iHeart Radio’s Rising Star, Alex Jacke Takes on Music Industry Full Force as Emerging Artist

Photo courtesy of Alexjacke.com

Photo courtesy of Alexjacke.com

With only two EP’s to his name, emerging recording artist and songwriter, Alex Jacke’s soothing vocals, enticing lyrics, charm and rapidly growing fan base are enough to give R&B veteran, Trey Songz and newcomer, Travis Garland a run for their money. The summer 2012 release of his first EP, DFM ,trailed by its sequel, DFM Deluxe shortly thereafter, has captured the hearts of listeners worldwide. It is no wonder Jacke has earned a spot as a finalist in Macy’s iHeart Radio Rising Star contest. But, behind the angelic falsetto and sensual lyrics, is the story of a man who allowed nothing and no one to stand in the way of his music reaching the world; not school, not his parents and certainly not the mainstream music industry. During our exclusive conversation, Jacke speaks openly about his decision to leave Morehouse College to pursue music full time, what inspired DFM andDFM Deluxe and what lies in store for his career in the near future.

Visit my blog on the Huffington Post to read the full interview with Alex Jacke.


Essence Magazine Exclusive: Robin Thicke on Loving Black Women, Interracial Dating and Pleasing Paula

I ran across Essence Magazine’s 2011 interview with R&B singer Robin Thicke during which he discusses his love of black women–more so, his wife, actress Paula Patton, being understood as an R&B artist, and his predominantly black female fan base. Check it out. It’s a great read!

ESSENCE.com: Being that your music defines romance, how does it feel to know that people are getting married and making babies to your music all the time?
ROBIN THICKE: To be a part of your biggest days — you know your child being conceived or born, or you walking down the aisle — there’s really nothing sweeter. That’s the truth. It’s actually the best thing. It’s nice if you can make someone drop it like it’s hot, or pop a bottle. But we’re always dropping it and popping it. What I realize about the difference between me and my peers — you know, Chris Brown and Drizzy Drake and all my musical peers — is that they haven’t been with the same woman for 18 years and I’ve been with a Black woman for 18 years. I’ve never dated a White woman. Don’t want to. I’ve never been on a date with a White woman. When you have that relationship and that means the most to you — you know I can’t live without that woman, she is my muse, my best friend, and my creative partner. I didn’t have a great relationship with my mom and she didn’t have a great relationship with her dad and we became that for each other.

ESSENCE: If someone saw you whispering in Paula’s ear, what would you probably be saying?
THICKE: I can’t wait to get you home and love you up for two to three hours. I like to try to get her into double-digit orgasms as much as possible. It doesn’t happen all the time, but when I’ve got my mojo and my swag, it happens. Every few months it’s just like bam — repeated. Repeated! I like her to just be going crazy in the bedroom.

ESSENCE: What is Paula’s sexiest quality?
THICKE: It’s her intelligence and her strength. I’ve never met a stronger person who stands by their will and their moral values. She is such an amazing human being. Ever since I met her and we were 16 years old and she was the president of the Black student union and I was just a silly White boy who didn’t understand or have compassion.

I had no animosity, but I just didn’t understand the Black experience in America and how different it is — and most White people can’t. You can’t understand it until you are with somebody every day and you have a child that you know is Black, you then understand that, wow, what a different experience Black people and in particular Black women have to go through.

I have a song on my new album called, “I Don’t Know How It Feels to Be You,” and she and I were in the middle of an argument and she said, “Robin, no matter how hard you try, or how compassionate you are, you’ll never know what it’s like to be a Black woman.” So I got up and I wrote this song in five minutes. The lyrics are: “I don’t know how it feels to be you, though I try my best to understand what you’re going through, I don’t know how it feels to be you. I can’t walk in your shoes. But, I’m trying baby. You know how much I love you.”

ESSENCE: Do you ever feel misunderstood?
THICKE: A lot of mainstream magazines, like SPIN and Rolling Stone, they still don’t get me. They can’t figure out how a funny guy with a dad on a sitcom can have a 90 percent Black female audience. It’s never happened before. I didn’t plan it that way. I just love the music and I love my wife and she is a strong Black woman, so if my wife doesn’t like it, how can the other Black women like it? If my wife approves of the song, I’m doing it.

ESSENCE: The media often tells Black women that they’re better off dating White guys. What’s your response to that?
THICKE: I think that’s ridiculous. There are so many good Black men out there that are hard working  decent, and handsome, you know? To start that rumor is as bad as starting any other negative rumor. There are great Black men out there. There are only a few good White men — trust me. (Laughs) Good luck finding a good White man who understands your journey. I only have three White friends. I’ve got 20 Black male friends, who are all good men who take good care of their wives, and good care of their children. I know amazing Black men. Maybe the women have to take better care of their men. Maybe you’re being too stubborn. Maybe you’re not saying you’re sorry. You have to take good care of him, too. You have to give love to get love.

Spelman College Senior Finds Her Passion in Film

Hope Harris Facebook Image

Hope Harris
Facebook Image

Check out my 2011 article featured in the Hufington Post Black Voices Series about up and coming actress Hope Harris. You may also visit the link below for my bio and other writing samples on the Hufington Post  http://www.huffingtonpost.com/jordan-harris

Hope Harris is making her way to the 595 North Event Venue and Lounge — in the heart of Atlanta — for the SESAC Strip showcase. She is going to see her friend, Aaron Alexander — son of record executive and producer, L.A. Reid — perform and to network with industry professionals. But first she has to finish a 12-page research paper on the dynamics of comedy for her theater class.

It’s difficult for Hope to stay focused while her phone is constantly vibrating with text messages from her friends who are awaiting her arrival, and from her mother who is making sure that Hope is properly prepared for the event: Does she have something to wear, are her eyebrows done and does she have enough copies of her resume to give to all of the important people at the party? This is a daily conversation between Hope and her mother, and is what makes Hope’s college experience slightly different from the norm.

Hope dreams of becoming an A-list Hollywood actress. She has dedicated the past four years to building her reputation as a serious and promising professional in the television and film industries.

When asked if graduate school was in the near future, the Spelman College senior leaned back in her chair and chuckled. “I’m not the grad school type of gal,” Hope says playfully. She is dressed casually in a purple and pink striped sweater, a pair of jeans, a toboggan and Chuck Taylor sneakers.

“It’s been a push to get through these last four years,” she continues in a more serious tone. “I’ve had such a unique experience because I’ve been working professionally in my career path while attending school. I’m usually not even here that often.”

In fact, Hope travels to Los Angeles to take acting classes every chance she gets. Last summer Hope participated in a three-week intensive acting program with the Lee Strasberg Theater and Film Institute in Los Angeles. She was one of three Americans selected for the program.

“The amount that I learned in the three weeks this summer was greater than all that I’ve learned in the past 11 years of acting. I can literally say that, hands down. And I usually don’t like giving that much credit to a resource,” Hope says.

Hope will return to the Lee Strasberg Institute as a full-time student in September. She plans to start out with the one-year program and will later decide whether to complete an additional year.

Hope’s growing success did not come quickly. She has spent years learning and developing her craft. Hope realized her passion for acting when she was only 10 years-old. She signed her first contract with an agent at age 16.

“I came home one day from soccer practice — I was heavy in athletics at that time — and had an Irish accent that I just did not come out of for about two years,” Hope recalls. “I literally developed it. I saw it on television and started watching all movies with it and started reading all of my books in an accent. I created a whole entire character. My parents were like, OK, either she’s crazy or she’s talented.”

Hope’s parents acknowledged their daughter’s talent and later enrolled her in a performing arts middle school where she studied theater and dance.

“I took my first theater class and fell in love. I was lucky because I literally had the best theater teacher you could possibly have for your first time. A couple of years later, she actually left the school to become one of the top extras casting directors in New Mexico,” Hope says.

New Mexico is one of the premier locations for film. Hope — an Albuquerque native — took full advantage of her exposure to the film industry when she was growing up.

“By the time I was 16 or 17, there were nonstop television shows and films being shot out there. I was on film sets every other day,” Hope says.

Hope was merely observing and learning from the sidelines. She was not fully prepared to be in front of the camera just yet. She opted to take more time to master the art of acting before jumping into the professional industry too quickly.

“I could have been a child actor because I could do it so easily. But acting is not just about portraying another character. It’s about becoming another individual. You have to dedicate time to evaluate yourself. You have to dedicate time to break down how you think, speak, walk and blink,” Hope says.

Hope did more than sharpen her acting skills. She familiarized herself with other aspects of film such as casting and production.

She is the first assistant director of the AU Cypher, a student-run documentary about conscious hip hop that is currently in production.

“The documentary consists of cyphers and interviews with professors within the Atlanta University Center that have a really big impact on hip hop at large,” Hope says. “It’s really crazy and amazing because we never expected to have so many influential hip hop power players here teaching.”

Hope’s unbreakable focus on acting and production is beneficial for the future of her career, but makes the social aspect of her college experience that much more challenging. She has to make a conscious effort to protect her image, even when the cameras are off.

“Of course, I’ve partied with my friends. But it’s hard because my peers don’t always understand and people don’t always know not to take a picture of me with a cup in my hand. Even if I wasn’t doing anything wrong, it can come off as a bad thing,” Hope says.

Even so, Hope does not regret her decision to juggle college with her acting career.

“I wanted to have an educational background because it can bring you ahead of the game. If you have an in-depth understanding of what you can do with your craft, then you can speak for yourself and do for yourself. There is a lot that I can do for myself now because I know how to manage everything and how to manage a career,” Hope says.

Hope is not completely independent. She still looks to her family for guidance and support. She describes her mother as the rock of her career since she comes from a family of artists and knows exactly what is necessary for Hope’s career. She credits her father for making her fall in love with everything performance related.

Hope’s sister works closely with her agent to ensure that Hope is doing enough work so that she is prepared when she steps into the industry full time.

“My sister is someone who can keep track of everything that is going on with me and contact my agent if things need to be relayed to her from me when I don’t have the time to contact her myself.”

Hope makes her sister’s job an easy one to do. She recently starred in The Fall Out, a student-directed play about sexual identity and HIV, and how it affects the lives of those who come in contact with it.

Hope played Kimberly, a college freshman whom Hope describes as having the story book ideal of finding the perfect boyfriend and having the best friends in the world. However, Kimberly’s innocent idea of college becomes distorted when she realizes her attraction for her best friend.

“It’s really a big factor that happens every day in the Atlanta University Center. There’s a lot of sexual struggle or a lot of people finding their sexuality, while others are doing the same but are not exactly going the same route,” Hope says. “So, they end up selling each other out and it becomes this kind of really negative environment. That is what we wanted to bring to the forefront through Kimberly.”

Hope wants to bring these issues to the forefront in commercial films as well.

“I realize that the task I’m taking on is much greater than just being one of billions of actors. There are not a lot of African American or Hispanic actors in the forefront and I’m representing both,” Hope says. “I plan on defying all of the stereotypes and social constructs that are holding us back as far as our acting goes and as far as our roles go. I plan on stepping outside of all of that.

“That is why I’m building all of these genuine relationships with all of these people so that they can see me, being a Spelman woman, and being from New Mexico. All of that definitely defies all that you would think is true about an African American actress and her having to only do black movies or movies specifically for black people.”

Hope’s great intentions do not go unnoticed. Her hard work and enthusiasm as a participant in the Creative Minds in Cannes Film Program last summer caught the attention of Creative Minds owner, Rob Ford.

She is very passionate, hungry and willing to go after her dreams. She has this passion that I respect and appreciate because it reminds me of myself when I was on her path,” Ford speaks of Hope. “She is a very lively, bright, talented young lady that I took an interest in. I was impressed with the fact that she was in LA on her own and didn’t come to hang out or have a good time. I was like, wow, this girl is serious.

Ford encourages Hope to hold on to her passion and to follow her heart.

“She will be tested. She will meet people who will say ‘I can do this for you,’ and she will have to decide who is real and who is not. She is going to see people having success faster than her and having a greater lifestyle. She is going to have to compromise, at least mentally, like, ‘Do I really want to waiver to make some money and get on the fast track?'” Ford says. “In times of doubt and confusion, Hope will have to reach within herself and say, ‘Let’s think about this. What do I want and how will I get it?’ As long as she uses this sort of decision-making, she will be fine.”

S&A’s Sergio Sits Down with Fruitvale Station’s Ryan Coogler and Michael B. Jordan

While our country is enveloped in confusion over the jury’s verdict in the case of Trayvon Martin, we must be reminded that this is not the first time the life of an innocent black man was unjustly taken and the offender walked away scott free. There was the aquittal of Bryant and Milam in the Emmitt Till case, as well as the two year sentencing of Bart police officer, Johannes Mehserle for what the court ruled as the involuntary manslaughter of Oscar Grant in 2009. A July 11 interview with Fruitvale Station writer and director, Ryan Coogler and star Michael B. Jordan reiterates what some people refuse to acknowledge regarding the sentencing of Mehserle and the aquittal of Zimmerman in the case of Trayvon Martin, that race is still a factor in our justice system and our country.

Here is Coogler’s and Jordan’s interview with S&A’s Sergio:

SERGIO: There’s a video of the both of you right after the screening of Fruitvale Station at the Cannes Film Festival being overwhelmed by the standing ovation from the audience in attendance. What was that experience like? It’s maybe the dream of every filmmaker.

COOGLER: It’s impossible to express in words. In terms of the film, I can talk about myself as a filmmaker. In terms of the film, it was something that affected me very deeply. I’m not a member of Oscar’s family, but I have close insight into that community because we were the same age and we come from roughly the same place.

Coogler and Jordan received a standing ovation  at the viewing of Fruitvale Station at this year's Cannes Film Festival. Google Image

Coogler and Jordan received a standing ovation at the viewing of Fruitvale Station at this year’s Cannes Film Festival.
Google Image

When I saw that footage (of Grant being shot) I saw myself, like a lot of people did in that community. I guess that’s where the film came from seeing that footage and thinking what if one of my friends was right next to me if that happened? What would my family go through if I didn’t make it back? Who would be the most affected by that? And that’s a question that I, unfortunately, ask myself all the time. I have a lot of friends who have been killed or who are incarcerated. So it started from that place. And it’s something that’s affected where I’m from, intensely. I wanted to make a project that was specific to the Bay Area and specific to that environment.

But I also wanted to make it about relationships that people could basically recognize. Because we are all human beings and as human beings we have more in common than we don’t. Though it matters where you’re at, you know what I mean? People know what it’s like to have a mom, to have a girlfriend or a boyfriend or a spouse. You know what it’s like to be struggling with something internally. And people know what it’s like to be young and dealing with certain things.

So I wanted to make it true to the circumstances. But I hope that someone could watch it that’s not from there, who’s not from the Bay Area, who’s not black and recognize some of those relationships and see themselves and be emotionally affected by the film. I didn’t really know if it would work or not. So to be at Cannes and have the film play for them was really gratifying. I was humbled by it.

SERGIO: But some will look at Fruitvale Station and say you show the problems, but you don’t give the answer or a solution on how to solve this problem involving young black men.

COOGLER: I think somebody who is looking for a film for something like that, I’m not sure why they would do that. First of all, if I had a solution to the problem I wouldn’t be making movies [laughs]. I don’t know if it’s art’s job to show where the solutions are. I think it’s art’s job to make you think.

SERGIO: But you have to admit your film is controversial from the viewpoint of Oscar Grant in the film. I’ve talked to people who, like me, have seen the film and some say it’s such a tragedy young black man trying to turn his life around whose life was cut short. But there are others who say Grant in your film is this aimless guy with a severe anger management problem, and what happened to him he brought on himself. What do you say about that?

JORDAN: Imagine if this was a documentary, all right? It would have been force fed. I don’t think a lot of people would have watched it. I don’t think it would have had the reach that this film has the potential of having because everything in the film is up for interpretation. It’s like hiding the medicine in the food in a way. You make people feel emotions and make them think things that they never really think about in any real way. And it has such an impact on people they began to say to themselves: “Why do I feel that way?” “Why do I empathize with someone who I’ve never met before?”

Someone that I might have judged only by face value because he looks like me and they see people like me in the media who’s been branded a criminal, a hoodlum or a thug? Why do I feel for this man? Because he’s a human being and has things which everyone has in common which is what Ryan was touching on. He has a great relationship with his daughters, his girlfriend, his mother, his best friends, doing the day to day routine. Everyone knows what it’s like to have a late bill or rent that’s due or how is he going to put food on the table for his family? How is he going to provide for his family? So you see how people can start to see a little of themselves in a project can spark people into thinking how can I treat this person like a real person, like a real human? How can I stop this senseless violence? The value of life goes up a little bit when someone can see something of themselves in another person.

And I think the same thing from people, who are from homogenous areas, all white areas, what is the contact they have with young African American males? They don’t live around them. They don’t see them in their lives. They’re not seeing a human being. They’re seeing a shadow of an archetype, a stereotype.

COOGLER: I think a lot of the source of how people are treated depends on the fact if someone recognizes them as a human being or not, you know what I mean? There are people who read an article about Oscar and said “Oh my God that’s rough!” and went on about their day. You can see that video of Oscar getting shot and say “Oh my God that’s rough!” and went on about their day. Why is it that when you don’t have intimate contact with somebody and can read about something happening to them and it has no effect on you? I work in juvenile hall and I see gang related conflicts all the time, I’ve seen somebody kill somebody just because they’re from another street. And when you talk to people who are involved in conflicts like that and you ask them about the people on the other street they don’t see them as full human beings because they don’t come into intimate contact with them.

And I think the same thing from people, who are from homogenous areas, all white areas, what is the contact they have with young African American males? They don’t live around them. They don’t see them in their lives. The only time they see them is though what? The media, in the newspaper or in a music video. So they’re only seeing a shadow. They’re not seeing a human being. They’re seeing a shadow of an archetype, a stereotype. That’s what they’re seeing people as. So when they hear about these people getting killed they think: “Well they deserved it. Well that happened” . But when you recognize as a full human being, which is what these people are. then it’s different.

SERGIO: Well getting to that point one of the honest things about your film is that you don’t portray Grant as some kind of saint which would have been too easy and too obvious. He’s a very flawed person, someone who is immature in many ways with a major anger issues. But there are some people who will see that and say “Well, he brought it on himself. If he had behaved rationally he wouldn’t have gotten shot.” But other people will feel just the opposite. It’s a sort of d…d…

COOGLER: Dichotomy

SERGIO Right! That’s was I going to say. It’s that the right word? I’m not sure. (laughs)

COOGLER: (Laughs) Yeah I saw it about to come out your month. (laughs) I think that’s the right word.

SERGIO: Well we’ll go with that. What do you say about that?

COOGLER It’s funny because Michael and I were just talking about this. I would ask those people who have that problem did he do anything that deserves the death penalty? That’s what I would ask him because he lost his life. Did he do anything that deserved him losing his life? That’s the question I would ask. And I would wait for their response.

 Now it’s a reality for some people that when you get apprehended by the police you have to act different than other people do because your life is at stake.

SERGIO: The answer is, of course, no.

COOGLER: Depends on who you talk to. There are people who will tell you that the answer is yes. There are people who will say that Treyvon deserved what he got. There are people who believe that. So I can’t change that person’s mind. So that’s how I will answer that question. I disagree with you, but tell me what he did that deserved him getting killed? And the reality of the situation is that different people have different circumstances that they’re living with.

For some people being 22 means I can do all kinds of drugs, I can experiment with all kinds of different things, run around with any crowd I feel like. I went to college with those people and their lives are never at stake.. But for other people being 22 means my life is at stake every time I step out the door of my house. Now it’s a reality for some people that when you get apprehended by the police you have to act different than other people do because your life is at stake. That is a reality for some people. But is that fair? Is it fair that certain people who look a certain way can’t do certain things or their life is at risk?

SERGIO: Which leads me to ask the burning question. Why is it that black people seem to be more angry when it’s a young black man killed by a white guy? I don’t hear those cries of outrage and calls for justice like for Oscar Grant or Treyvon Martin when it’s a young black man killed about another black man which is way more common. People just wring their hands and say “So sad. This is terrible.” I don’t see Al Sharpton or people out in the streets protesting or the constant media coverage. It’s as if when a black man is killed by a white guy, he’s somehow “more important”. Regardless of who killed the guy, the result is exactly the same.

I feel that the loss of life is the greatest tragedy no matter who is taking it. And until we treat every loss of life for the tragedy that it is, not only taking steps to hold ourselves accountable for that, but also taking steps to hold ourselves accountable for stopping it before it even happens, we are going to have major issues as a community.

JORDAN: I agree! I think that, I mean it’s so sad to even say it, just it’s like we’re just sitting back and watching them k

ill each other. Just ending each other off. It’s almost like it’s expected. Like they expect for us to kill each other off. If we don’t respect each other’s lives then how can we expect someone outside of our race not to kill us? We have been conditioned to react to these situations over time and it’s not right.

COOGLER: To be honest, Sergio, I think that black on black violence is the biggest human rights issue that African Americans have ever faced since slavery. It’s a major, major, major, major problem since the crack epidemic. And it’s kind of like a root from that. It’s funny, I read a statistic that since 1969 the most likely way for a young African American male to die is from gun violence. I don’t know if that statistic is right, but it seems right. I was born in 1986 and that’s biggest fear that I have today of being killed. And this is the sick reality for us is that I live every day of my life knowing that I was to be shot and killed that most likely it would be by someone who looks just like me. And chance if it wasn’t someone who looked like than then someone who was paid to protect me.

And I think that the loss of life, no matter who’s responsible for it, and I just made a film where a police officer took someone’s life who happened to be white. But I feel that the loss of life is the greatest tragedy no matter who is taking it. And until we treat every loss of life for the tragedy that it is, not only taking steps to hold ourselves accountable for that, but also taking steps to hold ourselves accountable for stopping it before it even happens, we are going to have major issues as a community.

Light of the Sun

My ears perk up every time I hear the refreshing melodies of Jill Scott’s fourth studio album “Light of the Sun.” The fact that each track admits “I’m aggressive, weak, bold and phenomenal, all at the same time” makes it clear to me that Miss Scott is at peace with her entire self. Scott’s radiance is simply irrepressible. In an interview with Ebony Magazine Scott commented,”I think it’s silly to be stingy with compliments. If you see someone and they strike you as beautiful in anyway, why not let them know?”  So, I must give credit where it is due. Miss Scott has always struck me as beautiful. But, with the current release of her self-revealing, emotion-filled album, she is looking more beautiful than ever these days. Not to mention her obvious 50-pound weight-loss and sassy hair chop, Jill Scott’s exuding happiness has managed to capture my attention and spark my admiration.

I found this amazing article from the New York Times, in which Jill Scott gives a rundown of her top trend choices. I’ve also included a few photos of Jill-inspired fashion items. Enjoy!

Scott in a top by Scoop, American Apparel Leggings and shoes by Guess. Photo from New York Times Fashion blog


I was in New York for a BET TV performance. The audience was so much fun: sweet and ready to party. We were cracking jokes the whole time.

It really helps the case to have a rapport with the audience. I typically have a lot of nerves and jitters. I had on a Nicole Miller raspberry and black minidress. It has this graphic print that looked ’80s but with a twist. When I look back on that decade, I feel like it really suits me. It was some of the best years of my life.

And I wore these black heels that wrap around the ankle. I love shoes that wrap around the ankle. They’re that half-classy, half-slutty look. I also had on fishnet stockings, not a full-on version like you’re walking the street but a small fishnet, and I wore an extra layer of sheer stockings underneath.

After, I headed to the hotel and changed into my favorite leggings. I got them from American Apparel, if I remember correctly. They’re gunmetal with purple splotches that almost glow in the dark. I wore this flowy charcoal silk and lace V-neck handkerchief creation on top and kept the same shoes on. I felt a little rocker girl.


BCBG High Waist Pencil Skirt

We went to see Sanaa Lathan in “Meet Vera Stark.” I had a date. My date and I were discussing beforehand what we were going to wear. I felt either rocker chic or a librarian. He said let’s do librarian. I’m crazy about these BCBG pencil skirts. They’re such a staple in my life. I have them in several colors. I ended up wearing one in a nutmeg color and I had on a sand-colored tank top with black zebra stripes. The top was fitted, you know, for support and shape. And I had on a little tan cardigan, these great BCBG gold wedges and gold jewelry. The play was amazing. Sanaa looked so stunning. It brought me back to my Broadway musical theater days.


After two weeks of travel, it was nice to have a few days that were all mine. I actually spent most of the day enjoying the hotel spa. It was fantastic. The tubs were deep and the rooms were sexy. Afterward, I lounged around in my Badgley Mischka caftan. I have a few caftans just for lounging purposes. When I want to feel free, it’s the closest thing to feeling naked without being naked. It’s made of this light ivory, gray and pale blue silk. I’m a fabric girl. It has to feel nice on the skin, so anything that is silk, a soft cotton or silk-cashmere.

Kinetic Platform heels by Guess


I met some friends for lunch and I also got a little shopping in. I went to Lord & Taylor, where they were having a sale. I had on a Rachel Pally print maxidress — I wanted to be in something that was easy to get in and out of in case I tried something on — a pair of L.A.M.B. brown platforms, these really large door-knocker earrings and my signature vintage Cazals. I love, love Cazals. I have two pairs. One pair I stole off my friend’s face. When I was younger I couldn’t afford them, and now when I put them on I feel fancy, like a rich lady.

Caftan Dress by Rachel Pally


Sunday was here before I knew it. Time to hit the road again and get my travel ensemble together. I like to be comfortable, but there also has to be an element of glamour in my look. So I wore an All Saints oversized cream crochet sweater — I’ve been feeling the neutrals lately — a pair of blue DKNY skinny jeans and Jimmy Choo high-top bejeweled sneakers. They’re silver and gold and surprisingly not over the top. I saw them in the Jimmy Choo store on Rodeo Drive and I just loved them. I didn’t even know they made sneakers. They’re like my Michael Jackson shoes.


Back to work: I had radio promos and then a meet-and-greet. I was feeling a little retro glam so I rocked this vintage wrap dress with a Pucci-esque print and a pair of Miu Miu denim wedges. I went for big accessories. LL Cool J’s wife does jewelry and she gave me this great pair of gold earrings in this oblong shape.


I was down in Baltimore to stop in on this radio station. I wore another BCBG pencil skirt, this one in beige, and this cream silk blouse with short sleeves. I also had on gold wedges and a tan fedora. I’ve really been enjoying fedoras lately, mostly because I don’t want to do my hair all the time.