to work. Now, that said, as far as I am concerned there is a lack of Latino characters in most all of the US media markets. Look, King of the Hill takes place in Texas . . . hello?! Enough said. To be fair, they do have a more diverse cast than most animated shows. The Simpsons? Family Guy? But are you going to tell me that in a working class neighborhood in Texas, Hank and Peggy do not have Latino neighbors as best friends? Really?
     I wish I knew the answer to why there is a lack of Latinos in all programming. Although now the networks are hustling it up and created entities like NBC Latino. Universal also already owns Telemundo. There is some deal going on with Univision and I-cannot-remember-what network, so at some level they are catching on to the immense purchasing power that the 16% of Americans that are Latinos have. Our presence could improve tenfold in all programming; we are an important, integral and powerful part of the American scene.

AC: You took a major break from the entertainment business. Why did you do that and what did you do while you were on sabbatical? What inspired you to return as a working actress?

BD: Earlier in this interview I said that my biggest distraction from acting work is the desire I have for adventure, fun and partying. So, I was at a party late one night/morning and, well, one cigarette after the next drink and all of a sudden some opportunities outside of acting presented themselves. So I went with it. Things were slow as an actor and a girl has got to keep herself in lingerie. I took on a new career and set off to be the sales director of a young company. I opened offices for them in Europe and I traveled the world for three years - from Switzerland to Hawaii to Mexico to India to Amsterdam and more. It was quite an extraordinary time and a lot of hard work. When I completed that job I left the company with a 2000% increase in sales. I did intermittently work as an actor. Eventually I missed acting more so I came back. So guess what? Now it has been another extraordinary time with lots of hard work and I miss the travel. Life really can be like a one big divine comedy.

AC: What kinds of things are you doing to get work? How has new media enhanced that process?

BD: What am I not doing to get work? So much of that is out of my hands. I am bustling along the best that I can. Ah . . . new media . . . well that does not affect me as much as it does the generations that are to follow. It makes things way more competitive because it has made talent way more accessible for the powers-that-be to find. I do think that if you are wise, creative and work like a banshee you can make new media an opportunity to open doors for you in ways that were not available years ago.
     One thing I like is being able to tape my audition at home and just send it in. It’s great not to have to pay a fortune for hundreds of headshots because I can just email you one. There are good and bad things about this new techno era. I do not envy the future. The younger generations may have a much more challenging road to hoe than my group had.

AC: What are you working on right now and how can people learn more about you?

BD: Oh so many union things that I wish I had more time to work on my own personal endeavors.
     I did just recently finish a project called Dependent’s Day plus a short I did with Carlos Bernard from 24 called My Father’s Daughter.
     Who knows, once we have successfully completed the SAG AFTRA participation tomorrow in the Los Angeles Asian Pacific Film Festival then I will be free to think about moi!
     Where can you learn more about me? Google? Hmmm, I am going to have to do something about that one… I should have a blog or something…ay dios… so much to be, to do, to have.

AC: What are some of the things you hope to accomplish as an artist? Any regrets?

BD: NO regrets. NO prisoners.

I still hope to write something interesting, maybe a novel, a script, something . . . I want to continue to work as actor on some worthy projects. I do like to think my life is the artwork and that I am shaping a life full of all the beauty, love and madness that I can take!

AC: When it is all said and done, what would you like your legacy to be and how would you like history to remember you?

BD: As someone who loved, was loved and lived her life fully. That I left it all here. And hopefully I’ll be remembered as someone who touched the lives of others in some meaningful way - that I made a difference. Oh! And of course that I was brilliant as an actress…hahahahahaha, oh yeah!

Edited by Susan Aceves