Rickey Smiley Morning Show
Comedian. Television host. Movie Star. Top-rated syndicated Radio Personality. Father of 6. For over 20 years. Rickey Smiley is one of the most beloved performers in American media, earning a reputation for delivering boundless laughter on-air, on-stage, and on-screen. Every morning, millions of Americans in nearly 60 cities listen to Rickey Smiley and his 6 outrageous cast members on “The Rickey Smiley Morning Show.” His interviews with major celebrities, social political awareness and trademark prank phone calls have made Smiley one of the most listened to radio personalities in history. Rickey Smiley’s down home southern humor, opting to use insight rather than vulgarity to get laughs, is at the core of his success. His audiences are treated to such original characters as “Mrs. Bernice Jenkins”, “Lil’ Darrl,” “Joe Willie” and “Beauford.” Smiley is known for his clean comedic style and his reputation to sell out venues across the country. To movie audiences, Smiley is best known for “All About The Benjamins” and “Friday After Next”. He’s recorded 8 best selling CDs including iTunes #1 Best Selling Comedy Album, “Rickey Smiley- Prank Calls Number 6”. On television he”s hosted BET’s “Open Casket Sharp” and “Comic View”, appeared on “Showtime At The Apollo,” “Uptown Comedy Club”, HBO’s “Def Comedy Jam”and “Snaps”. Smiley graduated from Alabama State University, became KBFB’s (Dallas) morning show personality in 2004, and soon moved his show to WHTA Atlanta. When not performing, Smiley is the ultimate devoted father, single-handedly raising 6 kids, the subject of a soon to be released parenting book. QUOTE: “Success is when preparation meets opportunity”
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New York– A New York Times writer today described the Apollo Theater exhibit titled “Ain’t Nothing Like The Real Thing”, ironically as an experience that “ain’t anything like the real thing”.
In the Back to the Apollo, Uptown’s Showbiz Incubator article, writer Edward Rothstein points out that while the exhibit provides interesting samples of history and heritage, there is less notice on Apollo traditions, crowd-performer interactions, and the phenomena around the community’s convergence to the theater after the deaths of Michael Jackson and James Brown.
Rothstein:
“Ain’t Nothing Like the Real Thing,” an exhibition about the Apollo Theater. The exhibition “Ain’t Nothing Like the Real Thing,” which opens on Tuesday at the Museum of the City of New York, really ain’t anything like the real thing, but that is not really its fault. The “real thing” in this case is almost beyond the reach of a museum show.
The real thing is suggested in the exhibition’s subtitle — “How the Apollo Theater Shaped American Entertainment” — because the music that was made at that relatively nondescript 1,500-seat theater on 125th Street in Harlem really did transform American popular-music culture in the 20th century. A habitat and an incubator, the Apollo has also been one of the few institutions in which black American musical culture was consistently nurtured over the course of 75 years.
So much is encompassed, though, that you can easily feel that the real thing is slipping away. One problem is that concerts at the Apollo were not systematically recorded, and while the exhibition offers a decade-by-decade film survey of performers, each contains just a few examples that are neither long enough nor deep enough to communicate much.
Read whole story at NYtimes.com
