Baker

simple | Style
Skills:
Working knowledge of Microsoft Office Programs

Office management skills

le | Style
Effective oral communication skills

Working knowledge of most video post production software
including Final Cut

Familiar with analog video post production equipment

Capable of writing radio commercials and video treatments

Experience on both MAC and PC systems

Familiar with Photoshop, Corel Draw, InDesign and most
Design programs

kills
Basic web working knowledge of Dreamweaver and Front
Page


e


layout

real estate collateral

RSS
indesign | photoshop | illustrator
Bahamas Business Solutions | Nassau, Bahamas
Graphic Artist
Designed and created graphics to meet specific commercial/ promotional
needs
Prepared computer-generated illustrations of material according to instructions
outlined by client or supervisor
Communicated client ideas via print in a visual presentation
Photographed objects for graphic manipulation
Consulted with clients regarding layout design
Reviewed client produced layouts and suggested improvements as needed
Assisted in the copy center
Assisted with the preparation of presentation finishing


Multimedia Production Podomatic
Social Media Marketing
Blog Talk Radio
New Media Network
YouTube

Interactive Presentations
LiveStream
Social Media Marketing
Ustream

indesign | photoshop | illustrator resume@africaallah.com

2005 Mock Up

real estate collateral

Work for Hire


http://bit.ly/bSN4Pd
I believe holistically in the concept “that image is everything.”
As an artist my interpretation of life is based on research and
experience, be it my own or others around me. When relaying
information through creative channels I attempt to balance product
integrity with cultural influence and diversity.

On Site Advertising Solutions Sandy Springs, GA
Lead Graphic Artist
Used computer software to generate new images
Reviewed final layouts and suggested improvements as needed.
Conferred with clients to determine layout design.
Developed graphics and layouts for product illustrations, company logos,
presentations and websites.
Prepared illustrations or rough sketches of material (storyboards),
discussed them with clients and/or supervisors and making necessary
changes.
Wrote video and or design treatments.
Managed a team of two

Staples Lithonia, GA
Copy Center Associate
Operated high speed copiers
Provided basic desktop publishing solutions for corporate and small
business clients (i.e. fliers, business cards, brochures, etc.)
Assisted with the production and finishing of presentation material for
corporate and small business clients
Reviewed client produced design layouts and suggested style
improvements as needed

Urban Marketing
Fliers. Ads. Poster. Ecards

dira-
dio-


Multimedia blog talk radio | interactive listening

DIRadioCast

st
Dreamweaver : html | css

adio Ca
DIR RSS

Raw deal Live

Interactive Media

Raw deal Live
interviews | music reviews | listening sessions

Raw deal Live


diradiocast


RTWmagazine.com
publications
Word? Africa Allah begin_of_the_skype_highlighting end_of_the_
skype_highlighting is the Truth? Forget the additional “BS” you read in
those other magazines. I need not call names. See, I spit flames that
blaze tracks and my pen blazes facts.
This month is packed with sex appeal. We are going to taste the seductive
sound of R. Kelly’s Chocolate Factory and see what treats await us in the
demo box.
Before I put the lighter in the air and blaze this one for my people, I
must say that journalism is in danger. Have you read the March issue of
the Source - the self proclaimed voice of this generation? I don’t know
about you, but the Source stopped representing me a few years back.
The writing lacks creativity and style and the pictures are damn near
pornographic. Not to say that only the Source is exploiting our women, but
come on. If you are going to make a statement that Hip Hop is in danger
you need to look at your own house and ask why. How can you question
the state of Hip Hop when you create the mood? You (the Source) plaster
images of what Hip Hop is across the world and then get upset
when people embrace that concept. Think about it. The words we
write, the images we use and the ads that fund us are setting the
tone of Hip Hop. Further more, why is Hip Hop in danger? Is it
because a white guy with the soul of black folk is talented or is it
because someone within the establishment can’t sell an album if
he was giving it away?
While I agree that there are some things we need to address
in Hip Hop I feel that the motive behind the March issue of the
Source was suspect. We cannot address the issues of the art whose
without addressing the images, environments and stereotypes music transcends “BS.” While we may not agree with the artist or
we as consumers feed into. At the end of the day we (the media) understand his motivations, we still manage to become seduced by his
are to blame. We dictate what is hot and reinforce the destructive flair for music.
stereotypes. Do you think that the rise in homosexuality amongst
women in the last 8 years is coincidental? Think about all the ad Chocolate Factory is no TP2; however I predict at least five hot singles
campaigns with women embracing their womanhood. including two remixes and a crossover dancehall track. Chocolate
Factory is a musical aphrodisiac perfect for those romantic encounters
Damn, “y’all” killing my high! Let me light this red cinnamon candle, and baby making nights.
turn down the lights and cuddle up in front of the speakers. It’s
about time we fall into to a slumber of lyrical ecstasy. Placement is key in the success of any album an obviously R. Kelly
acknowledges this as well. The last two tracks “ Snake“ & “Who’s That”
on Chocolate Factory fall short of R. Kelly’s capabilities. “Snake“ which
R Kelly plays like a bootleg reggae rhythm has the potential to be the next
“Gimme da light”, but is spoiled by the whack lyrics of BET’s Rap City
Chocolate Factory Da Basement host, Big Tigger who undoubtedly freaks the flow. I feel
a mid summer remix release for this song with guest appearance by
Jive Records some prominent Dance Hall artist and Hip Hop’s Dancehall king, Busta
Rating: 4 Rhymes, that’s just my perdition. “Who’s That” with Terror Squad ruler
Fat Joe is an attempt to capture the same kind success that their 2002
summer hit “Thuggin” did, however the chemistry didn’t follow across the
board. “Who’s That” is weak an I’m quite sure it’s because they are trying
This has been one of the toughest too hard or Fat Joe feels pressured to produce a hit. In any event these
albums I have ever had to review two songs amongst other things are the reasons that I gave Chocolate
because of the standards that Factory a 4.
R. Kelly has created for himself. R. Kelly is an amazing artist with
reminisces of the classic Motown sound, 80’s soul and his own If it’s any consolation, this is an album you need to have in your
R&B thug style. Even in the midst of his legal battles, his last collection. There is no two ways about it - Chocolate Factory possesses
album “The Best of Both Worlds” with Roc–a-fella / Island Def Jam new millennium classics.
Group artist Jay-Z managed to go platinum after promotions were
dropped. No matter how you look at it, R. Kelly is a talented artist


DEMO BOX
Xcalibar (Nassau, Bahamas)
For a culture that is in danger there seems to be millions of
young people around the world that believe these streets will
emancipate them from their perspective hood lives.
This months demo has tracked through white sands from the
island of New Providence, in the capital of Nassau, Bahamas.
The 18-year-old native of the tropical paradise goes by the
name Xcalibar. Using the discipline of martial arts and the
creativeness of painting Xcalibar’s objective in Hip hop is to
paint a picture of the world as seen by his mutant eyes.
Xclibar’s island reality is based on street tales rather than our
spring break fantasies. For him the island life is just as real as
any USG. His vision of this reality stems from the mere fact that
crime is present in any country. There is no exemption from
crime for the tropics.

Luckily for Xcalibar, his discipline helped him access the streets
and use it’s tale as framework for his verbal art.
“Every crime has a true motive, more so than any of it’s usually
poverty, difference in opinions or the need for superiority
amongst peers,” states Xcalibar. His biography tells the story
of a passionate young man who only vision is to educate the
streets through his music.
SOCIAL MEDIA MARKETING
Unfortunately, I must have missed the lesson. The demo starts
off with a song called the introduction. The track plays like a
mellow Nirvana groove. The air is filled with dampness and a
darkness of life. Eagerly, you await the accompanying vocals
only to be disappointed. Xcalibar mounts the track like a virgin
on experience “coochie”.
Suddenly you are struggling to appreciate the rhythm that
follows underneath the verbal mistreatment. Finally the chorus
jumps in and saves the day bringing you up back up to speed
with the message. By this time you are just going through the
motion hoping that the melodiousness of the tempo will supply
you with that final nut.
In short the entire demo lacked lyrical poise. There was not
any real delivery, just recited lines. Lyric wise Xcalibar had
a few good moments that were over shadowed by his Tupac
obsession.

Rap is like a marriage of the souls. The beat and the rhymes
intertwine is a voyeuristic primitive mating sequence exhibited
on wax, cd’s and cassettes. Xcaliber’s demo was more like a
marriage in search of passion. The beat played like a vibrant
erotic bride begging to be fondled; while, he on the other hand
masturbated to the beat in his head ignoring the call of the
wild. There is some promise, however. Xcalibar has an ear for
sound. I must say that his production excites the erogener zone
simulating ones desire for more. If he can generate the same
type of eroticism with his flow he’ll be all right. I give him a year
in this prostitution ring we call Hip Hop. Trust me, in a year or
so he’ll be wearing out the track like Ludacris on Vigara


Fifty Cent
Get Rich or Die Trying
Shady Aftermath
3
There is a lot of hype in the streets. Everywhere you turn it’s
Fifty this and Fifty that. Damn, can he breath? Get off the
N-U-T-Z. I mean, is he really sizzling or is he just luke warm
with a tremendous buildup behind him? The way I see it his
older stuff was more impressive than his debut signals. Do
not get me wrong they are hot if you want to be gangster in
the club.

To analyze Fifty Cent’s music we must first take away the
drama, the beef, the propaganda and the media hype. What
separates him from the rest? Nothing really! He has a dis-
tinctive delivery and at times attempts to appeal to diverse
regional markets. It takes more than a unique flow and a
sassy click to separate the rapper from the hype.

Disappointingly enough I have heard hotter shit from Fifty
Cent on mix tapes. Not to say that “Get Rich or Die Trying”
is not worth listening to, it just falls short of its expectations.
I am certain it will sell units just on the hype alone. People may
even force themselves to believe for the moment that Fifty Cent
is the hottest producer on the block. The reality is our percep-
tions of Fifty have been dictated. Long after the buzz is gone
maybe one out of his four potential singles will remain fresh in
your mind.

Then there is the redundancy of the production. Fifty is from up
top. Why are there no gritty NYC beats on this album that are
reflective of who he is? Instead Dr. Dre saturates “Get Rich or
Die Trying” with production, like the album was titled “Another
Dre Day.” In fact there is nothing prolific about the rhymes. It is
just some regular street shit. His rhymes don’t evoke emotion
or cause you to pause, stop and rewind the tape. Trust me, in
five years no successful rapper will credit Fifty as their inspira-
tion to rhyme.
In short “Get Rich or Die Trying” generated a lot of excitement
feeding on the industry’s cry for new energy and escalated
drama. Unfortunately, the bite that we felt on the mix tapes did
not funnel into the project. Maybe Fifty was detracted by the
drama? Maybe he felt he didn’t have to fight to prove himself
anymore or maybe just maybe he became the sing song studio
duplicated gangsta that lives out his dreams of felonies on wax.
I can’t call it, but whatever the case, Fifty Cent's going to “Die
Trying to Get Rich” if this is all he has to offer. Do not take my
word for it - peep the CD or wait for the aftermath.


Crossing Over
Every month I hit you off with the truth as
told by Africa Allah. This month, along
with your usual critical break down, I have
managed to get an exclusive interview with
Reggae artist, Wayne Marshall.
Born, raised and living in Kingston, Jamaica,
23 year old Wayne Mitchell aka Wayne Mar-
shall refuses to trade in his dance hall roots
for American fame.
It is late afternoon in Atlanta’s upscale
Buckhead district. A producer for 400
South, Changez International and Jason
Skywalker, a local Atlanta Radio personality
and relative of Wayne Marshall accompany
me in the Marriott hotel room. It is a little
after 4 PM, Wayne Marshal is just polishing
off a box of Chinese take out dressed in a
red T-shirt with his face plastered across the
front, black Iceberg jeans and a pair of red
and white Air Force 1’s - we are briefly re-
acquainted by Mr. Skywalker. His attention,
however, is focused on the television. Vh1
is doing a segment on the late Jamaican /
Brooklyn Hip –Hop artist Christopher Wal-
lace aka Notorious BIG.

there. It's just a song of encouragement.
How convenient, the program on VH1 has already set the mood
for my interview with Wayne. It just so happens that our interview AA: What inspired you to become a performer?
revolves around the influence of the American music culture on
Jamaican Dancehall and it's mainstream success. Looking around WM: When I was a youth I used to like to show off in class and make
the small luxury hotel room it obvious the American play some role in my friend ‘dem laugh. I liked to sing. I never got picked first or second
this artist career. The question is how much? but I’d be picked. I was comfortable on stage and I loved the vibe I’d
get from the people.
My knowledge of Dancehall stems from the birth of it's American off
spring Hip – Hop. So I compiled a list of questions that would appeal
to Caribbean people in and around the United States that have been AA: How do you feel about reggae artist that leave Jamaica in an at-
exposed to the Hip – Hop culture. tempt to make it big in the States?
- Hide quoted text -
WM: it all depends. You have some that make and some that don’t.
You have some the get a real push and ‘dem don’t have what it takes
AA: When did Wayne Marshall break onto the reggae mainstream? to be a success. I respect anyone who gets their name in an interna-
tional circle. If that’s the road they choose that’s good for them. Maybe,
WM: I’ll say the break came when I did “When the Smoke Clears” that’s what they feel they have to do. If it works I’m happy.
with Bounty (Killa). I wrote the whole ah’ ‘dat song. I wrote his part
and I wrote my part. It smashed them in Jamaica and when we went
on tour he’d bring up on stage and it would be crazy tight. There AA: Do you feel that American success hampers the creativity of reg-
I knew I had broken into the mainstream. It allowed people to see gae artist and what compromises do Reggae artist have to make?
what I was doing.
WM: To an extend American success can hamper the success of Reg-
gae artist. It all depends on what that artist has in him. I don’t feel that
AA: What do you feel has been you biggest tune thus far? a good artist can be vulnerable when it comes to compromise. They
just have to know how to alter their style to still stay true to themselves
WM: On a solo vibe “Overcome”. Yeah, that’s the first thing that and their music. The more success you get the more experience you
comes to mind. I would say because of the positive message and get. With success you get confidence and leeway. It’s just a matter
what it represents, a better day a better tomorrow. Just overcoming of proving yourself. I don’t really think there are many compromises
trials and tribulations, which is 95% of what, Jamaicans face. You because whatever take you to a level where the world can notice you, I
know, t’ings not so stable. The crime rate is big and money is not feel like, it’s just the realness what you come with from in dance is what


you have to stick with on the mainstream. Yeah, you may have
to clean it up but you must do you.

AA: What are your views on major record labels controlling the
production and development of reggae artist?
WM: I think it not really the artists that have caused the prob-
lem. It is probably the labels ignorance to what reggae is and
how it should be brought across. Big companies don’t go after
the real raw talent. They go after the buzz.

AA: Do you feel that it is necessary to attempt some level to
American mainstream notoriety in order to be a successful
reggae artist?
WM: a career comes in stages and you can stay on the same
level forever. If you’re doing your thing and you impress your
AFRICA ALLAH
people eventually you will be seen.

AA: Do you feel that in trying to reach the hip- hop market you
are in some way selling out your culture?
WM: Just knowing that hip –hop is an offspring of Dancehall I
feel like can just do my t’ing and be successful. If I am called
to do track with a Jay-z or someone ‘dem ‘nawh call me fee’ do
hip –hop them want Wayne Marshall to do dancehall. I’m gone
do dancehall ‘cause that’s what I do, dancehall.

AA: What make and artist good vs. successful?
WM: you can be a good artist and not successful. Good art-
ists make music that people feel. Their music comes form the
heart. A successful artist many just be a buzz artist. I good
artist has longevity.

DOWNLOAD HERE AA: As a Caribbean artist how do you stay true to your art and
culture while at the same time capturing a world audience?
WM: Just do you. Whatever is real to you do it. Do what you
feel is right to succeed.


resume@africaallah.com | 347.274-8729


Baker

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