The sooner you start, the more you can accomplish.
Thursday, June 27th
11:00 AM - 4:00 PM
Aerosoles, Woodfield Mall, 5 Woodfield Shopping Center, Schaumburg 60173
Positions: Store Managers - Assistant Store Managers - Assistant Managers - Key Holders - Sales Associates
For five hours long, five hours strong, Chicago listeners are entertained, captivated and inspired by the hip and charismatic personality of Loni Swain. In July 2009, Swain took over the midday timeslot at Chicago's heritage Hip-Hop and R&B station, WGCI-FM. With daily show features including Job Classifieds, Entertainment Reports and the Midday Mix with Dj 33 1/3 that is not-to-be-missed, its no wonder that the 9am-2pm hours fly by for the faithful weekday listeners. Loni Swain is a well-rounded talent that has remained laser-focused in her efforts to propel her successful media career forward.
Born in New Orleans, Swain began her radio career while studying Communications at the University of New Orleans. As the Production Manager's assistant at campus based WWNO Public Radio, Swain focused on the technical aspects of radio by producing and recording live classical music segments. After three months, she simultaneously began interning at Clear Channel Radio's WQUE-FM and was hired after only six months as a part-time on air personality. In recognition of her dedication and talent, she was offered the midday time slot on sister station “Rhythmic AC/KSTE 104.1 FM”. As “Halie Diaz”, Swain shocked 104.1 (KSTE-FM) during the day and continued to satisfy her loyal listeners as “Loni” on WQUE-FM in the overnight weeknight slot and weekends. With increased ratings she held the midday slot for six months, until the station format abruptly switched. Thereafter, Swain participated in “United Radio”, which kept listeners across the country abreast of post-Katrina progress in New Orleans and all it’s surrounding areas. As a part of this effort, she interviewed state and city officials, as well as countless disaster relief teams. That same year, Swain was invited to emcee at the nation’s most unparalleled musical celebration, the Essence Music Festival.
After receiving her Bachelor of Liberal Arts degree, Swain accepted the position as afternoon-drive Co-Host and Producer at Baltimore's WERQ-FM, during which time the afternoon drive show received its highest known ratings in the history of the station. From Baltimore, Swain was offered her own show at Saint Louis' WFUN-FM as the host of Loni's Love Lounge. Upon her arrival, Loni's Love Lounge boosted the time slot's ratings in the market, consistently maintaining, at minimum, top four rankings and becoming the highest rated show on the station. It’s apparent that Swain’s top priority in this industry is to become a household name. Given her proven track record of success, she is well on her way.
#1 - Back to basics: The Bomber jacket
#3 - Double the trouble: Sneaker boots
John Legend talks to us about Kanye West and how he got involved with G.O.O.D Music. He also said that Kanye wasn’t always as hot as he is now.
What does the G.O.O.D. Music brand mean to you?
It starts with the name itself. We wanted to be known for quality. We wanna be successful and commercial, but we all really care about art and about putting out great art. It’s that creativity, that attention to detail, that quality control. That distinguishes us from other folks that might just be chasing a hit, but not be caring about quality in the way that we do. [Kanye] picks artists that really care about making great art.
So Kanye's kind of been able to live the best of both worlds?
Yeah, that's been his genius, as an artist and as a producer. He’s known for being on the cutting edge of what’s fresh, exciting, and interesting, but also knowing how to capture the zeitgeist of what's going on.
How has G.O.O.D. Music changed from its original incarnation to now?
It's hard to even take my mind back there because it's been quite a while. I signed with Kanye back in 2003, and at that time The College Dropout hadn’t even come out, so he was still relatively unknown compared to where he is now. He wasn't a household name, people were still calling him "Kane."
I'd met him in the summer of 2001, when he had moved to Newark. He was living there and working with Roc-A-Fella, producing tracks on Jay-Z's and Beanie Sigel’s album. When I first met him, it wasn’t really like: This dude is going to be a huge producer. It was like, this is my friend’s cousin and I heard he's pretty good. So we started working together.
At that moment, it wasn’t my plan to sign a production company or anything. I was trying to get a record deal, but I didn’t expect that I would need to go through a producer or go through another artist. I was just working with him. And I started to see: This dude is onto something.
What'd was that moment like, before College Dropout came out?
I remember saying to him I felt like it was going to be really important. It made me think of the The Miseducation of Lauryn Hill in a way—not that it was sonically the same, but the level of creativity and importance that it was going to carry for the culture. When he asked if I would sign to him as I was seeing where the album was going, I was like, “Yeah. This is going to be a good look.”
I thought to myself, This guy is really doing great work. The songs we were doing together for my project and for his, so I was doing songs like “Used to Love You,” “Number One,” and this other track “Do What I Got To Do” that didn't actually make my album. But the tracks that were forming, like “The Heart” and “Get Lifted.” I was working with him and I felt like we were doing something special. His star was rising and everything was coming together at the right time so I was like, “Yeah, I should sign with him.”
Did anyone tell you not to sign with him?
My manager and my lawyer were like, “Nah, John, you’d have to give up too much money, you'd have to do this, you'd have to do that.”
Did you envision he would be the artist he is today?
When I first met him, I didn't. It’s crazy, because when I first met him, he really wasn't even known as someone who was trying to be an artist. He had to fight and claw his way into record label offices to play his own music. They'd be like, “Man—we want to hear some beats for our artists.” And he was like, “No, I rap.” They were like, “Who's this producer trying to make records for himself? Why is he keeping the good beats? He should be giving them to Jay.” So at that time people weren't really taking him seriously.
It’s crazy to see how big he is now, knowing that back then, cats weren’t really checking for him. I think him being an underdog, he’s always had that kind of chip on his shoulder and that desire to prove himself to everybody because no one believed he could do it. But I started to see it. It felt like, this is not just good hip-hop, this is important hip-hop.