Congratulations to the New Orleans Saints and the Crescent City! They won the SuperBowl last night EXACTLY how I thought they would need to win in. That is, by keeping the game close and ugly without getting into a scoring contest with the Colts. In fact, it was much safer to have the Colts ahead in the game instead of having a lead yourself. Why? Because if the Saints had gotten out to an early lead like they usually do, the Colts would have been juiced up and focused to score on every single possession. But as long as the Colts were in the lead, they would play a more conservative game and the Saints could run out more of the clock then win it in a last-minute SHOCKER! And WAH-LAH! IT HAPPENED!
Let me break it down for you. When the Saints had an opportunity to tie the game up at 10-10 right before halftime, and the Colts stopped them. That was actually a GOOD THING for the Saints! Why? Because if Peyton Manning and his Colts had gotten the ball back after a kick-off with 1:40 left on the clock, they were definitely going to drive down the field and score and steal the momentum back. That’s what they do! However, when the Colts stopped the Saints on the 1-yard like and got the ball back with a 10-3 lead and less than 2 minutes before halftime, there was no way ion HELL they were gonna try and do something STUPID to turn the ball over.
So what happened? The Colts got conservative, they went 3 plays and out on offense, and they punted the ball back to the Saints, who were able to get 3 points out of it for a 10-6 score instead of a tie. And again, that was a GOOD THING for the Saints, because it stopped the Colts from going into attack mode before halftime. Which they ALWAYS do!
Now, at the first kick-off in the 3rd quarter, everyone in the WORLD knows that Peyton Manning and his Colts were ready to get the ball and drive it straight down the field for a 17-6 lead. That’s what they do! But the New Orleans Saints coach, Sean Payton, had a different idea in mind. He already knew what Manning and his Colts were preparing to do, so he attempted and succeeded with a very COURAGEOUS on-side kick to surprise the Colts and get the ball back.
WOW! You talk about a BALLS ON THE FLOOR MOVE! That was it! So the Saints drive down field and jump out to their first 13-10 lead. BUT UHHT OH! As excited as the New Orleans Saints were to finally be in a lead, that 13-10 lead was NOT A GOOD THING! Why? Because now the Colts are now HUNGRY AGAIN! And what happens? The Colts drive straight back down the field, like a Hurricane Katrina, and jump right back out in the lead at 17-13.
I told you! Do NOT play a scoring game with Peyton Manning and the COLTS! You will LOSE THAT GAME! So the Saints get the ball back, and instead of taking the lead this time, they get another field goal for a 17-16 score. That was another GOOD THING for the Saints! Now the Colts are still satisfied with a lead. So instead of Peyton Manning driving back down the field for another touchdown, he eases up on the gas a bit, and the Colts attempt a 51-yard field goal. At that point, I was thinking NOOOOOO! You need to score another TOUCHDOWN! Or at least get a closer field goal. Why? Because that’s a long-ass KICK, and the Saints can SCORE! This isn’t the JETS or the RAVENS! You have to keep the pressure on this team with more POINTS!
So what happened? The Colts, playing conservative again with a 1-point lead, miss a 51-yarder that they would have NEVER KICKED had they been behind in the game. But since they still had a 1-point lead, they were able to make that conservative, Tony Dungy-type decision. And oh, I know, Tony Dungy is no longer the coach in Indy. Nevertheless, his disciple, Jim Caldwell, utilizes the same conservative style of leadership. And that’s EXACTLY why the INDIANAPOLIS COLTS didn’t attempt to go 19-0 this year! Not saying that being structured and safe is all BAD, but it WAS a recipe for DISASTER against a New Orleans Saints team that believed in their DESTINY. It was also why the Tampa Bay Buccaneers decided to FIRE Dungy. They wanted to WIN the SuperBowl. Not just have a excellent team,
Now don’t get me wrong here. I happen to LOVE COACH DUNGY and MOST of what he stands for. I just don’t agree with playing CONSERVATIVE FOOTBALL. I would played a safer than sorry approach and attempted to blow the Saints out. But it was TOO LATE now. So I took a look at the clock. And it’s now the 4th quarter. The Saints have the ball. And there’s about 8 minutes left in the ball game. And I’m thinking, “Okay, this is EXACTLY how the Cots can LOSE this thing.”
Again, the SAINTS are not the JETS or the RAVENS. They can actually SCORE! So now I’m nervous for the first time in the ball game. And I’m still rooting for the Colts because I love what Coach Dungy has done with the team, and the organization there. But I do sympathize with the city or New Orleans. I get the reason why the people there would NEED a SUPERBOWL. I even wrote a book about the city called Leslie, which we are now working hard to produce as my first feature film from a book adaptation. In fact, I LOVE the city of New Orleans. It’s one of my favorite cities in the U.S., right behind my hometown of Philadelphia, and a place called Harlem in New York. But at the same time, I’m also a loyalist. So I’m still down with Dungy, Caldwell and the Colts to win it.
Nevertheless, I’m nervous now. Why? Because a late, come-from-behind win in the 4th quarter was the EXACT SCRIPT that I had discussed with friends and family members as the ONLY WAY that the SAINTS will beat the COLTS in the SuperBowl. The SAINTS will not win a shoot out! But if they can hang around and be close enough in the 4th quarter, they can score and get a lucky turnover to win it without enough time for the Colts to come back. And I PROMISE YOU GUYS --- these were my EXACT WORDS all week LONG before the game!
So what happens? The Saints drive back down the field and score, just like I KNEW they could, for a 22-17 lead. But instead of being conservative and counting on his defense with a 23-17 lead after an extra point, Coach Sean Payton of the New Orleans Saints KNOWS that the Colts are gonna come back again. So they go for a 2-point conversion to make it 24-17, anticipating the comeback. And boy was that 2-point conversion CLOSE! But the officials made the RIGHT CALL! They guy DID have possession of the ball over the end zone line. And Coach Payton had made the right call AGAIN to GO FOR IT! THIS IS THE SUPERBOWL! It’s a ONE GAME DEAL!
Now, at the point, guys, I have to be bluntly honest with you. When the Saints took a 24-17 lead with less than 6 minute left in the game, I told myself nice and quietly, “They messed around and did it. They done beat the Colts for the SuperBowl.” They didn’t even NEED a turnover anymore. I figured the Colts would drive down the field with those 5+ minutes left on the clock and tie the game at 24-24, but then the Saints would get the ball back with 3 minutes left, and just enough time to kick a field goal with less then a minute left in the game. And instead of Dungy’s disciple Caldwell trying his own on-side kick to get the ball back to play to WIN, he was going to rely on his defense to win the game with a late stop.
But I didn’t believe the Colts could stop the Saints anymore. It was the right recipe to win. It was the same recipe the San Diego Chargers have used against the Colts in recent years. You play an ugly game with the Colts and hang around long enough to JUMP THEM IN THE END. You don’t play a shoot out game with them, like the Patriots do and LOSE, you play a mud ball game with the Colts, and you make your big plays in the end once they get stuck in the mud.
So what happens next? Peyton Manning reverts back to his days as a rookie quarterback and starts forcing several passes to Reggie Wayne. And I’m thinking, “Go back deep to Pierre Garcon! I know the he dropped a big pass earlier, but give him another chance to be a hero for him people in Haiti! They ALL dropped a pass tonight.” But instead, Manning forces a long, sideline pass to Wayne that is nearly intercepted. At that point I’m shaking my head and thinking about the bone-head throw that Brett Favre made against the Saints at the end of the NFC title game when all he had to do was RUN and save the win.
And yup, you guessed it! Peyton Manning forces another throw toward Reggie Wayne, while not even LOOKING at his other receivers, and just like I used to do and STILL do when I play football right NOW at age 40, if you show me where I THINK you’re going with that ball, I’m not knocking it down, I’m taking it to the HOUSE. And that’s what happened. A 77-yard interception return, the late-game turnover that I FEARED!
But you know what? I didn’t even FLINCH at the point. I KNEW IT was coming. I had mapped out the entire ingredients for the Saints to win the game, and they executed the plan like CLOCKWORK! A late-game WIN was what did it, just like I had SAID! And I REPEAT, if the Saints had jumped out with an early lead and played a TOP THIS GAME with the COLTS . . . THEY WOULD HAVE LOST!
However, it all doesn’t matter now. The Saints didn’t jump out to an early lead and bleed in the water for the shark called the COLTS to hunt them down and eat them. The Saints kept the shark nice and fed with a conservative lead for the majority of the game, and then they SLAUGHTERED THE SHARKS WITH A SPEAR, crowning the NEW ORLEANS SAINTS as the 2009-2010 NFL CHAMPIONS!
Now . . . when the next season starts in 7 months, and the Colts end up going 14-0 again, will they go for the PERFECT SEASON this time, or will the shut it down again and act as if that automatically gives them a win in the SuperBowl? I guess we’ll all have to wait and see. We’ll also see if the Saints can make it back again and defend their title. Because once you win or lose the SuperBowl, the NFL makes certain your next season is STACKED with plenty of new PREDATORS set take you down and skin you like an ALIEN! And that’s why I LOVE FOOTBALL! There is no safe script to win. So either you go ALL OUT . . . or you LOSE!
Omar Tyree, a New York Times best-selling author, a 2001 NAACP Image Award recipient for Outstanding Literature in Fiction, and a 2006 Phillis Wheatley Literary Award winner for Body of Work in Urban Fiction, has been cited in 2009 by the City Council of Philadelphia for his work in Urban Literacy, and has published 19 books with 2 million copies sold worldwide. With a degree in Print Journalism from Howard University in 1991, Tyree has been recognized as one of the most renown contemporary writers in the African-American community. He is also an informed and passionate speaker on various community-related and intellectual topics. Now entering the world of business seminars, urban children’s books, feature films and songwriting, Tyree is a tireless creator and visionary of few limitations. For more information on his work and titles, please view his web site @ (www.OmarTyree.com).
Monday, February 8, 2010
Thursday, January 14, 2010
The Great Crossover by Omar Tyree . . .
Gang, the year is 2010, and the economy is bad, real bad. However, we do have the first man of color as the President of the United States of America, and a strong sister as his first lady. Nevertheless, black culture is in baaaddd shape. And I do mean bad, as bad as an uneducated black man trying to find a job these days.
The main culprit we fight against right now is money. Simply speaking, black people still don’t have any. Or at least not enough of it to create products and services that we could market, produce, and sell within our own community, enough of which to make a living from. You don’t believe me, just ask a black man or woman to invest in a new business. And they’ll ask you, “With what? Microwave popcorn and Ramin noodles?” We can afford plenty of that. But real hard cash these days is tough to find in the hood.
But white America . . . oh, don’t be fooled by the economy. White Americans still have money, and they still find ways to spend it on the things that are most important to them, like; cell phones, computer games, technology gadgets, televisions, movies, sports, groceries, celebrity gossip. You name it, they are still breaking records to spend for it.
So intelligent black people - God bless their survivalist hearts - have recognized as much. And before they allow pure American capitalism to leave them behind in the hood again, intelligent and culturally astute black people have remembered the first and oldest American law of economics . . . cross-over to wealthier, more numerous and generous white Americans in order to make a good living.
Oh yeah! You better believe it! Blacks in professional sports still, and will always, make good money. Mainly because white Americans still and will always spend good money to see super professional athletes do their thing. Black comedians, mainly if white folks can follow their humor, are still able to demand a rock solid 5 figures A NIGHT for a comedy show. Black actors, mainly named Smith, Washington, Murphy, Lawrence and now Foxx, can crossover and make 7 to 8 figured per film. Provided, that role is mixed in with a majority of white actor characters, where a cross-over audience can relate.
And now let’s talk about black music, who have used the word “cross-over” more than anyone. Well . . . do we still even have black music anymore? I can’t tell with all of the so-called “pop” hits that have increasingly moved into the “urban” market these days. The strong and individualized soul of black artists has been transformed into a generic bubble gum flavor that white kids can chew. Even hip hop has softened into a kind of “hip pop” or “pop hop,” if you will.
Why, because white kids still have money to spend and will spend it if they like it. But black kids . . . Well, they’re broke. So they don’t get any music anymore, unless it’s the new urban dance craze song, where they can strut their stuff on YouTube like the old days of popping, locking and break dancing from the 80s. But did anyone really make any money off of that? Unless of course, you got a break dancing or tap-dancing show on Broadway where, ummm, adventurous, thrill-seeking white folks would pay to see these amazingly talented inner-city black kids and Hispanics, who could dance like nobodies business.
So here we are again. No matter how much times have changed, black folks still end up singing, dancing, running, jumping, shooting, swinging, punching, and clowning for Mr. Charlie to make a good living. Otherwise, you’re just another nameless and faceless black person out in the cotton field.
And you better not go against the “pop culture” (meaning more white people) grain unless you name is Jay Z, performing a bold and bad No Autotune song. Then again, No Autotune, and a hood-based song with Young Jeezy, a non-crossover artist, who has recently been left behind, were the only 2 songs on Jay Z lasted Blueprint 3 album that were not “hip hop pop” songs shared with Rihanna, Alicia Keys, Kanye West, Timbaland and several other crossover artists. So even Jay Z knew where to get his latest pay-check from, including a mega millions deal with Live Nation, and international touring company, while marrying Beyonce (no last name needed), the supreme, crossover diva.
But who am I to talk? I used a crossover move myself, by signing with the powerful publishing house of Simon & Schuster some fifteen years ago to get my increased hustle on within the African-American book game. And although my supportive audience was 95% black, it was still the big white bucks of Simon & Schuster that helps me to do it, when black publishers were not interested or financed well enough to back me.
However, the black readership and media outlets who supported us book writers in the past, have now gotten bored with us and moved on up to a bigger, badder, fatter and 20X more visual promotion of Tyler Perry stageplays, television and film. So I now work desperately to crossover into those arenas of film, television and stageplays myself to make a living in 2010. This isn’t 1999 anymore. As Will.I.Am, the crossover front man, producer and performer of the Black Eyed Peas sang on Oprah’s Show after Barack Obama’s election to the presidency, “It’s a new daaaay . . .” And he was very happy to sing so. But is it really a new day . . . ?
Black people have been hit by Americas present economic recession more than anyone, with less jobs, less income, more home foreclosures, and less culture now to uplift them. Outside of Barack, Michelle, Malia, Sasha and Bo sitting pretty in the White House, of course. The Black First Family seem to keep many in our community optimistic that a new day is still right around the corner for us.
Nevertheless, Tyler Perry - God bless his hardworking soul - is one of the very few black men these days who can still earn a good living from black support without crossing-over. That’s why white Hollywood is continually confused about how he is able to win at the box office with his films, which they don’t consider to be . . . good enough, or ummm, universal enough (meaning more white characters and subjects that white people can relate to) to succeed economically.
Of course, Tyler Perry, still gets his film distribution muscle from Lionsgate, a very strong independent white studio, and he has also made excellent friends now with Oprah Winfrey, the crossover queen of the FREE WORLD to help promote his creative products and services to his audience.
And don’t get it twisted here, I’m not hating on any of these guys. On the contrary, I am very happy for them. ALL of them! I’m only stating a 21st Century fact of white and black America in year 2010, that’s all. Despite Barack Obama as president, we are catching a very cold winter right now, just like always. Unless we can, like Obama did, prove that we are worthy enough to somehow show white folks with money that it’s okay for us to make a good living up in the big house. Even for me now.
Unless I can find a way to crossover to bigger, longer, generous and supportive money from a white company again myself, I may no longer be of any good to you guys. As Jay Z rapped uncompromisingly on his first album, Reasonable Doubt, before he crossed over into “pop culture”, “N---a you broke, f--- you gone tell me.” In other words, your opinions and advice only have value when your bank account does as well. And if not, then don’t even speak. So maybe I need to find myself a major radio show deal like Michael Baisden, Tom Joyner, Steve Harvey, Tavis Smiley, and Wendy Williams. But oops . . . wait a minute. Those guys have all been able to crossover too, if not with their audience, then with the radio station conglomerates who control the airwaves, including sister Cathy Hughes’ Comcast-invested company of Radio and TV-1.
There’s just no way around the crossover to live well in America. And I hate to say it, but not even black drug dealers are producing the ingredients of their products locally. It’s still all imported. So if you want to find a way out of the hell that we have recently found ourselves in, once again, then please practice your crossover dribble for forever ready ESPN crowd of overexcited white students, alumni, staff, and parents, who will wildly cheer you on and wear your team colors and jerseys with painted bodies and faces, happy as ever to line up early and all night and pay handsomely for another opportunity to watch you succeed at entertaining them.
Wow! As much as things have changed . . . You get the point. Now go practice. I’m already at the gym.
Omar Tyree, a New York Times best-selling author, a 2001 NAACP Image Award recipient for Outstanding Literature in Fiction, and a 2006 Phillis Wheatley Literary Award winner for Body of Work in Urban Fiction, has been cited in 2009 by the City Council of Philadelphia for his work in Urban Literacy, and has published 19 books with 2 million copies sold worldwide that has generated more than $30 million. With a degree in Print Journalism from Howard University in 1991, Tyree has been recognized as one of the most renown contemporary writers in the African-American community. He is also an informed and passionate speaker on various community-related and intellectual topics. Now entering the world of business seminars, urban children’s books, feature films and songwriting, Tyree is a tireless creator and visionary of few limitations. For more information on his work and titles, please view his web site @ (www.OmarTyree.com).
The main culprit we fight against right now is money. Simply speaking, black people still don’t have any. Or at least not enough of it to create products and services that we could market, produce, and sell within our own community, enough of which to make a living from. You don’t believe me, just ask a black man or woman to invest in a new business. And they’ll ask you, “With what? Microwave popcorn and Ramin noodles?” We can afford plenty of that. But real hard cash these days is tough to find in the hood.
But white America . . . oh, don’t be fooled by the economy. White Americans still have money, and they still find ways to spend it on the things that are most important to them, like; cell phones, computer games, technology gadgets, televisions, movies, sports, groceries, celebrity gossip. You name it, they are still breaking records to spend for it.
So intelligent black people - God bless their survivalist hearts - have recognized as much. And before they allow pure American capitalism to leave them behind in the hood again, intelligent and culturally astute black people have remembered the first and oldest American law of economics . . . cross-over to wealthier, more numerous and generous white Americans in order to make a good living.
Oh yeah! You better believe it! Blacks in professional sports still, and will always, make good money. Mainly because white Americans still and will always spend good money to see super professional athletes do their thing. Black comedians, mainly if white folks can follow their humor, are still able to demand a rock solid 5 figures A NIGHT for a comedy show. Black actors, mainly named Smith, Washington, Murphy, Lawrence and now Foxx, can crossover and make 7 to 8 figured per film. Provided, that role is mixed in with a majority of white actor characters, where a cross-over audience can relate.
And now let’s talk about black music, who have used the word “cross-over” more than anyone. Well . . . do we still even have black music anymore? I can’t tell with all of the so-called “pop” hits that have increasingly moved into the “urban” market these days. The strong and individualized soul of black artists has been transformed into a generic bubble gum flavor that white kids can chew. Even hip hop has softened into a kind of “hip pop” or “pop hop,” if you will.
Why, because white kids still have money to spend and will spend it if they like it. But black kids . . . Well, they’re broke. So they don’t get any music anymore, unless it’s the new urban dance craze song, where they can strut their stuff on YouTube like the old days of popping, locking and break dancing from the 80s. But did anyone really make any money off of that? Unless of course, you got a break dancing or tap-dancing show on Broadway where, ummm, adventurous, thrill-seeking white folks would pay to see these amazingly talented inner-city black kids and Hispanics, who could dance like nobodies business.
So here we are again. No matter how much times have changed, black folks still end up singing, dancing, running, jumping, shooting, swinging, punching, and clowning for Mr. Charlie to make a good living. Otherwise, you’re just another nameless and faceless black person out in the cotton field.
And you better not go against the “pop culture” (meaning more white people) grain unless you name is Jay Z, performing a bold and bad No Autotune song. Then again, No Autotune, and a hood-based song with Young Jeezy, a non-crossover artist, who has recently been left behind, were the only 2 songs on Jay Z lasted Blueprint 3 album that were not “hip hop pop” songs shared with Rihanna, Alicia Keys, Kanye West, Timbaland and several other crossover artists. So even Jay Z knew where to get his latest pay-check from, including a mega millions deal with Live Nation, and international touring company, while marrying Beyonce (no last name needed), the supreme, crossover diva.
But who am I to talk? I used a crossover move myself, by signing with the powerful publishing house of Simon & Schuster some fifteen years ago to get my increased hustle on within the African-American book game. And although my supportive audience was 95% black, it was still the big white bucks of Simon & Schuster that helps me to do it, when black publishers were not interested or financed well enough to back me.
However, the black readership and media outlets who supported us book writers in the past, have now gotten bored with us and moved on up to a bigger, badder, fatter and 20X more visual promotion of Tyler Perry stageplays, television and film. So I now work desperately to crossover into those arenas of film, television and stageplays myself to make a living in 2010. This isn’t 1999 anymore. As Will.I.Am, the crossover front man, producer and performer of the Black Eyed Peas sang on Oprah’s Show after Barack Obama’s election to the presidency, “It’s a new daaaay . . .” And he was very happy to sing so. But is it really a new day . . . ?
Black people have been hit by Americas present economic recession more than anyone, with less jobs, less income, more home foreclosures, and less culture now to uplift them. Outside of Barack, Michelle, Malia, Sasha and Bo sitting pretty in the White House, of course. The Black First Family seem to keep many in our community optimistic that a new day is still right around the corner for us.
Nevertheless, Tyler Perry - God bless his hardworking soul - is one of the very few black men these days who can still earn a good living from black support without crossing-over. That’s why white Hollywood is continually confused about how he is able to win at the box office with his films, which they don’t consider to be . . . good enough, or ummm, universal enough (meaning more white characters and subjects that white people can relate to) to succeed economically.
Of course, Tyler Perry, still gets his film distribution muscle from Lionsgate, a very strong independent white studio, and he has also made excellent friends now with Oprah Winfrey, the crossover queen of the FREE WORLD to help promote his creative products and services to his audience.
And don’t get it twisted here, I’m not hating on any of these guys. On the contrary, I am very happy for them. ALL of them! I’m only stating a 21st Century fact of white and black America in year 2010, that’s all. Despite Barack Obama as president, we are catching a very cold winter right now, just like always. Unless we can, like Obama did, prove that we are worthy enough to somehow show white folks with money that it’s okay for us to make a good living up in the big house. Even for me now.
Unless I can find a way to crossover to bigger, longer, generous and supportive money from a white company again myself, I may no longer be of any good to you guys. As Jay Z rapped uncompromisingly on his first album, Reasonable Doubt, before he crossed over into “pop culture”, “N---a you broke, f--- you gone tell me.” In other words, your opinions and advice only have value when your bank account does as well. And if not, then don’t even speak. So maybe I need to find myself a major radio show deal like Michael Baisden, Tom Joyner, Steve Harvey, Tavis Smiley, and Wendy Williams. But oops . . . wait a minute. Those guys have all been able to crossover too, if not with their audience, then with the radio station conglomerates who control the airwaves, including sister Cathy Hughes’ Comcast-invested company of Radio and TV-1.
There’s just no way around the crossover to live well in America. And I hate to say it, but not even black drug dealers are producing the ingredients of their products locally. It’s still all imported. So if you want to find a way out of the hell that we have recently found ourselves in, once again, then please practice your crossover dribble for forever ready ESPN crowd of overexcited white students, alumni, staff, and parents, who will wildly cheer you on and wear your team colors and jerseys with painted bodies and faces, happy as ever to line up early and all night and pay handsomely for another opportunity to watch you succeed at entertaining them.
Wow! As much as things have changed . . . You get the point. Now go practice. I’m already at the gym.
Omar Tyree, a New York Times best-selling author, a 2001 NAACP Image Award recipient for Outstanding Literature in Fiction, and a 2006 Phillis Wheatley Literary Award winner for Body of Work in Urban Fiction, has been cited in 2009 by the City Council of Philadelphia for his work in Urban Literacy, and has published 19 books with 2 million copies sold worldwide that has generated more than $30 million. With a degree in Print Journalism from Howard University in 1991, Tyree has been recognized as one of the most renown contemporary writers in the African-American community. He is also an informed and passionate speaker on various community-related and intellectual topics. Now entering the world of business seminars, urban children’s books, feature films and songwriting, Tyree is a tireless creator and visionary of few limitations. For more information on his work and titles, please view his web site @ (www.OmarTyree.com).
Tuesday, January 12, 2010
Broke & Sexy The truth about contemporary American dating . . .
A Conversation With Writer Omar Tyree
Q: After more than a decade of writing popular and successful novels, why did you now decide to write a stageplay?
A: Well, I've also written several screenplays for feature film production at this point, but that process is tremendously long, expensive and taxing, particularly on your first big project. So while my partners and I continue to move along in the film production stages, I asked myself, "Why not write a stageplay that you can produce and stay active with in the meantime?" And the decision was helped along when I read a marketing e-mail that announced Tyler Perry going back out on the road with a new "Madea" play.
Q: And that information influenced your decision?
A: Oh, definitely. I mean, here's a man who took the black stageplays to another level, and it's obvious that there is an audience out there for the medium. You just have to come up with an idea to execute that will bring outa steady crowd of supporters. And since I'm no longer writing 400-page books, I figured that writing an 85-page stageplay would be a breeze.
Q: And was it?
A: Oh yeah. I wrote it over the 2-week Christmas and New Year's holiday break and took it to the Library of Congress to secure the copyrightalready. That was the easy part. But now the hard part begins; casting, producing, directing, finding promotional partners, and taking the play out there onthe road.
Q: Now the subject of your play - Broke & Sexy - seems to be extremely timely.
A: If you know about my career as a novel writer, I've always been one to write timely material about our community. And for my final novel Pecking Order, published in September 2008, I wrote about the state of American entrepreneurship because we all need to think about creating new economicsfor ourselves. I followed that up with The Equation, a non-fiction book onbusiness. So, for my first stageplay, while we are still in hard economic times, I wanted to speak about the difficulties of dating in this depressed economy.I see that as a very valid and serious topic that you can make fun of and learn from at the same time.
Q: But will people want to watch a stageplay about those economic truths, or find something that allows them to get away?
A: Well, I've never been the "get-away-from-my-problems" kind of writer. I've always written about the hard truths in my work. However, with a stageplay, I'm able to be more humorous with those truths. So it's a veryfunny play that couples will indeed have a ball with. Then you have actors whowill have a ball depicting the well-rounded characters that I came up with. So, have no fear, the entertainment element is all there. I just base the playon a subject that is definitely valuable to us right now.
Q: What is your target audience?
A: You know, I have always had a pause when it comes to target audiences for my work, because you never really know who will eventually come out to support you. You always hope for the largest audience possible, but realistically, you have to review the content and the delivery of yourmaterial, as well as the audience who have been a part of the natural marketplace thatyou fall into with your project. And with that being said, I would expect to attract the African-American working class who typically support stageplays.At the same time, I would also hope to attract a few college-aged supporters, and possibly crossover to non-blacks, who may be interested in the contemporary economic content that is involved.
Q: In light of the economic issues highlighted within the play, how do we as African Americans prepare our youth in college, so that they are better prepared for corporate America?
A: You can prepare all college students for corporate America by telling them, or demanding them, to do internships in their freshman, sophomore, junior and senior years. The best way to learn is to be there. And corporateAmerica is always open to free young labor, especially now. So when thoselazy college students wait until the last minute to intern in their field ofwork, or don't make the sacrifices that are needed to do so, then they hurt themselves by not providing their own early opportunity to learn before graduation. I even bring up internships and putting in your dues within theplay. So there are no excuses for not starting early.
Q: What is success for our community? How do we define it as individuals, so we are not compelled to keep up with the Joneses?
A: I'm sorry to tell you the truth and keep it real here, but keeping up with the Joneses is a part of the American way. And the only way you can maintain your focus is by choosing to live in economic arenas that fit whereyou are financially. In other words, don't choose to live around people who you feel you can't compete with. It's a battle that many of us Americans end up punishing ourselves and our loved ones to be involved with. Nevertheless, as long as we can dream the American dream and go after what we want, wewill all find ourselves in competition with the next man and woman and family, whether we like it or not.
Q: How do we get educated, 30-somethings to date and enjoy the moment, without making it a job interview or audition for a potential husband orwife?
A: Now, that all depends on the person. If you're into casual dating, then you will find a way to do it. But if not, and you're ready to get serious about what you're doing, then you start to take the people around you more seriously. But in these economic times, dating can get to be frivolous and expensive, which again, I allude to within the stageplay. But ultimately,it's all up to you and what you're after. So folks who want more fun find ways toplace themselves around the fun people, who may be younger than them, or older people who are just looking for fun themselves.
Q: Are "Alvin Williams" and those people out there who share his way of thinking, male gold diggers, or are they simply trying to beat women attheir own game?
A: Alvin is a creative character that I wrote to make a point and to make sure we get to all of the issues at hand dramatically as well as comically. So even though guys who prey on women economically exist, I realistically don't hang out or know too many if those guys. So I would have to havepeople who are closer to the "Alvin Williams" types to explain what's going on there. I was always raised on men that took care of their own business andhad enough left over to take care of their women and families when needed. So although I can write about a guy like "Alvin", trying to explain that dudeis something totally out of my league. So you just have to enjoy his role and come up with your own ideas to explain him.
Stay tuned for more information regarding the Broke & Sexy stageplay coming soon @ www.OmarTyree.com
Q: After more than a decade of writing popular and successful novels, why did you now decide to write a stageplay?
A: Well, I've also written several screenplays for feature film production at this point, but that process is tremendously long, expensive and taxing, particularly on your first big project. So while my partners and I continue to move along in the film production stages, I asked myself, "Why not write a stageplay that you can produce and stay active with in the meantime?" And the decision was helped along when I read a marketing e-mail that announced Tyler Perry going back out on the road with a new "Madea" play.
Q: And that information influenced your decision?
A: Oh, definitely. I mean, here's a man who took the black stageplays to another level, and it's obvious that there is an audience out there for the medium. You just have to come up with an idea to execute that will bring outa steady crowd of supporters. And since I'm no longer writing 400-page books, I figured that writing an 85-page stageplay would be a breeze.
Q: And was it?
A: Oh yeah. I wrote it over the 2-week Christmas and New Year's holiday break and took it to the Library of Congress to secure the copyrightalready. That was the easy part. But now the hard part begins; casting, producing, directing, finding promotional partners, and taking the play out there onthe road.
Q: Now the subject of your play - Broke & Sexy - seems to be extremely timely.
A: If you know about my career as a novel writer, I've always been one to write timely material about our community. And for my final novel Pecking Order, published in September 2008, I wrote about the state of American entrepreneurship because we all need to think about creating new economicsfor ourselves. I followed that up with The Equation, a non-fiction book onbusiness. So, for my first stageplay, while we are still in hard economic times, I wanted to speak about the difficulties of dating in this depressed economy.I see that as a very valid and serious topic that you can make fun of and learn from at the same time.
Q: But will people want to watch a stageplay about those economic truths, or find something that allows them to get away?
A: Well, I've never been the "get-away-from-my-problems" kind of writer. I've always written about the hard truths in my work. However, with a stageplay, I'm able to be more humorous with those truths. So it's a veryfunny play that couples will indeed have a ball with. Then you have actors whowill have a ball depicting the well-rounded characters that I came up with. So, have no fear, the entertainment element is all there. I just base the playon a subject that is definitely valuable to us right now.
Q: What is your target audience?
A: You know, I have always had a pause when it comes to target audiences for my work, because you never really know who will eventually come out to support you. You always hope for the largest audience possible, but realistically, you have to review the content and the delivery of yourmaterial, as well as the audience who have been a part of the natural marketplace thatyou fall into with your project. And with that being said, I would expect to attract the African-American working class who typically support stageplays.At the same time, I would also hope to attract a few college-aged supporters, and possibly crossover to non-blacks, who may be interested in the contemporary economic content that is involved.
Q: In light of the economic issues highlighted within the play, how do we as African Americans prepare our youth in college, so that they are better prepared for corporate America?
A: You can prepare all college students for corporate America by telling them, or demanding them, to do internships in their freshman, sophomore, junior and senior years. The best way to learn is to be there. And corporateAmerica is always open to free young labor, especially now. So when thoselazy college students wait until the last minute to intern in their field ofwork, or don't make the sacrifices that are needed to do so, then they hurt themselves by not providing their own early opportunity to learn before graduation. I even bring up internships and putting in your dues within theplay. So there are no excuses for not starting early.
Q: What is success for our community? How do we define it as individuals, so we are not compelled to keep up with the Joneses?
A: I'm sorry to tell you the truth and keep it real here, but keeping up with the Joneses is a part of the American way. And the only way you can maintain your focus is by choosing to live in economic arenas that fit whereyou are financially. In other words, don't choose to live around people who you feel you can't compete with. It's a battle that many of us Americans end up punishing ourselves and our loved ones to be involved with. Nevertheless, as long as we can dream the American dream and go after what we want, wewill all find ourselves in competition with the next man and woman and family, whether we like it or not.
Q: How do we get educated, 30-somethings to date and enjoy the moment, without making it a job interview or audition for a potential husband orwife?
A: Now, that all depends on the person. If you're into casual dating, then you will find a way to do it. But if not, and you're ready to get serious about what you're doing, then you start to take the people around you more seriously. But in these economic times, dating can get to be frivolous and expensive, which again, I allude to within the stageplay. But ultimately,it's all up to you and what you're after. So folks who want more fun find ways toplace themselves around the fun people, who may be younger than them, or older people who are just looking for fun themselves.
Q: Are "Alvin Williams" and those people out there who share his way of thinking, male gold diggers, or are they simply trying to beat women attheir own game?
A: Alvin is a creative character that I wrote to make a point and to make sure we get to all of the issues at hand dramatically as well as comically. So even though guys who prey on women economically exist, I realistically don't hang out or know too many if those guys. So I would have to havepeople who are closer to the "Alvin Williams" types to explain what's going on there. I was always raised on men that took care of their own business andhad enough left over to take care of their women and families when needed. So although I can write about a guy like "Alvin", trying to explain that dudeis something totally out of my league. So you just have to enjoy his role and come up with your own ideas to explain him.
Stay tuned for more information regarding the Broke & Sexy stageplay coming soon @ www.OmarTyree.com
Sunday, December 6, 2009
an original STAGEPLAY
From the man who brought you Flyy Girl, A Do Right Man, Single Mom, For The Love of Money, Sweet St. Louis, Just Say No!, Diary of a Groupie, Dirty Old Men and What They Want, comes . . . an original STAGEPLAY!
Witness the ground breaking, original play from New York Times, award-winning author and filmmaker Omar Rashad Tyree
The most honest and valid depiction of the contemporary dating game of relationships between men and women that you’ve ever scene on stage or screen, will be coming to a city near you in 2010, written like only Omar Tyree can write it!
A
MUST-SEE-IT-TO-BELIEVE-IT PRODUCTION!
So get your tickets
EARLY!
That's right, you heard it here first, folks! While we await the final tie-ins to produce my first feature film - Leslie - I have decided to jump into the stageplay business. No since in me waiting around with so many things to say and so much talent to say it with.
So this first stageplay of mine is going to be an original idea all about the economics of the dating game in our very REAL economic times. How much do you spend on a date, and who do you date economically toward marriage?
These are REAL issues to tackle right now.
But what line of title will fly the highest and with what crowd? Churchgoers seem to dominate the African-American play circuit, but a very strong secular title would work for the secular club crowd and the college students.
So that becomes the new question for my marketing . . .
And I've already started writing it, folks! So stay tuned!
And what do you all THINK about the idea?
Witness the ground breaking, original play from New York Times, award-winning author and filmmaker Omar Rashad Tyree
The most honest and valid depiction of the contemporary dating game of relationships between men and women that you’ve ever scene on stage or screen, will be coming to a city near you in 2010, written like only Omar Tyree can write it!
A
MUST-SEE-IT-TO-BELIEVE-IT PRODUCTION!
So get your tickets
EARLY!
That's right, you heard it here first, folks! While we await the final tie-ins to produce my first feature film - Leslie - I have decided to jump into the stageplay business. No since in me waiting around with so many things to say and so much talent to say it with.
So this first stageplay of mine is going to be an original idea all about the economics of the dating game in our very REAL economic times. How much do you spend on a date, and who do you date economically toward marriage?
These are REAL issues to tackle right now.
But what line of title will fly the highest and with what crowd? Churchgoers seem to dominate the African-American play circuit, but a very strong secular title would work for the secular club crowd and the college students.
So that becomes the new question for my marketing . . .
And I've already started writing it, folks! So stay tuned!
And what do you all THINK about the idea?
Thursday, August 6, 2009
“The Business Question Of The Week”
What’s your take on the international arena at this point in time, and how the turmoil overseas affects our economics and well being back at home in the United States?
Asked by Jared Sinaka from New York City
Omar Tyree Answers:
Well, first of all, it’s been quite a while since I’ve answered any business blog questions or otherwise. Once I traveled out to Hollywood, California, I’ve been very preoccupied with my own career in the television and film world of entertainment as a show and film creator and writer. And that’s how I will answer your question.
We have President Barack Obama, and Secretary of State, Hillary Rodham Clinton, both dealing with the international scene as best they can at this point, while of course, being swamped by so many economic issues that are taxing us at home. Now I read a newspaper article just yesterday, where the writer had the opinion that the present foreign policymakers lack experience and muscle, strictly because they are not intent on bullying the rest of the world like the America of the past.
Well, it takes a lot of money, effort and time to bully the world, and we don’t have those resources at our disposal right now. So unless folks you folks are ready and willing to start what could become the final world war of humanity, with Iran and North Korea, we have to continue to keep our cool, like Obama and Clinton, while pulling together our own house in America. Literally!
On the other hand, when you’re not able to concentrate on foreign issues, either as a nation or as individuals, we also run the risk of allowing turmoil to go unchecked until we are no longer able to pull the situation back into order. Nevertheless, life will ALWAYS find ways to challenge us no matter what we do. So either way, America will continue to be challenged by the events of the international world just like everyone else. But I don’t see the rest of the world panicking. They all deal with it like mature nations who have been through it all before, and have survived it.
Personally, I have to admit, I am more focused on Team Tyree right now and making sure I can continue to map my laps back and forth across the pool of life to provide the economics and poise that are needed for the survival of my own nuclear family in these hard economic times. So I will leave it up to the Team USA and their foreign policy positions to work out their jobs to protect our interest and safety worldwide. Anything more than that from me would be a stretch at this time. My hands are full.
But my idea is that a strong home and family makes us a stronger nation abroad. But if we have folks who neglect their own households to concern themselves about the issues of the world at this point, when the world settles back into comfort, we will only return home to find ourselves in a battle there. So pick your poison, and select your medicine. But for me, the choice is definitely family first. America first! And we let the foreign policy officials do their jobs with more faith. That’s what we all have to have right now.
Asked by Jared Sinaka from New York City
Omar Tyree Answers:
Well, first of all, it’s been quite a while since I’ve answered any business blog questions or otherwise. Once I traveled out to Hollywood, California, I’ve been very preoccupied with my own career in the television and film world of entertainment as a show and film creator and writer. And that’s how I will answer your question.
We have President Barack Obama, and Secretary of State, Hillary Rodham Clinton, both dealing with the international scene as best they can at this point, while of course, being swamped by so many economic issues that are taxing us at home. Now I read a newspaper article just yesterday, where the writer had the opinion that the present foreign policymakers lack experience and muscle, strictly because they are not intent on bullying the rest of the world like the America of the past.
Well, it takes a lot of money, effort and time to bully the world, and we don’t have those resources at our disposal right now. So unless folks you folks are ready and willing to start what could become the final world war of humanity, with Iran and North Korea, we have to continue to keep our cool, like Obama and Clinton, while pulling together our own house in America. Literally!
On the other hand, when you’re not able to concentrate on foreign issues, either as a nation or as individuals, we also run the risk of allowing turmoil to go unchecked until we are no longer able to pull the situation back into order. Nevertheless, life will ALWAYS find ways to challenge us no matter what we do. So either way, America will continue to be challenged by the events of the international world just like everyone else. But I don’t see the rest of the world panicking. They all deal with it like mature nations who have been through it all before, and have survived it.
Personally, I have to admit, I am more focused on Team Tyree right now and making sure I can continue to map my laps back and forth across the pool of life to provide the economics and poise that are needed for the survival of my own nuclear family in these hard economic times. So I will leave it up to the Team USA and their foreign policy positions to work out their jobs to protect our interest and safety worldwide. Anything more than that from me would be a stretch at this time. My hands are full.
But my idea is that a strong home and family makes us a stronger nation abroad. But if we have folks who neglect their own households to concern themselves about the issues of the world at this point, when the world settles back into comfort, we will only return home to find ourselves in a battle there. So pick your poison, and select your medicine. But for me, the choice is definitely family first. America first! And we let the foreign policy officials do their jobs with more faith. That’s what we all have to have right now.
Sunday, July 26, 2009
Omar Tyree on "The Passing of E. Lynn Harris"
"E. Lynn Harris was by far the most generous big brother in the African-American publishing world. He was the one professional most willingto give you, not only publishing advise, but a review quote on your new book, tour assistance and even public appearances to help you out in your aspirationsto become a successful author.
When I first met E. at Book Expo America party in Chicago back in 1996, he already knew who I was, he had already read my work, and he greeted me with support and enthusiasm.
Once, he even hosted an event for me at Chicago's Shark Bar for the release of Single Mom, my third published novel with Simon & Schuster. And I never heard the mad have a sour comment for anyone. He was a hardworking author who understood what being a writer of the people was all about.
E. Lynn Harris and his poise and leadership in the publishing world of African-American books will be sadly missed."
When I first met E. at Book Expo America party in Chicago back in 1996, he already knew who I was, he had already read my work, and he greeted me with support and enthusiasm.
Once, he even hosted an event for me at Chicago's Shark Bar for the release of Single Mom, my third published novel with Simon & Schuster. And I never heard the mad have a sour comment for anyone. He was a hardworking author who understood what being a writer of the people was all about.
E. Lynn Harris and his poise and leadership in the publishing world of African-American books will be sadly missed."
Friday, July 17, 2009
Why Leslie First? - Omar Tyree
I know, I know, I know, many of you guys would just loooove to see Flyy Girl as my first movie. The only problem is, most of the readers who love Flyy Girl so much have never bothered to read many of my other books. So if I gave them Flyy Girl first as a movie, would they even bother to see my otherfilms? Because if I can't trust them to read the other books, then whyshould I trust them to see the other films? And they have all had PLENTY of time toread my other books. And they ALL GOOD READS!
So for the first film, since I want to have a film CAREER and not just one movie deal, we decided very strategically to go with the Leslie franchise first, where we can possible do 3 films with a character that folks willlove and want to see much more of. But if you guys have not read Leslie the book,you have no idea what you're missing.
Therefore, a New Orleans-based suspense vehicle like Leslie would get us "out-of-the-box" of typical African-American films that may immediately destroy new types of ideas if I were to do the obvious Flyy Girl first. Andsince we know everyone is waiting for Flyy Girl anyway, we decided do it when we have more experience and power to do it RIGHT and have plenty of marketing money to push it. But you often have to beg on the first movie, so we'drather do that on an exciting trilogy film like Leslie.
Second, I would love to do Sweet St. Louis as an urban love story or One Crazy Night, as a run-for-your-life thriller. Then we would do Flyy Girl third, followed by Diary of A Groupie, the Leslie sequel, Just Say No!, TheLast Street Novel, Pecking Order. We have plenty of great film vehicles, but I will NOT make the mistake of giving fans the only book they ever read ofmine FIRST and then being nervous about whether they will continue to follow my film career, because they have not done so with the books.
So the idea is to force an audience to enjoy my other great content first, then I can keep a film career going with respect, instead of being one film and out with Flyy Girl. With all that being said, we will also need the power and money to choose and original franchise actress for Flyy Girl,shoot it in Philly, go back to the 80s, get the wardrobe right, keep the locations outside. And those are all ideas that we will have to FIGHT FOR that we may not be able to do on a first film without having that power.
So bear with us. We will get to Flyy Girl, just learn to read something else with my name on it first, starting with Leslie. And if I can't count onyou to do that, then I have to honestly say that you're not an Omar Tyreefan, you're a Flyy Girl fan. But I want an Omar Tyree film career, and not a Flyy Girl film career. Flyy Girl is only one movie. And I want to make 20movies or more. You feel me? So learn to respect the man's other work.
What are your comments on all of that? I'm curious to know?
Sincerely,
Omar Tyree
So for the first film, since I want to have a film CAREER and not just one movie deal, we decided very strategically to go with the Leslie franchise first, where we can possible do 3 films with a character that folks willlove and want to see much more of. But if you guys have not read Leslie the book,you have no idea what you're missing.
Therefore, a New Orleans-based suspense vehicle like Leslie would get us "out-of-the-box" of typical African-American films that may immediately destroy new types of ideas if I were to do the obvious Flyy Girl first. Andsince we know everyone is waiting for Flyy Girl anyway, we decided do it when we have more experience and power to do it RIGHT and have plenty of marketing money to push it. But you often have to beg on the first movie, so we'drather do that on an exciting trilogy film like Leslie.
Second, I would love to do Sweet St. Louis as an urban love story or One Crazy Night, as a run-for-your-life thriller. Then we would do Flyy Girl third, followed by Diary of A Groupie, the Leslie sequel, Just Say No!, TheLast Street Novel, Pecking Order. We have plenty of great film vehicles, but I will NOT make the mistake of giving fans the only book they ever read ofmine FIRST and then being nervous about whether they will continue to follow my film career, because they have not done so with the books.
So the idea is to force an audience to enjoy my other great content first, then I can keep a film career going with respect, instead of being one film and out with Flyy Girl. With all that being said, we will also need the power and money to choose and original franchise actress for Flyy Girl,shoot it in Philly, go back to the 80s, get the wardrobe right, keep the locations outside. And those are all ideas that we will have to FIGHT FOR that we may not be able to do on a first film without having that power.
So bear with us. We will get to Flyy Girl, just learn to read something else with my name on it first, starting with Leslie. And if I can't count onyou to do that, then I have to honestly say that you're not an Omar Tyreefan, you're a Flyy Girl fan. But I want an Omar Tyree film career, and not a Flyy Girl film career. Flyy Girl is only one movie. And I want to make 20movies or more. You feel me? So learn to respect the man's other work.
What are your comments on all of that? I'm curious to know?
Sincerely,
Omar Tyree
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