Lemar And Dauley®

A few months ago, we decided to embark on another check point in the preparation of Manhattan's debut release Live From The Glitter Dome. Prior to Glitter Dome, none of us had ever handled any film production, so we naturally relied on our artistic instincts and called on some qualified help. Fortunately for us, we knew some AMAZING talent so the video easily surpassed our expectations! With weeks deliberating over storyboards, mood pages and location scoutings we brought hours of labor to a climatic close at the prestigious Wooly Restaurant located in the Woolworth Building. Enjoy a preview of whats to come shortly! “Its Nothing” premieres on CREATIVE CONTROL.TV.

Director Rodney Passe previewing some lightening adjustments on the set of “Its Nothing”

Director Rodney Passe overlooking cinematographer Evan Cohen. These guys were both consummate professionals as they lead us through an intense 12hr work day.

Manhattan, always the professional, gets the last minute star treatment prior to shooting his profile shot.

Great shot of Manhattan at the bar, as he is no stranger to a Gin & Tonic with a splash of lemon juice.

Arod and Evan checking out some final shots as they move to the next location.

Pompadours are not easy to grow as they take time and dedication to cultivate. Manhattan leaves no hair strand unkept as S.Dot Lambo sees that he is perfect for his next scene.

A final preview of whats to come. Stay tuned for the single “Its Nothing” from Live From The Glitter Dome featured on Creative Control. TV

After years of searching for a specific sound, Lemar And Dauley and Hound’s Tooth Recordings embarked on Manhattans first public release Live From The Glitter Dome. Live From The Glitter Dome was essentially a personal project for Manhattan but after further cultivation from business partner Kareem Blair and producer M.I.K.E SEE he sought out to make the project his first offering. Manhattan and M.I.K.E SEE developed what is known as the “Dough Boy Sound”, a completely organic/synth sound that keeps a Hip-Hop rhythm but allows melody to carry out in a song.

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Lifted from an oft-parodied 2004 German film called “Downfall,” the three-and-a-half-minute YouTube clip expertly synchs expletive-laced subtitles to the lip movements of the actors, principally the lunatic Hitler, played by the Wim Wenders favorite Bruno Ganz in an unintentionally comic turn worthy of Mel Brooks. Haunted by his failure as a painter, the fuming dictator predicts a dire future for a Deitch-led MOCA deluged by skateboarders and graffiti artists like Shepherd Fairey and Barry McGee, whom Deitch has championed. 

In a critical event, MOCA Cleveland is currently playing host to the first ever public survey of contemporary African American art in the Ohio region. From Then To Now: Masterworks Of Contemporary African American Art. The exhibition features 27 artists, and begins with signature pieces by such pioneering figures of the 1970s and 1980s as Romare Bearden or Alma Thomas, and continues up to the present with prime examples of works by artists such as Lenardo Drew, Alison Saar, Willie Cole, David Hammons, Lorna Simpson, Carrie Mae Weems, René Green, Kara Walker and Kehinde Wiley, among others.  Addressing a range of themes and issues, the exhibition presents an overview of the rich cultural heritage voiced by contemporary African-American artists in their examination of history, identity, and memory.