Bill Adler (novelist)

Bill Adler (born December 18, 1951) is an American music journalist and critic. Since the late 1960s, he has worked in the music business in a variety of capacities, including as a record store clerk, radio disc jockey, critic, publicist, biographer, record label executive, documentary filmmaker, museum consultant, art gallerist, curator, and archivist. He is known best for his tenure as director of publicity at Def Jam Recordings (1984–1990), the period of his career to which the critic Robert Christgau was referring when he described Adler as a "legendary publicist".

Early life and education

William Adler, known as Bill, was born in Brooklyn, New York, on December 18, 1951. He moved with his family to Detroit before he was five, and he lived in Michigan until 1976. He attended the James Vernor elementary school through the ninth grade, and graduated from Southfield High School. He later matriculated briefly at the University of Michigan.

Career

Detroit, Ann Arbor, and Boston

Adler's first exposure to the music business came in the fall of 1969, when he was hired in the record department of a university bookstore. In 1972, he started to host a weekly freeform radio show on WCBN-FM, the University of Michigan's student station. In the summer of 1973, he began working at radio station WDET-FM, Detroit, as the board operator (and occasional substitute host) for Kenny Cox, a local jazz pianist and bandleader who hosted a weekly show called "Kaleidophone." Later that year, Adler began a three-year stint as contributing music editor for the '' Ann Arbor Sun'', a weekly underground newspaper edited by the poet and activist John Sinclair and published by David Fenton. A year later, Adler began reviewing records for '' Down Beat'' magazine. In the spring of 1975, Adler was briefly a deejay at WABX, Detroit, a pioneering free-form radio station.

Adler moved to Boston in February 1976. He deejayed at radio station WBCN-FM throughout the spring of 1977 and freelanced articles about music to '' the Real Paper'' and '' High Times''. He was the staff pop music critic of the ''Boston Herald'' from April 1978 until April 1980.

New York – Def Jam, Eyejammie Fine Arts Gallery, and Mouth Almighty Records

Adler moved to New York in July 1980. For the next several years he worked as a freelance writer on musical subjects for publications including the '' Village Voice'', '' Rolling Stone'', '' People'', and the '' Daily News''. In 1984, Russell Simmons hired Adler as director of publicity for Rush Artist Management and Def Jam Recordings. During the next six years Adler worked closely with a variety of artists, including Run-DMC, Dr. Jeckyll & Mr. Hyde, the Beastie Boys, LL Cool J, Public Enemy, DJ Jazzy Jeff & the Fresh Prince and De La Soul.

Adler has written and taught extensively based on his experiences at Def Jam; in 1987, he wrote ''Tougher Than Leather: The Authorized Biography of Run-DMC'' (New American Library), described by the critic Harry Allen in the ''Village Voice'' as "hip-hop's first authorized biography and a definitive, insightful text." The critic Jon Caramanica, in a review for ''Rolling Stone'' of the 2002 reissue of the book, suggested it "might well be the most comprehensive biography ever written about a pop act while it was still in its prime." In the spring of 2006, Adler taught a course about Def Jam at New York University's Clive Davis Department of Recorded Music, and in 2011, Adler and Dan Charnas co-authored ''Def Jam Recordings: The First 25 Years of the Last Great Record Label'', which was published in both English and French.(The French-language version was created by French journalist Olivier Cachin.)

In the fall of 2008, Adler and the artist Cey Adams co-edited ''DEFinition: the Art and Design of Hip-Hop'' (Collins Design), a book described by Adler himself as "a catalog for a useumexhibition that is waiting to happen." ''DEFinition'' was praised by the critic Cinque Hicks in '' Creative Loafing'' as "a voracious and wide-ranging visual survey that makes the case that hip-hop's musical heritage is only part of the story." In December 2020, a booklet by Adler entitled entitled “Every Year Just ‘Bout This Time, Kurtis Blow Celebrates with a Rhyme," was published by Music Arkives Ltd. This is an expanded version of an article published by the Smithsonian (magazine) in December 2019 and pegged to the 40th anniversary of the release of Blow's "Christmas Rappin'" single. In the fall of 2023, an autobiographical comic book by Umar Bin Hassan of The Last Poets entitled "Up South in Akron, Summer 1959," was published by Music Arkives Ltd. Adler was its editor.

Adler was an early champion of hip-hop photography; in 1991, he wrote the text for "Rap: Portraits and Lyrics of a Generation of Black Rockers," which showcased the work of Janette Beckman. (The book was published by St. Martin's Press in America and Omnibus Press in England.) In 2003, he founded the Eyejammie Fine Arts Gallery, which was largely devoted to hip-hop photography. During the gallery's five years of existence, Adler curated or co-curated one-man shows showcasing the work of photographers Michael Benabib, Al Pereira, Ricky Powell, Ernie Paniccioli, Harry Allen, and others. Group shows celebrated Run-DMC, women in hiphop, VP Records and dancehall reggae,Southern hip-hop, and '' ego trip Magazine''.

In 2004, Adler formed Eyejammie Press to publish “Frozade Moments,” a book of postcards featuring the street photography of Ricky Powell. Gina Wang, writing for '' Mass Appeal'' magazine, praised the book as "a visual trip through a mismatched combination of celebs, knuckleheads, animals and NYC's indigenous subjects, all shot from Powell's gritty perspective."

Adler's essay, "Who Shot Ya: A History of Hip-Hop Photography” was commissioned by the journalist Jeff Chang and published in Chang's "Total Chaos: The Art and Aesthetics of Hip-Hop” (Basic Civitas 2006). It was later republished in ''Wax Poetics'' magazine. Adler wrote the text for Michael Benabib's “In Ya Grill: The Faces of Hip Hop,” which was published by Billboard Books in 2007.
Adler's essay, "Contact Sheets: Freedom of Choice," was commissioned by Vikki Tobak and published in Tobak's " Contact High: A Visual History of Hip-Hop" (Clarkson Potter 2018). He also wrote the foreword to Sophie Bramly's "Yo! The Early Days of Hip Hop 1982-84," published by Soul Jazz Books in 2022.

In 1994, Adler and the poet Bob Holman co-founded NuYo Records, a record label devoted to the spoken word. Initially distributed by BMG, this venture was revived as Mouth Almighty Records by Danny Goldberg when he became the president of Mercury Records in 1996. Over the course of the next three years the label released 18 titles, including recordings by the Last Poets, Allen Ginsberg, Michele Serros

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