Bill Adler

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Bill Adler
Born (1951-12-18) December 18, 1951 (age 63)
Brooklyn, New York
Occupation Journalist
Citizenship American
Alma mater University of Michigan
Genre Hip-Hop
Subject Music
Spouse Sara Moulton[1]
Children Sam and Ruth[1]

Bill Adler is an American music journalist and critic who specializes in hip-hop. Since the early 1980s he has promoted hip-hop in a variety of capacities, including as publicist, biographer, record label executive, museum consultant, art gallerist and curator, and documentary filmmaker. He may be best known for his tenure as director of publicity at Def Jam Recordings (1984–1990), the period of his career to which the critic Robert Christgau was referring when he described Adler as a "legendary publicist."[2]

Early life and education[edit]

William Adler, known as Bill, was born in Brooklyn, New York on December 18, 1951. His family moved to Detroit before he was five, and he lived in Michigan until 1976. He graduated from Southfield High School and later matriculated briefly at the University of Michigan.

Career[edit]

Detroit, Ann Arbor, and Boston[edit]

Adler's first exposure to the music business came in the fall of 1969, when he was hired in the record department of a university bookstore. In 1972 he started to host a weekly free-form radio show on WCBN-FM, the University of Michigan's student station. In the summer of 1973 he began working at radio station WDET-FM, Detroit, as the board operator (and occasional substitute host) for Kenny Cox, a local jazz musician who hosted a weekly show called "Kaleidophone". Later that year, Adler began a three-year stint as contributing music editor for the Ann Arbor Sun,[3] a weekly underground newspaper edited by the poet and activist John Sinclair and published by David Fenton. A year later, Adler began reviewing records for Down Beat magazine.[4] In the spring of 1975, Adler was briefly a deejay at WABX, Detroit, a pioneering free-form radio station.

Adler moved to Boston in February 1976. He deejayed at radio station WBCN-FM throughout the spring of 1977 and freelanced articles about music to the Real Paper,[5] and High Times.[6] He was the staff pop music critic of the Boston Herald from April 1978 until April 1980.[7]

New York – Def Jam, Eyejammie Fine Arts Gallery, and Mouth Almighty Records[edit]

Adler moved to New York in July 1980. For the next several years he worked as a freelance writer on musical subjects for publications including the Village Voice,[8] Rolling Stone, People, and the Daily News. In 1984 Russell Simmons hired Adler as director of publicity for Rush Artist Management and Def Jam Recordings. During the next six years Adler worked closely with a variety of artists, including Run-DMC, Dr. Jeckyll & Mr. Hyde, the Beastie Boys, LL Cool J, Public Enemy, DJ Jazzy Jeff & the Fresh Prince and De La Soul.

Adler has written and taught extensively based on his experiences at Def Jam; in 1987 he wrote "Tougher Than Leather: The Authorized Biography of Run-DMC" (New American Library), described by the critic Harry Allen in the Village Voice as "hip-hop's first authorized biography and a definitive, insightful text."[9] The critic Jon Caramanica, reviewing the 2002 reissued version for Rolling Stone, suggested it "might well be the most comprehensive biography ever written about a pop act while it was still in its prime."[10] In the spring of 2006 Adler taught a course about Def Jam at New York University's Clive Davis Department of Recorded Music,[11] and in 2011 Adler and Dan Charnas co-authored Def Jam Recordings: The First 25 Years of the Last Great Record Label (Rizzoli).[12]

Adler was an early champion of hip-hop photography; in 1991 he wrote the text for "Rap: Portraits and Lyrics of a Generation of Black Rockers" (St. Martin's Press) showcasing the work of Janette Beckman. In 2003 he founded the Eyejammie Fine Arts Gallery, which was largely devoted to hip-hop photography.[13] During the gallery's five years of existence, Adler curated or co-curated one-man shows showcasing the work of photographers Michael Benabib, Al Pereira, Ricky Powell, Ernie Paniccioli, Harry Allen, and others. Group shows celebrated Run-DMC,[a][14] women in hiphop,[b][15] VP Records and dancehall reggae,[c][16]Southern hip-hop,[d][17] and ego trip Magazine.[e]

In 2004 Adler formed Eyejammie Press to publish “Frozade Moments,” a book of postcards featuring the street photography of Ricky Powell.[18] Gina Wang, writing for Mass Appeal magazine, praised the book as "a visual trip through a mismatched combination of celebs, knuckleheads, animals and NYC's indigenous subjects, all shot from Powell's gritty perspective."[19]

Adler's essay, "Who Shot Ya: A History of Hip-Hop Photography” was commissioned by the journalist Jeff Chang and published in Chang's "Total Chaos: The Art and Aesthetics of Hip-Hop” (Basic Civitas 2006). It was later republished in Wax Poetics magazine.[20]

In 1994 Adler and the poet Bob Holman co-founded NuYo Records, a record label devoted to the spoken word. Initially distributed by BMG, this venture was revived in 1996 as Mouth Almighty Records under the auspices of Mercury Records. Over the course of the next three years the label released 18 titles, including recordings by the Last Poets,[21] Allen Ginsberg,[22] Michele Serros,[23] and Sekou Sundiata,[24] two CDs of short fiction from The New Yorker magazine,[25] a two-CD set of readings of Edgar Allan Poe[26] produced by Hal Willner, and the soundtrack to The United States of Poetry,[27] a five-part PBS television special. In the summer of 1995, Adler and Holman and their associates on New York's spoken word scene were the subject of an article in The New Yorker by Henry Louis Gates Jr.[28]

Other activities[edit]

Adler has served as consultant to several museums, including Seattle's Experience Music Project (known today as the EMP Museum) and the Smithsonian Institution's National Museum of American History on the establishment of its hip-hop collection.[29]

In the fall of 2008, Adler and the artist Cey Adams co-edited DEFinition: the Art and Design of Hip-Hop (Collins Design), a book described by Adler himself as "a catalog for a [museum] exhibition that is waiting to happen."[30] "DEFinition" was praised by the critic Cinque Hicks as "a voracious and wide-ranging visual survey that makes the case that hip-hop's musical heritage is only part of the story."[31]

In partnership with Perry Films, Adler was the producer/writer of "And You Don't Stop: 30 Years of Hip-Hop," a five-part documentary film series that debuted on VH1 during the fall of 2004. Reviewing the series for the New York Times, television critic Virginia Heffernan wrote, "It may be the first monograph on this subject to position hip-hop confidently and specifically in the history of American music without having to make elementary arguments about its value or its significance."[32]

Adler's work as a hip-hop archivist commenced during his years at Rush/Def Jam. The Adler Archives—which includes sound recordings along with album cover art, books, films, videos, photographs, newspaper and magazine articles, publicity materials and other advertising—was acquired by Cornell University in 2013.[33]

An avid record collector, Adler is featured in Dust & Grooves: Adventures in Record Collecting (2014), a book published by photographer Eilon Paz.[34] He also plays a role in ’’Jingle Bell Rocks’’ a documentary film by Mitchell Kezin, released in 2013, devoted to collectors of Christmas music.[35]

References[edit]

Notes

  1. ^ Entitled "It's Like That: 20 Years of RUN-DMC-JMJ," the show ran from October 17, 2003, through January 2, 2004.
  2. ^ Entitled "Work It! Images of Women in Hip-Hop," the show ran from February 20 through March 27, 2004.
  3. ^ The show was titled "Riddim Driven: A 25th Birthday Salute to VP Records and Dancehall Reggae." The exhibit ran from September 10 through November 1, 2004.
  4. ^ Entitled "Adventures in the Dirty South", the show ran from September 15 through October 29, 2005.
  5. ^ Entitled "Made You Look ... Back: Ten Years of Ego Trip Photography," the show ran from July 16 through August 21, 2005.

Citations

  1. ^ a b Tannenbaum, Kiri. "Chef Sara Moulton - Sara's Weeknight Meals - Delish.com". Delish. Hearst Communications Inc. Retrieved August 21, 2013. 
  2. ^ "Total Chaos: The Art and Aesthetics of Hip-Hop", Rolling Stone, February 22, 2007.
  3. ^ "Still Swingin' Mingus". Ann Arbor Sun. July 12, 1974. p. 17. 
  4. ^ "Pharoah Sanders's "Love in Us All" and Gato Barbieri's "Chapter Three: Viva Emiliano Zapata," Down Beat". February 27, 1975. 
  5. ^ "St. Celia of Salsa", a review of Celia Cruz in concert, Real Paper, May 31, 1980.
  6. ^ Review of the Firesign Theatre's Forward into the Past, High Times, March 1977.
  7. ^ "Bootsy Collins lashes out at the conspiracy against funk". Boston Herald. August 24, 1979. 
  8. ^ "Backdating Etta James", Village Voice, August 27, 1980.
  9. ^ "Run Which Way?" Harry Allen, Village Voice, May 31, 1988.
  10. ^ Review of Tougher than Leather: The Rise of Run-DMC, by Jon Caramanica, Rolling Stone, April 17, 2003.
  11. ^ "Adler: Tisch School of the Arts at NYU". about.tisch.nyu.edu. Retrieved July 16, 2012. 
  12. ^ "Description of Def Jam Recordings". rizzoliusa.com. Rizzoli New York. Retrieved July 16, 2012. 
  13. ^ "Hip Hop Library – Analyzing The Universe Through A Hip Hop Filter: Eye Jammie Fine Arts Gallery". hiphoplibrary.blogspot.ca. November 14, 2007. Retrieved July 16, 2012. 
  14. ^ Reid, Shaheem (November 11, 2003). "Run-DMC: 20 Years Later, It's Still 'Like That' At New Photo Exhibit - Music, Celebrity, Artist News | MTV.com". mtv.com. Retrieved July 16, 2012. 
  15. ^ "Women in Hip-Hop Honored at Eyejammie Art Gallery", The Source/Daily Dose, February 20, 2004.
  16. ^ Review of the show by Nicolette Ramirez, TheNewYorkArtWorld.com, October 2004.
  17. ^ Review of the show by Tamara Palmer, Ozone magazine, November 2005.
  18. ^ “Frozade Moments: Classic Street Photography of Ricky Powell” as depicted and described on amazon.com, http://www.amazon.com/Frozade-Moments-Classic-Street-Photography/dp/0975366904/ref=sr_1_1?s=books&ie=UTF8&qid=1328050027&sr=1-1
  19. ^ "Frozade Moments," Gina Wang, Mass Appeal #31, January 2005.
  20. ^ See table of contents, Wax Poetics, Issue no. 25, http://www.waxpoetics.com/wax-poetics-magazine/wax-poetics-issue-25
  21. ^ "Time Has Come: Last Poets". amazon.com. Retrieved July 16, 2012. 
  22. ^ "The Ballad of the Skeletons: Allen Ginsberg". amazon.com. Retrieved July 16, 2012. 
  23. ^ "Amazon.com: Chicana Falsa: Michele Serros". amazon.com. Retrieved July 29, 2014. 
  24. ^ "Amazon.com: Blue Oneness of Dreams: Sekou Sundiata". amazon.com. Retrieved July 16, 2012. 
  25. ^ "The New Yorker Out Loud: Music". amazon.com. Retrieved July 16, 2012. 
  26. ^ "Closed on Account of Rabies: Poems and Tales of Edgar Allan Poe: Various Artists". amazon.com. Retrieved July 16, 2012. 
  27. ^ "The United States of Poetry". amazon.com. Retrieved February 9, 2012. 
  28. ^ Gates, Henry Louis (June 19, 1995). "Downtown Chronicles: Sudden Def". newyorker.com. The New Yorker (subscription required). Retrieved July 16, 2012. 
  29. ^ "Hip-Hop Comes to the Smithsonian". americanhistory.si.edu. National Museum of American History. February 28, 2006. Retrieved July 16, 2012. 
  30. ^ Adler, Bill (March 17, 2011). "Looking at Hip-Hop 1.0". moma.org. MoMA. Retrieved July 16, 2012. 
  31. ^ Hicks, Cinque (March 16, 2010). "Atlanta artists go off the wall with hip-hop design". clatl.com. Creative Loafing Atlanta. Retrieved July 16, 2012. 
  32. ^ Heffernan, Virginia (October 4, 2004). "Hip-Hop – Block Parties to Blockbusters – Review". The New York Times (New York City: NYTC). ISSN 0362-4331. Retrieved July 16, 2012. 
  33. ^ Guide to the Adler Hip-Hop Archive, http://rmc.library.cornell.edu/EAD/htmldocs/RMM08092.html
  34. ^ Paz, Eilon (2014. See p.226.). Dust & Grooves: Adventures in Record Collecting. USA: Dust & Grooves Publications.  Check date values in: |date= (help)
  35. ^ Credits for Jingle Bells Rocks! on imdb.com, www.imdb.com/title/tt3219462/fullcredits?ref_=tt_ov_st_sm