Hollywood Dreams: Jenn Pinto

EMGWORLD SPENDS A MOMENT WITH A HOLLYWOOD NEWCOMER ON THE RISE

From the city that never sleeps to the city of angels, Jenn Pinto is wasting no time in making her mark in the industry.  EMGWorld goes one on one with ‘Brooklyn’s Finest’ as she discusses her first year transition from the Broadway stage to the bright lights of Hollywood.

Background: Professional Actress

From: Brooklyn, NY

EMGWorld: What gave you the belief that you could pursue a career as an actress? 

JP: Since I was a kid I loved performing.  My Dad always instilled in me anything is possible as long as you believe in yourself and have faith.

EMGWorld: What was it like to be bit by the acting bug at such a young age? 

JP: It was bitter sweet.  It’s great to start young because it builds character. This business can make you or break you. Sometimes at a young age when things are going great in your career you feel on top of the world. But when you are rejected it can take a toll on you. When you're a kid, your emotions are magnified. 

EMGWorld: For those who may not know, what are some projects you’ve been associated with? 

JP: I was the runner up on the VH1's acting competition Viva Hollywood and I’ve done several independent films that hit the film festival circuits. 

EMGWorld: If not for acting, what other career would you have pursued?

JP: Teacher.  I love kids. I think it’s one of the most rewarding professions. 

EMGWorld: Describe your transition during your first year in Hollywood? 

JP: Coming from NY, which is very fast paced and aggressive, I had to adjust to the laid back environment of LA. I studied, trained and worked on a lot of projects in NY so I could come to LA with something to show. I didn't want to be placed in a situation where they ask to see what I've done and I'm not ready to show it.  I was able to jump right into work mode out here.  

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Although I'm enjoying the calmness LA offers, you can’t get that NY hustle out of me.  I'm on overdrive out here. I can’t imagine being anywhere else right now.    --- Jenn Pinto, Hollywood Dreams 

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EMGWorld: What’s the craziest thing you’ve seen since you’ve moved here? 

JP: Hollywood is crazy in general. I think just seeing people lose themselves for the price of fame is what I always find crazy. You can’t pay me enough to lose myself. It’s easy to get caught up in the hype out here. So you have to be careful who and what you surround yourself with.

EMGWorld: You've experienced the success of being on the weekly TV reality show VH1’s Viva Hollywood! How was that experience?

JP: A NIGHTMARE…lol.  Don't get me wrong.  I thank God for the experience because I know every position I’m placed in is for a reason.  Reality TV is definitely not real.  You're placed in an environment that tests you mentally. I was hesitant to do a reality show, but I was pitched a show of quality to show Hollywood that next "big star.”  However, when I watched the show it was more like let’s take a bunch of Latino actors and make them look stupid on TV.   Granted, I was still able to showcase my talents so my runner up position did get me recognized to an extent. I learned from it, moved on and have done great things since. 

EMGWorld: Would you ever consider doing reality TV again if you were offered to?

JP: I'd never do another reality show again. I wouldn't recommend it to any serious actor in this business. The networks don't care about your image, only ratings. So if it means tainting your image for ratings they WILL do it. As a professional actor your image is very important. 

EMGWorld: Exactly how competitive is it to book a job in this industry? 

JP: I think it’s as competitive as you make it. I think if you come prepared mentally, physically, spiritually and really train and focus you can accomplish a lot in a short time. And one thing to remember is what’s meant for you is for you. Do your best and the rest is in God’s hands. 

EMGWorld: Give us a glimpse of what it’s like at a casting call.

JP: You walk in and sign your name in the sign-in sheet.  You wait to be called [to the audition room]. The audition room usually consists of one or two people (sometimes more), which are the casting director and the person reading lines with you. You are then asked to stand on your mark and state your name. Then you do your scene. 

EMGWorld: What happens after you’ve performed your scene?

JP: The casting director will either dismiss you with great feedback, no feedback, or they will give you direction and have you read it again. This isn't always a bad thing, it’s basically to see how well you take direction. Callbacks usually consist of a room with the writer, director and producers of the project. The important thing in auditions is to be yourself and have fun. Acting isn't about "acting" it’s about being. 

EMGWorld: People spend hundreds to thousands on photo shoots to get the perfect headshot? Honestly, how important are headshots?

JP: When I moved here I got new headshots and I loved them.  I submitted myself and my agent submitted me, but I hardly went out on auditions. I changed agencies and my agent tells me my headshots are pretty, but don’t show ME. He tested them out and submitted me… nothing.  He referred me to a photographer.  Since my new headshots I go out [on auditions] VERY often. 

EMGWorld: So having good headshots really does make an impact?

JP: The picture is the first thing a Casting Director looks at before making a decision if you physically fit the role they are casting for. That picture is who they want to see when you walk in that room.  The first step is getting in that room, then after its showcasing your talent. So the headshot is one of your tickets in that room.. 

EMGWorld: Is it possible to get great headshots without breaking your bank account?

JP: Yes! Do your research.  It’s out there trust me. Don't just get headshots done from your "friend" that’s a photographer.  You need headshots from a photographer who specializes in it. It’s a really important investment in your career. So don't always go the "favor" route to save money. Quality over quantity! 

EMGWorld: How important is it for an actor to be versatile in this business?

JP: Very! Train in different genres, comedy, drama, improv etc. Never limit yourself in the roles you can play. 

EMGWorld: In your own words, what would you say it takes to be a working actor in Hollywood? 

JP: Strong support system, drive, determination and most importantly faith in God. It’s a roller-coaster type of business so as long as you know everything will happen in God's timing, you're good. 

EMGWorld: How can EMGWorld fans connect with you?

JP: You can follow the #jennpintomovement on twitter @ jennpinto or on facebook at www.facebook.com/actressjennpinto.  For bookings contact Richie Walls at bookingjennpinto@gmail.com.

Stay tuned for Part 2 as Jenn Pinto speaks on the importance of versatility, actors unions, shady business, juggling a love life in the industry, current projects and more!!  

(Top photo courtesy of Greg James Photography)

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WHY WE DESERVE YOUR CLICK

You ask yourself, “Why should I check out EMGWorld’s Blackboard?”

Good question.  There are MILLIONS of websites out there.  Thousands of websites are out there to entertain you.  Hundreds of websites are out there to educate and inform you.  But ask yourself how many websites aim to deliver the best of both worlds to you?

Team EMG World encourages you to ask yourself:

How many websites out there don’t just talk about what’s going on in the industry, but also look to help you successfully make a transition into it? 

How many websites out there deliver a platform to those talented individuals with the potential to be the next stars in the industry? 

How many websites out there scour the market to provide you with the industry’s best kept secrets? 

How many websites offer the best content in film, television, music and more all in one package?

How many websites out there aim to give you quality articles over quantity?

How many websites out there value polished talent over the typical ‘commercially accepted?’

At EMG World, we believe there’s only one website that has it all:  “EMG World.”

Our goal is to deliver to you the best of both worlds in entertaining and informative industry content.  We aim to become your PRIMARY source for news related to the industry.  Our viewers deserve the best news the arts & entertainment field has to offer on how to make it in this business.  EMG World wants to be the site to serve it to YOU.

Keep CLICKING, CHECKING and CONNECTING with us….

WHAT IS EMG WORLD

EMG World is an inspirational blogging experience designed for the urban arts and entertainment community.  Our mission is to provide viewers with the best in entertaining and informative industry content.  From updates on the latest in television, film, music and more, Team EMG World aims to deliver content of the highest quality.

Founded in 2008, our organization spent years researching the industry in an effort to construct the most resourceful website for the urban arts and entertainment community.  We aim to be a consistent source in supplying content that is considered of most value to our audience. 

As our content continues to evolve, we also intend to evolve with building upon one of our primary missions: to promote TALENT.

EMG World’s mission as a social media platform is to publish and promote talent.  TV and radio have become exclusive fraternities that don't seek to promote the best talent and product.  The right amount of money can position anyone into receiving more attention than their talent deserves.  Radio play and TV spots have been given to performers who may not be the most qualified.

Team EMG World aims to provide an outlet to those performers with the talent and polish most deserving of an audience.  Whether as artists or actors, EMG World seeks to promote the industry's best kept secrets.

The Blackboard Spotlight: DJ Kelly G (Part 2)

EMGWORLD SOAKS UP MORE WISDOM IN PART TWO OF OUR INTERVIEW WITH BET EXECUTIVE KELLY G

Since 1999, DJ Kelly G has overseen the music and production of Black Entertainment Television’s franchise programs such as the BET Awards, "106 & Park," BET’s "Music Matters," "BET Live," "Rap City," "Uncut" and BET's "Access Granted."  Prior to joining BET, Kelly G worked for Chicago’s Number One rated hip-hop and R&B station, WGCI.  He now takes a moment to educate EMGWorld with advice on becoming successful within the industry.

Background: Sr. Director of Music Programming at BET, Event DJ  

EMGWorld: When you started out as a DJ did you ever come to a point in your career where making a living in the music industry seemed unattainable?

Kelly G: No.  I never felt that way because I had a passion for music.  I loved what I did.  Whether you paid me or didn't pay, it didn't matter.  When you're doing something you love you're not even worried about that.

EMGWorld: Would you say you made sacrifices out of your love for music?

KG: I left a lucrative job at Kraft Foods and took a $12,000.00 pay cut to work part-time at a radio station as a production assistant and DJ.  People thought I was crazy, but it didn't matter.  When you end up doing something that you're destined to do and passionate about, things will work themselves out.  

EMGWorld: How did things work out for you?

KG: God provides. I didn't have the type of expenses that I had working at a corporation 5 days a week.  I ended up getting more paying DJ gigs.  Everything kinda worked itself out.

EMGWorld: What advice would you give to artists and performers who want to work in entertainment?

KG: [Just] work in entertainment.  Make sure that you're passionate about what you do. Don't worry about the money.  Don't worry about the notoriety.  All of that stuff will come in time.  If you're passionate about something it will work itself out.  I truly believe that.  Would you do it for free?  Do you live and breathe it?  Those are the questions you have to ask yourself.

EMGWorld: What suggestion would you give to students out there who are still in pursuit of finding a career that caters to their passion for music and entertainment?

KG: Students looking to pursue careers in the music industry should study their craft.  Study the business.  Know [who] the players [are].  When you continue to do that your profession or position will make room for itself.  As a result of being a DJ, I ended up coming to BET.  I first started out as a music director and evolved into a music supervisor.  All these positions came just based off that love for music.

EMGWorld: What would you consider as step #1 once someone discovers the career they want to pursue?

KG: [Again] Study your craft.  One of the greatest things people learned when Michael Jackson passed is that he studied his craft.  When all these great stories came out about him, you learned that he studied classical music.  He studied dancers.  He studied art.  He really indulged and immersed himself into the arts.  

EMGWorld: Would you say that attending college is necessary for someone who desires to work in the entertainment business?

KG: My dad use to say what may run your house may ruin mine.  You have to figure out what's best for you.  It may not necessarily be a college course or college infrastructure.  That education can come from someone you respect in the industry.  At the end of the day it’s about getting an education.  

EMGWorld: So whether someone attends college or not, you still recommend they get educated?

KG: The thing I stress to people is to make sure you get educated.  When you’re getting educated you’re learning more about the arts.  You’re learning more about what it is you do in the industry.  Even if you do go to college [getting educated] doesn’t stop there.  I’ve been out of college for many years, but me getting educated doesn’t stop.  I still get educated on emerging artists, new trends and what’s hot.  The main focus of it all is being educated.  Whether its through a college or mentorship.

EMGWorld: How critical is it to maintain relationships within the industry?

KG: I think that's just a fact of life.  You never know how the universe is going to use you.  You take a story like Puffy [Sean "Diddy" Combs] who worked for Andre Harrell [at Uptown Records].  Years later, Puffy has his own Bad Boy Entertainment empire and he hires Andre Harrell.  You want to constantly keep that golden rule in the back of your head "do unto others as you would want them to do unto you."  You want to put out good energy and sow the right seeds so that you can have the proper harvest that's due to you.  Don't worry about who jerked you, told you a lie or promised you something.  It'll all work out.  All things work for the good.  

EMGWorld: What do you recommend to those individuals out there who’ve been hustled or played?

KG: Don't get discouraged when things like that happen to you because it's all part of a bigger plan.  I DJ'd [many] parties for free.  People would say "I got ya man" and "we're going to take care of you."  I didn't get paid, but it didn't matter.  I had a promise in my heart.  I had a passion for music and it worked itself out.  

EMGWorld: Who would you consider as mentors within your career?

KG: I had many mentors from Reggie Williams and Stephen Hill, current people I work with. BET’s Chief Operating Officer Scott Mills has been a great mentor.  David Porter, who I attended a Harvard management course with, has been a mentor.

EMGWorld: Would you say a mentorship only works when you’re studying someone in your field?

KG: A mentorship doesn’t necessarily have to be in your field.  David Porter is the VP of the Walter Cates Foundation, which emphasizes diversity throughout cable.  He has nothing to do with music.  He’s a great mentor in teaching me how to know business and understanding business infrastructure.  Your mentorship can come in various shapes and forms.  It doesn’t necessarily have to be with someone strictly doing music.  

EMGWorld: What would you say is the best way for someone to network when just a small fish in a big pond?

KG: One of the ways that you can network is to serve.  Everyone likes free help.  Alot of people are always flattered by people who want to be mentored. Ask if there is a way you can help out in some way for free?  People always respect and are taken to people who are passionate and hungry.

EMGWorld: Why is it such a challenge for indie artists to get a new song on the radio?

KG: At radio stations the playlist are so tight and it’s controlled by certain individuals and certain companies.  The station has a playlist they have to stick to.  There’s not a lot of [freedom] that they have.  So it’s difficult to get an independent record no one has ever heard of on the radio.

EMGWorld: What’s the most effective way for an indie artist to promote their music if radio stations won’t play it?

KG: I think the most effective way for an indie artist today to get their music going is by word of mouth and internet.  You have to create a demand.  Some of the most successful people nowadays leverage social media to their advantage.  

EMGWorld: How has the landscape changed for independent artists looking to promote themselves as opposed to ten or fifteen years ago?

KG: Today you have more leverage and more tools to break out as new artists than ever.  Ten or fifteen years ago we didn’t have the internet.  That was not an option.  You either got your stuff on the radio or went to club after club and begged the DJ to play it.  Now you have the internet.  You can create an audience and a grassroots following all on your own.

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There are plenty of artists that we work with on "Music Matters" that literally have been making a living off of doing music full-time based off their social networking and marketing skills.  They’ve developed their own audience.  They’re doing sold out shows, selling albums and making a decent living on their own.      --- Kelly G, Blackboard Spotlight

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EMGWorld: What’s one piece of advice you would give to someone who wants to excel in the entertainment business?

KG: I would say pray hard.  Make sure you have a good foundation for who you are and your values as a person.  Once you have that foundation you can build off of anything.  Have that foundation first and you can build anything off of that.

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Behind the Lens: Randy Fletcher

EMGWORLD SPEAKS WITH RANDY FLETCHER ON WHAT IT TAKES TO WORK BEHIND THE CAMERA

It takes great talent behind the camera to capture great talent on camera.  For every great director, there’s a great crew working beside him.  EMGWorld takes a moment to recognize a man with 25 years of experience behind the camera with Hollywood’s elite.  

EMGWorld: Exactly how did you get started in this industry?
Randy Fletcher: Basically, I just stepped into s**t.  I had no intention on being in the film business.  I was working at Club Roxy in New York.  Beat Street was being filmed at Club Roxy by producer Stan Lathan back in ‘84.  He and the assistant director Dwight Williams asked me if I wanted to be a production assistant.  I’ve been in the business ever since.

EMGWorld: How did you manage to position yourself to work with Spike Lee?

RF: One of the guys I hired as a PA contacted me about a film (School Daze) he was working on in Atlanta.  Spike had trouble cutting the film because of the restricted $6 million budget.  Within three days of being on set, Spike approached me with an offer to be 1st AD on School Daze.  I ended up being a 1st AD on School Daze, Do The Right Thing, Jungle Fever, Mo Better Blues and Malcolm X.

EMGWorld: What was it like to work with Spike Lee?
RF: Working with Spike Lee was my best film experience ever.  Spike’s just different and I love the hell out of him.  He does things his way.  We were young and had such a good working group that understood each other back then.  By the time we shot Malcolm X, we had such a dynamic crew we could’ve shot anything.

EMGWorld: Would you say Spike has had the most influence on your career?
RF: Hell yeah.  Spike was the one without a doubt.  Spike did what he wanted to do and how he wanted to do it and it worked. 

EMGWorld: How flexible and versatile must one be to work behind the scenes?
RF: You have to take a lot of shit in my position.  You have to really decide what’s important to your well-being as a person and as a black man.  I’m not going to take too much s**t.  I’ll try to help create and fulfill the dream of the director, but I’m not giving up my manhood. 

EMGWorld: What would you say it takes to get work in this industry?
RF: Relationships and understanding production.  I’ve always dealt with people and understood how to get the best out of people.  I never went to school for film.  I had to learn my craft just from constantly working.  Even while I was working with Spike, I continued to also work on other films.  I wasn’t comfortable saying I worked on Spike Lee films as a 1st AD and didn’t know s**t else.  I knew I had to continue to get more experience.

EMGWorld: It’s been said that working behind the scenes can get pretty intense.  Is thick-skin a must on the set?
RF: It can get very intense depending on who you work for.  When I first started I use to yell and scream because I didn’t know what I was doing.  That’s a natural reaction to things that you’re confused about.  If you can’t accept being yelled at then working behind the scenes isn’t for you.  It depends on what you can handle.  I’m comfortable in it.

EMGWorld: What would you consider the difference between working on the set of a movie versus a television show like "My Wife and Kids?"
RF: TV is not what I wanted to do.  Every day you’re at the same place for 9 months, which is almost the same as going to an office.  On a movie, you’re working with people for about 4 months and you usually don’t know them.  On a movie, you’re usually traveling and shooting at different locations.

EMGWorld: What would you say is the most difficult obstacle faced when working behind the scenes?

RF: People having confidence in your decisions and believing that you know what you’re doing. If you’re working with a black director people automatically assume that you’re hired just because you’re a friend.  People will go online and check my resume “after” I’ve been hired for the job.  People within a production crew are so quick to think “who the hell is this guy?”

  

EMGWorld: What are some detrimental mistakes to avoid for someone who desires to have a career behind the scenes?

RF: You never want the set to be ready and you’re not ready with talent.  You never want to have to come up with an excuse.  You always want the location to be secure.  You always want to make sure you stay under the budget and daily schedule.  You never want to go into a meal penalty or overtime.  You never ever want your cellphone to go off during recording.  You never want to be late.

EMGWorld: What’s one thing that can make or break someone’s career in TV and Film production?

RF: Not adapting to situations and sitting back thinking they’ll work themselves out.  They won’t work themselves out unless you do something to work them out.

EMGWorld: What can we expect from Randy Fletcher in the near future?
RF: I’m working with the best commercial director in the world, Joe Pitka.  I’ve been with him for 6 to 7 years.  Every day that I work with him I can say I’ve learned something.   Most commercial directors are lucky to direct one commercial a month.  We direct 25 within the year.  You can expect more commercials to come.

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The Blackboard Spotlight: Roy Wood Jr.

EMGWORLD TAKES TIME TO SHED LIGHT ON A WORKING ACTOR ON THE GRIND

Roy Wood Jr. is a seasoned comic and radio show host in Birmingham, AL.  He has appeared on "Late Night with David Letterman," "The Late, Late Show with Craig Ferguson" and TBS’ "CONAN."  With performances on "Showtime at the Apollo," "NBC's Last Comic Standing," "BET's Comicview," "HBO's Def Comedy Jam" and more, Roy speaks with EMGWorld on the come up of a comic from the South.

Background: Stand-up Comedian/ Syndicated Radio Host/ Actor

EMGWorld: At what point in your life did you decide you wanted to be a performer?

Roy Wood Jr: High school was when I felt that I was funny.  I attended my first live stand up show in college [Florida A&M University].  I saw Lavelle Crawford and Kollie Luanne Miller.  They lit the stage on fire.  It was beautiful.  I left the show that night believing that I could do it [too].  That’s when the ball started rolling.  I started organizing my thoughts and thinking strongly about comedy.

EMGWorld: New York is often labeled the “mecca” of everything.  New York is the mecca of basketball.  They say New York is the mecca of hip-hop.  New York is the mecca of comedy.  Would you say it’s more difficult for a performer to make it who is not from the East coast?

RWJ: I wouldn’t say it’s more difficult.  It’s more difficult for a performer that doesn’t translate to the East Coast.  I’ve seen guys from the South bomb in New York, but I’ve also seen guys from New York bomb in the South.  In comedy you can’t thrive in [just] one region.  As a comic, you want to know where you stand against the best.  Sooner or later you have to answer to New York.

  

EMGWorld: Exactly how did you get started in this industry?

RWJ: Once I saw the comedy show by Lavelle Crawford and a few shows at Florida State it seemed like everyone had the same formula.  [Comedy] just appeared to be a conversation.  I felt like I had a sense of humor and always had funny thoughts.  I was funny within my circle of friends, but never a class clown.

EMGWorld: How did you test out your material before stepping on the stage for the first time?

RWJ: Keep in mind this was back in ’98, so the internet was just coming into its own.  You could only jump in a chatroom on the internet to try out your material.  There was no facebook or twitter to test out your jokes.  There was no other way to get out the funny thoughts in my head.

EMGWorld: What other comedians did you watch or study before making that decision to step out and pursue comedy?

RWJ: I studied Martin Lawrence, George Carlin and Chris Rock.  I looked at what they were doing.  I went on stage with my own voice, but some of what I was doing was just a lightweight impersonation of Martin Lawrence, which I think every comic falls into early on.  You fall into that trap of emulating [the comics] you study.

EMGWorld: Exactly what process did you use to perfect your style while making that come up as a comedian?

RWJ: A comedy club in Birmingham had an open mic night when I went home for Thanksgiving break.  My process was basically doing an open mic, recording it, then going back and watching the tape over and over again.  Once I got back to Tallahassee that Spring I worked with a comedy troop on campus.  The problem was that I wasn’t even a Florida State student.  I’d buy a FSU T-shirt and find a group of white kids, strike up a conversation with them and walk in like I was one of their friends.  I worked my way up to hosting the comedy nights at Florida State, the same shows that I had to sneak into.  

EMGWorld: Every comedian has a different style.  Sinbad chose to keep his routine clean.  D.L. Hughley would spend his set clowning on members in the audience, while Kevin Hart clowns on himself.  How would you describe your style?

RWJ: I consider my style to be an old man trapped in a young man’s body.  I'm not much of a people person.  My comedy is about everyday things that we all encounter.  I gripe.  I complain about stuff that really shouldn’t bother you like a Snickers bar cost $1.60.  That infuriates me.  I want to occupy gas stations because a Snickers should not be $1.60.  Girl Scout cookies are $5 a box!  Why does the weatherman have all these different colors on? 

EMGWorld: How do you prepare your material for an upcoming show?

RWJ: My preparation process for a show varies depending on the importance of a show.  It might be as simple as getting a good night sleep to going over my entire set word for word.  When I go on television I type my jokes out word for word.  I prepare and read over them because on TV you can't change anything.  You have to do your set verbatim the same way you sent it to the producers.  It becomes more of a memorization process than a preparation process.

EMGWorld: How would you describe your general preparation?

RWJ: My general preparation comes the days before the show.  I watch tape of myself from a previous show or go over notes and bullet points of things I'm doing right versus things I'm doing wrong.  Like I might be losing laughs from jumbling up words and some people can't understand what I'm saying.  'Stepping on my laughs' is what its called.

EMGWorld: How challenging is it for a comedian to go through an entire routine without using profanity?

RWJ: Doing an entire show clean isn't hard.  It's just a matter of perspective.  You may go up in front of a crowd that expects cussing and if you don't cuss they're going to boo you.  They want to hear cussing.  It might not be fair to you but just the ignorance of some crowds who attach words to funny instead of intentions and trains of thought.

EMGWorld: Would you consider yourself a dirty comic?

RWJ: I'm not a dirty comic.  I kinda curse from time to time on stage, but I'm no Katt Williams.  The trick for me has often been at times to just curse and then slowly launch back into your clean set.  The crowd never notices.  Another cheap trick if you don't want to curse is to talk loud or talk faster.

EMGWorld: Every performer at some point in their career has had to deal with hecklers.  How did you handle that challenge as you were making your way up the ranks as a comedian?

RWJ: I'm not good with them.  It's not something I like to deal with.  You can get into it with the people but I just don't tolerate it.  If you're disrupting the show, it's disrespectful to the people who came.  F**k you.  You need to get out.  Period.  I can't tolerate it for an entire show.

EMGWorld: Would you recommend that a comedian completely change his or her style to satisfy the audience?

RWJ: I don't think any comedian should become something he isn't for the sake of getting a laugh.  You're lying to the crowd, you're lying to yourself and most importantly you're not growing [as a comic].  You didn't learn anything.  If you're trying to be a better quarterback then you can't play tomorrow as a wide receiver.  That's not going to help you be a better quarterback.  You have to get in there and take your lumps.  You'll probably throw 8 interceptions and get booed but there's still something to learn from it.  There's a way to get to every crowd as yourself.  You just didn't figure it out that night.

Stay tuned for Part 2 as Roy gives his take on BET’s iconic show "Comicview," comedy’s most important comedian and more!!

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The Blackboard Spotlight: Chuck Maldonado (Part 3)

AWARD-WINNING CHOREOGRAPHER CHUCK MALDONADO SHARES HIS STEPS OF WISDOM TO NEWCOMERS

From Ne-Yo to Chris Brown, Chuck Maldonado has worked with some of music’s most popular artists.  His work can be seen in Hollywood box office thrillers like Stomp the Yard and TV shows such as ABC’s “Dancing with the Stars.”  Chuck sits back on the hot seat to discuss his falls, struggles and rise to glory in the industry.

Background: Choreographer/ Dance Instructor

EMGWorld: Would you say that attending college is necessary for someone who desires to work as an entertainer?

CM: A lot of people always ask me that.  Like anything else, I think you do need training.  What's weird to me is people in the entertainment field don't want to train as hard as people that want to be a doctor.  If you want to be a doctor no one is just going to give you a scalpel and let you do a heart transplant on someone.  That's crazy.  For us it's the same thing.  If you want to be a dancer, take dance classes.  If you want to be an actor, take acting classes.  Don't just think you're [already] good enough.

EMGWorld: What would you recommend to dancers out there who believe they have the ‘it’ factor?

CM: I would recommend to any dancer out there that believes you have that ‘it’ factor and people keep telling you you're dope, train and train hard so you can make it really big.  I trained hard because I knew I had the 'it' factor and wanted to enhance what I have.  By doing that I took classes in all forms of dance so I would never have to say "no I can't do tap" or "no I can't do jazz."  I took everything so I could have more opportunities.  

EMGWorld: What’s the best way for a newcomer to seek representation?

CM: There’s different ways.  You can do submissions, but I wouldn't recommend it.  One way is to audition for the agency.  I told a young dancer to just call the agency and say, "Hey my name is ___, I'm looking for representation and would like to setup a meeting with you."  They can say one of three things.  They can say we're not taking people because we have too many clients, let's setup a meeting, or we're having an audition next month and invite you.  When you go to the audition just kill it.  

The BEST way is if you know someone who's already in the agency and willing to give you a recommendation.  

EMGWorld: What would you say is the most effective way for someone to network within the industry?

CM: When you're in classes you'll meet other dancers and choreographers.   You're constantly networking in that way.  I use to take alot of what I like to call the 'right' classes.  I'd try to find out who's a working choreographer.  I would do my research on them, take their classes and introduce myself.  I just made myself available and said to them, "if you're ever looking for someone just let me know.  I would love to audition."    I would never say "hire me" or "use me."  

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“You have to let things roll right off of you.  Don't take anything personal.” – Chuck Maldonado, Blackboard Spotlight

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EMGWorld: What’s the best networking event to attend?

CM: In the dance community, we have something called Carnival.  Carnival is once a month and allows young up and coming choreographers to display their work on stage.  Every single dance agency is there.  Celebrity people go and it's jammed packed with dancers.  It's a great way to network and meet agencies, dancers and future choreographers.  

EMGWorld: How would you suggest someone network at a party?

CM: Industry parties are another source to network, but there is a thin line that easily goes from networking to being a pest.  A lot of these Hollywood choreographers may not want to be approached.  If you're going to introduce yourself to someone it’s usually because you already know who they are.  You know what they've done.  You have to find the right way and do your homework.  

EMGWorld: Why should someone not just go in for the kill?

CM: Going in for the kill can make people very UNCOMFORTABLE.  Giving someone your business card is cool.   Asking alot of questions makes me feel uncomfortable.  I don't know you as a dancer or even as a person.   I'm a real nice person and won't say anything, but an introduction is more than enough.  

EMGWorld: What would you consider as a simple introduction?

CM: "How are you doing my name is ____.  I just wanted to introduce myself.  I didn't want anything.  I know you're here having fun.  I just wanted to say hello."  Nine out of ten times they'll respond and introduce themselves as well.

EMGWorld: What’s the best question someone can ask you who’s looking to follow in your path?

CM: The best question someone can ask is 'do you teach?'  I do like when people say I'd like to take your class.  That means everything to me because it says, "I would love to learn from you."   That's the best time to meet someone.  Instead of asking for a job they're showing they want to earn it.  I've hired so many people from my classes.

EMGWorld: Who would you say has done the most in opening up the door for the dance world?

CM: In my opinion, I'd say Debbie Allen hands down.  She's the spokesperson appointed by President Obama for the whole entertainment field.  Her work has OPENED so many doors not just for people of color but for everybody who's ever had a dream to be a part of this industry.  She's everything to me.  She opened up doors for me and allowed me to choreograph things she's directed and teach at her academy.  She's constantly writing, producing, acting, choreographing, etc.  She does it all.  She's done so much for so many different dancers.  

EMGWorld: What would you say is the key ingredient for a performer to succeed in their craft?

CM: You must have HEART.  The entertainment industry is one of the only places where they can say, "no you're too big," "no you're too skinny," "no you're too white," or "not white enough."  They can say I'm too short and there's nothing I can do about it.  Rejection is around you all the time so you need skin of leather.  You have to let things roll right off of you.  Don't take anything personal.  If you can do that and it's in your heart then everything is going to be fine because you'll be able to take criticism and move forward.  

EMGWorld: What’s the worst mistake someone can make who has a desire to be a performer?

CM: There’s so many different things.  One is getting involved with the wrong people and getting involved with the wrong things like drugs.  Your body is your temple.  You're going to need it and you need to be healthy.  You have to take care of your body and you have to be healthy.  To me that’s the worst thing you can do.  If you're not healthy you can't do anything for me.

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