I Loved Working With Cindy Mizelle and Nils Lofgren on Ain’t The Truth Enough Video

“Neal, Who?” I initially said when my friend, Cindy Mizelle, called to ask for my help on a video shoot for Nils Lofgren’s Ain’t The Truth Enough music video. My music taste runs from retro Disco and 80s R&B to house music and Euro-pop. When she called, I was probably listening to either the Emotions (Best Of My Love) or Aretha Franklin (Jump To It).
But what kind of idiot turns down working with the multi-talented, beautiful Cindy Mizelle??? She’s one of my favorite vocalists of all time. Cindy and I worked together with Luther Vandross. Cindy was one of Luther’s longtime backing vocalists on tour and his records. She used to do a step-out on the song, Going In Circles with Luther’s Songs Tour.

Cindy also lent her stunning vocals to my dance anthem, That Man Of Mine, in the 90s, co-written and produced by Keith Harrmeyer. Watching Cindy Mizelle do her thing in front of a microphone was life-changing. Within seconds, I witnessed her switch phrasing and tones to wrap her voice beautifully around the melody.

She has also worked with Whitney Houston, Steely Dan, Alicia Keys, Bruce Springsteen, Billy Ocean, and Dave Matthews Band.
I designed several sets of tour costumes for Dave’s Lovely Ladies (Tawatha Agee, Brenda White-King, and Cindy) in the 2000s. The picture above features costumes with reversible skirts to mix and match. My ideas seem heavy-handed today, especially pairing check prints, bold stripes, and vinyl ruffles. But the idea was to create bold statement pieces that they could pair with other clothing to create their looks.

I’m not the only person who loves and admires Cindy. Mariah Carey praises many singers in her new memoir The Meaning of Mariah Carey, but she’s particularly effusive about her. “To me, she was one of the absolute greatest,” writes Carey. “Cindy Mizelle was the background singer. She sang with the most gifted vocalists of all time — Barbra Streisand, Whitney Houston, Luther Vandross, and the Rolling Stones. She was a real singer’s singer. Cindy was that girl to me. I looked up to her so much.”

Of course, once I found out ‘Neal’ is Nils Lofgren, a rock legend, amazing songwriter, and virtuoso rock guitarist who has recorded and performed with Bruce Springsteen as a member of the E Street Band,  I roped master stylist and Hale Organic salon owner Joe Murray into helping on the video shoot.
It was fun for me to step away from diabetes outreach and jump back into styling and working in entertainment, too. I spent half my life pursuing my dreams of working in entertainment. I didn’t have a master plan, just a deep passion that happily carried me a long, long way.

For all his success, Nils Lofgren is a down-to-earth, caring, and kind person. Even though he was on the road touring with Bruce, he found time to drop me an email expressing his gratitude.
Mountains
Ain’t The Truth Enough appears on Nils Lofgren’s new album, Mountains. Nils said the album started out “as a form of therapy, but it very quickly grew beyond that” and that it was “so freeing to work without any restrictions,” calling it “some of the most inspired work” he has ever made. He wrote and recorded the album at his home in Arizona and enlisted a wonderful kaleidoscope of talent, including Ron Carter, Neil Young, and David Crosby.  This album is jammed with great melodies, glorious guitar playing, heartfelt lyrics, and catchy hooks that have this disco kid dancing around.
I’m happy to say I’m now a big Nils Lofgren fan and thrilled to participate in this project. Ringo Starr????? Unbelievable!!!
Don’t worry; I’m not giving up my day job working to glamorize good health for women and their loved ones living with diabetes.

Little Richard: I Am Everything Is Worth Seeing

I’ll admit that before I saw the Little Richard: I Am Everything documentary, my shortsightedness only allowed me to see the caricature he put forth in the media, not the multi-talented, compassionate, multi-dimensional person. Sadly, I didn’t realize he created this fanciful, rhinestone-encrusted facade so that he could do what he loved – entertain people of all colors. 

 
Little Richard’s story is a sad commentary on American Life. The adult black man must be neutered and robbed of their masculinity and sexuality, and depth of skin tone to appeal to a mass audience. This isn’t new news, but watching Little Richard’s life unfold, and his struggles to be an entertainer is heartbreaking. The lack of respect and acknowledgment for creating Rock n’ Roll would make anyone angry. That he frequently ended a heartwrenching declaration of being done wrong by society with a  belly laugh and a high note is incredible. 
 
The film makes you wonder how race, gender, and sexuality affect your journey in life. Why should I feel threatened by a strong, masculine black male? Why does my sexuality as a gay or bisexual man make me more appealing to the mainstream but less respected? 
 
It’s easy to see that the stage was where Little Richard felt he could be himself. He was the supernova he claimed to be. How else could he have survived his terrible upbringing and created a long-lasting legacy if he was anything less? Little Richard makes you believe anything is possible. Throughout his life, he overcame many obstacles that would have stopped most people, including me. I am glad someone as talented and compassionate as the Academy Award-nominated and Emmy-winning film producer and director Lisa Cortés told his story. However, after watching her documentary, I can honestly say that his life is worthy of a series of documentaries. He led so many different and exciting lives in one lifetime. 
 
“There was really no one like him,” says Cortés of the flamboyant pioneer.
 
Her film follows Little Richard from his childhood in Macon, Georgia, through the many ups and downs of a long and storied career. It adeptly reveals the layers that influenced the person who became the performer no one could ignore. It is also the story of rock and roll’s birth, queer culture, and being a Black gay man in America. 
 
One of my big takeaways was learning about the singer, songwriter, and pianist, Esquerita, known for his frenetic performances. Little Richard credits him, along with Marion Anderson and Mahalia Jackson, for influencing his music, singing, piano playing, and electrifying performing style. 

My big takeaway from the documentary was Little Richard’s lifelong struggles with his sexual identity and financial compensation. I left the theater wondering if he ever had a fulfilling relationship with a  man and whether he was fully compensated for his early hits. 

 
His early life growing up in Macon, Georgia, was heartbreaking.
 
Little Richard’s father beat him routinely for being ‘different’ than his other sons. Other boys bullied him. Little Richard dressed in his mother’s clothes and wore makeup and long hair. His father kicked him out of the house at the age of twelve. 

 
Unfortunately, the blame and shame his father inflicted on him are still common today. As much as people like to tell us that things are different, they aren’t for everyone. Many young LGBTQ+ people are not accepted by their immediate family. I found out LGBTQ youth compose 40% of the homeless youth population with one click of a Google search.
 
Interestingly, wearing makeup helped him to crossover to white audiences. He crafted an appearance to succeed. Because he wore pancake foundation, eyeliner, and mascara, he was considered less threatening to the fathers of white girls than other black male entertainers like James Brown and Fats Domino. He was still arrested in many cities for exciting teenage audiences. 
 
Luther Vandross wore makeup and rhinestones too. Watching the film, I wondered if Luther used rhinestones and mascara to make himself seem less threatening.

We can assume that the same people who found James Brown threatening would find Luther’s six-foot, dark-skinned appearance identical.  Luther, like Little Richard, wanted crossover success. Who could blame them? Their white counterparts sold ten times as many albums as they did. In the documentary, Little Richard admits that Pat Boone’s bland rendition sold more copies of Tutti Frutti than he did!
 
Saying that Little Richard was gay is a cop-out too. He was sexual.
 

“I had all these orgies going on,” he reveals in the new documentary “Little Richard: I Am Everything.”

He loved both men and women: “I just loved whatever came. You know, I didn’t refuse nothin’ if you knocked on my door and I wanted more. Fo sho.”

In a few interviews on YouTube, he identifies himself as ‘gay,’  but I think bisexual or ‘omnisexual,’ like the phrase Sophie B. Hawkins coined, is probably more on point. Society has a hard time acknowledging that some people love both sexes equally. 

Is Little Richard the Architect of Rock n Roll? 
Hell, yes!  No one did what he did before him. He borrowed from other performers like Mahalia Jackson to create his unique recipe for performing. Every entertainer is subconsciously or consciously influenced by others who came before them. The documentary proves his claims of creating Rock n’ Roll. 
There’s also no doubt that his black queerness stopped him from being fully acknowledged. Little Richard would have a bigger imprint on our society if born white. During his lifetime, his music, style, musicianship, and performances impacted everyone from Elvis Presley, the Beatles, and the Rolling Stones to Elton John, David Bowie, and Prince. He deserves much more respect for his contributions. 
Fortunately, he found an unlikely ally in Dick Clark, who honored him with the Merit Award at the American Music Awards in 1997. Perhaps Dick Clark, the host of American Bandstand, was more aware than most of Little Richard’s enormous contribution to music. 
Little Richard’s religious background, as much as his skin tone, seemed to have stopped society from acknowledging his contributions or enjoying financial compensation. His abrupt departures from performing at various times cost him substantial financial losses.  He seemed so deeply conflicted between his rock n’ roll lifestyle and his religious beliefs that he broke recording contracts and signed away the rights to future royalties to his early hits. However, at the height of his fame, Little Richard said he was making half a cent per record sold. 
“I looked around and didn’t have any money,” said Little Richard. “Those record companies paid me nothing, you know? Nobody had paid me a dime. All those hits.”
He returned to performing Rock n’ Roll music only when he was desperate for money. The electricity and energy of many of these comeback performances influenced people like the Beatles and Rolling Stones. Mick Jagger admits it too, and Nile Rogers states that Little Richard heavily influenced David Bowie. 
Little Richard’s frustrations about the lack of respect from the music industry came to a head at the 1988 Grammy Awards. While presenting Best New Artist with the New York Dolls David Johansen, the legendary musician pointed at Johansen’s pompadour hairdo — a carbon copy of how he wore it in his ‘50s heyday — and remarked, “I used to wear my hair like that. They take everything I get — they take it from me.”

 
Little Richard passed away in 2020 at 87 following complications from bone cancer. 

Divabetic Remembers Frankie Knuckles

Rolling Stone magazine credits Frankie Knuckles as being one of the most important DJs of all time. Unfortunately the ‘Godfather of House Music’ as Frankie Knuckles was commonly known died of diabetes complications at the age of 59 in 2014.

Born in the Bronx, New York, in 1955, Knuckles started his career as a DJ in the early 1970s. of the Eighties and Nineties’ He quickly became one of the most prolific house music producers and remixers in the 80’s and 90’s.

At his Chicago clubs the Warehouse (1977-82) and Power Plant (1983-85), Knuckles’ marathon sets, typically featuring his own extended edits of a wide selection of tracks from disco to post-punk, R&B to synth-heavy Eurodisco, laid the groundwork for electronic dance music culture— are widely attributed to the birth of the term “house” music (an abbreviation of ‘Warehouse’). 

Frankie Knuckles created numerous dance classics, including early Jamie Principle collaborations “Your Love”(1986) and “Baby Wants to Ride”(1987); “Tears”(1989), with Satoshi Tomiiee and Robert Owens; “The Whistle Song”(1991); and his remixes of Chaka Khan’s “Ain’t Nobody”(1989), Sounds of Blackness’s “The Pressure” (1992), and Hercules and Love Affair’s “Blind” (2008). As his star rose so did the status of his collaborators which included Luther Vandross, Diana Ross, Madonna, Whitney Houston and Michael Jackson

“[When] you’ve got someone as big as Luther Vandross and Michael Jackson sitting there saying, ‘Whatever you want, however you want it, I’ll stay here as long as you need me,’ that’s the reward right there,”  Frankie Knuckles said in 2011. He went on to win a Grammy Award for ‘Remixer of the Year, Non-Classical’ in 1997.

The award-winning DJ’s death was due to Frankie Knuckles began to develop diabetes health-related complications in the early-2000s reported the Chicago Tribute. 

In July 2008 he had his right foot amputated: He’d broken it during a 2000 snowboarding accident in Switzerland, leading to a bone disease exacerbated by late-breaking diabetes. 

“When I saw it was gone I had a good cry, but when I woke up the next morning I felt 1,000% better,” Frankie Knuckles told the Guardian in 2011. “I didn’t realize how much pain I’d been in until it was gone. It was like all of a sudden the sun came out.”

Diabetes health-related complications can include nerve damage and poor blood circulation. These problems make the feet vulnerable to skin sores (ulcers) that can worsen quickly. 

More than 80 percent of amputations begin with foot ulcers. A non-healing ulcer that causes severe damage to tissues and bone may require surgical removal (amputation) of a toe, foot or part of a leg.

The good news is that proper diabetes management and careful foot care can help prevent foot ulcers. In fact, better diabetes care is probably why the rates of lower limb amputations have gone down by more than 50 percent in the past 20 years.

“We lost Frankie way too soon,” said Frankie Knuckles Foundation (FKF) committee member Robin Robinson. “He was always ahead of his time. He recognized the power to unite people who had never partied together before. Gay and straight, black and white, young and old, rich and poor, they all came together to crush the traditional social divisions in their mutual love of his DJ-created music that was made for dancing together.”

The Frankie Knuckles Foundation (FKF) is a not for profit educational, and cultural organization dedicated to the advancement of Frankie Knuckles’ mission as the global ambassador of house music through media, conservation and public events continuing and supporting the causes he advocated.

The FKF is a recognized 501c3 and focused on these initiatives: music in schools, LGBTQ youth homelessness, AIDS research / prevention & diabetes research / education.