BY FRANK DROUZAS
TAMPA — Ronnie Moorer began receiving requests for his artwork at an age when most kids are learning to tie their shoes. As a first grader, he discovered that he had a flair for drawing but it fully dawned on him when classmates began imploring the talented young Moorer to sketch pictures for them. The six-year-old fledgling artist was only too happy to oblige, and a long love affair with the creative arts was underway.
“A lot of the artwork from the 1960s I still have,” he said. “Even one from first grade of a black ballerina.”
Born in Orangeburg, S. C., Moorer moved with his family to Harlem, New York in 1959, not far from the famous Apollo Theater, and started school the following year.
Explaining his proficiency with the drawing pencil, Moorer asserted that “many artists say that they were self-taught, but I say that it was a gift from God.” This preoccupation with his new-found talent so absorbed Moorer as a schoolboy, that at times even reading and writing blended into the background. “Drawing in class almost got me in trouble so I had to stop and do my lessons,” he admitted.
Moorer’s creative passion continued in junior high school, where his art teacher advised him before graduation to take a test to get into the High School of Art and Design in lower Manahattan.
“I was accepted there and majored in Advertising and Commercial Art. My mentor/teacher was Mr. Gaydos and he would have figure-drawing classes after school at the Society of Illustrators, a few blocks away from the school,” Moorer said. “That helped me develop my art.”
In addition to illustrating, Moorer eventually delved into painting and now employs a variety of media including oil and acrylic paints, water colors, crayons, graphite pencils, pastels and enamel paints. He does landscapes, still-life and some lettering, he explained, but portraits are his main passion, and some have featured famous subjects. Like any good artist, he absorbed what he saw in the world around him.
“My parents took my brothers and me to see Martin Luther King, Jr. when he came to Harlem in the early ‘60s.” This obviously made an impression on the budding artist because his first oil painting, done in 1969, was of Dr. King.
After graduating in 1972, Moorer and his family moved to Tampa, where he promptly located the nearest art supply store and continued to develop his talent. “My style of painting is realism, but I do various other styles,” he said. “The artist that influence me the most was Rembrandt. I love his light and darkness when he paints a portrait. I just like his style!”
In the ensuing decades Moorer’s artwork eventually became so renowned that it was featured on television shows such as “Black Contact,” and appeared in publications like the Florida Sentinel, Tampa Bay Times, Tampa Tribune and The Weekly Challenger. The 59 year old has also taught art classes at various Hillsborough County libraries and has given private lessons as well.
His standing in the art community has afforded him the chance to meet a few celebrities, like social activist Dick Gregory. “Back in 1988, I was a member of a black art group called ‘Another Vision,’ he explained.”While in that group, I was fortunate to present Dick Gregory with a graphite portrait I drew of him at USF.”
Other famous personalities Moorer has met have included politicians, such as Tampa mayor Bob Buckhorn, to whom he presented a hand-painted t-shirt the night Buckhorn won the election in March, 2011. But possibly Moorer’s most thrilling moments came when he met President Barack Obama twice in 2012.
“I painted two Obama campaign t-shirts. One with him alone and one with him and Michelle Obama together. He signed one when he came to Port of Tampa and the other when he came to Ybor City. Having the first black president sign two of my artworks was a blessing from God!” exclaimed Moorer.
These days he is not only busy creating new works but determined to bring attention to the black art culture in the Bay area. “We need to find a way to showcase the black artists and their talents,” he said. “We as a people need to learn more about the black artist, we need to appreciate the black artist and we need to support and invest in the black artist. Art is something that can be passed from generation to generation.”
With 53 years of artistic experience under his belt, Moorer underscores the importance of perseverance and desire.
“My philosophy on art is, if you have the desire to draw, paint, etc. then practice, practice and practice some more. Don’t worry if someone’s art looks better than yours. Take lessons. If you can’t take lessons, do what I have done: take pictures from magazines and draw them. They say practice makes perfect. You will see yourself develop quickly. Don’t let anybody tell you that you can’t make it,” Moorer stressed. “And take pride in your art. That’s what I did.”
To reach Frank Drouzas, email firstname.lastname@example.org
It seems as though each time I write a review of a musical or play presented by Westcoast Black Theatre Troupe (WBTT), I say it’s a hit. Well once again, last Friday evening after only five minutes into the WBTT season opening performance of the Tony Award winning musical version of the adaptation of Ossie Davis’ “Purlie Victorious,” I thought it could be another hit … and it was!
Founder and Artistic Director Nate Jacobs continue to guide the troupe year end and year out with nothing but successful undertakings. This year’s theme is “Rhythms of Change” representing the significant changes that occurred for African Americans between the end of the Civil War in 1865, to a century later in 1965.
“Purlie” is a Tony Award winning musical version of a play by Ossie Davis named “Purlie Victorious.” The book was written by Ossie Davis, Philip Rose and Peter Udell; lyrics by Peter Udell, and music by Gary Geld. Working with WBTT is Director Jim Weaver, Production Manager James Dodge, II, and Musical Director Michael Sebastian.
If memory serves me right, many years ago before relocating from New Jersey to Florida, I saw either the movie or the play with actors Robert Guillaume, Melba Moore and Sherman Hemsley. They portrayed the roles of the self-ordained minister Purlie Victorious Judson, his recently discovered protégé Lutiebelle Gussie Mae Jenkins, and Gitlow Judson, respectively.
The play takes place in South Georgia. It opens and closes at Big Bethel, a country church, and between moves from a shack on the plantation to outside the commissary owned by the plantation owner. It focuses on the main character, fast-talking Purlie, returning to his plantation home in the early days of the Civil Rights Movement, and also during the time when Jim Crow law was still prevalent.
Determined to shake things up by bringing freedom to his people, he purchase an old barn and converting it into a church. Purlie devises a scheme to purchase the barn by obtaining a $500 inheritance entrusted by his sister to the bigoted plantation owner Captain Cotchipec. Captain was to turn the inheritance money over to the daughter after her mother’s death. However, the daughter has also passed away; thus, Purlie’s plan is to have his protégé, Lutiebelle, pose as the daughter in an effort to get the money.
There is a great deal of singing and dancing superbly performed by the talented WBTT cast consisting of: David Abolafia (Cap’n Cotchipee), Ariel Blue (Missy), Emmanuel Cadet (Gitlow), Lawrence M. Mazza (Charlie) and, Dr. Lonnetta M. Gaines (Idella).
Performers in the female ensemble were Nerlynn Etienne, Adrienne Pitts, Whitney Reed, Kristen Wilson, and performing in the male ensemble were Henry Washington, Wellington Fordham, and Santoy Campbell. All of which were simply marvelous.
Capturing the major spotlight has to be Zelda Mercado who opens the show with a soul-stirring gospel rendition of “Walk Him Up The Stairs.” Gia McGlone who takes on the role of Lutiebelle provides the audience with gut busting laughs with her total innocence and naivety.
However, special and well-earned accolades must be given to the absolute star of the entire show, Earley Dean. Dean portrays the main character Purlie Victorious Judson. His performance is brilliantly inspiring. How he manages his enormous, lengthy script, in such a professional and experienced manner, is what one would expect only from a well-seasoned Broadway actor. One word describes his performance—“Bravo!”
The show runs through Sun., Dec. 15. Show times are Tuesday through Sat. evenings at 8 p.m. and Sun. matinees at 2 p.m. Two Saturday matinees have been added to the schedule on Dec. 7 and 14.
Tickets are $28.50 for individual tickets and may be purchased online at www.wbttsrq.org or by calling the box office at 941.366.1505. The WBTT Theater is located at 1646 10th Way, Sarasota.
Remember to “Keep Jazz Alive” by “Supporting Live Jazz!”
Jazz fans – do you have any feedback? I would like to hear from YOU! You may visit my website at: http://rickgeesjazzjamm.com/or email me at email@example.com.
By JESSICA HERNDON
AP Film Writer
The Real Jazz Trio is a tight-knit jazz group that sizzles and sparks when they perform. If you enjoy jazz music and live in south St. Petersburg, there’s no doubt that you’ve heard of at least two of the jazz musicians who make up this outstanding group. This is a group that actually functions without a leader; each member addresses the audience in-turn making it truly a democratic organization. By now, you’re asking, who are they?
The Real Jazz Trio is comprised of internationally renowned pianist Kenny Drew, Jr., the incredible former Ellington bassist John Lamb and the exhilarating drummer and big band leader Ken Loomer. Together, they possess the power to grab your attention with their tight knit sound, holding your attention from beginning to end with each of their amazing talents.
Kenny Drew, Jr. is not only a musical genius, but he is also an internationally renowned jazz musician. He has recorded 20 albums as a leader, and has made numerous recordings performing as a sideman. He has performed with the who’s who in jazz, including Stanley Jordan, Charlie Mingus Big Band, Jimmy Heath, Slide Hampton and many more; too many to list.
John Lamb is an exceptional jazz musician and educator. He possesses the ability to play a number of instruments, but most times, Lamb plays the string bass. He is at home playing classical music or jazz in any format including Swing, Traditional, Bebop or Dixieland. In 1964, he joined the legendary Duke Ellington Orchestra, where he remained until 1967.
Lamb has received several tributes confirming the jazz community’s appreciation for his efforts in “Keeping Jazz Alive.” Most recently, in March 2012, the Jazz Club of Sarasota presented him with a much-deserved tribute, the “Satchmo Award” for his outstanding contributions to the field of jazz.
Ken Loomer is a drummer’s drummer. His drum solos are simply awesome, causing an audience to snap, crackle and pop with fingers and toes to his beat. He was the first drummer ever to be awarded the “Outstanding Soloist Award” at the National Association of Jazz Educators Jazz Festival - College Division Players.”
Loomer has performed with many of the top jazz musicians across the country, including trumpeter Clarke Terry, multi-instrumentalist Ira Sullivan, vocalist Mose Allison, Tommy Dorsey Big Band and many more. He also is the leader of the Ken Loomer Big Band comprised of 15 of the most talented jazz musicians in the Tampa Bay area.
A few weeks ago, a concert at the newest of jazz venues, the Firehouse Cultural Center in Ruskin, the Real Jazz Trio brought a taste of earthy and knitty-gritty jazz sounds to this quiet rural and idyllic community.
Beginning their concert with the tune “Someday My Prince Will Come,” they followed with Miles Davis’ tune “Solar,” which had Drew stretching out in his dynamic piano style.
Next, the beautiful ballad, “I’m Getting Sentimental over You” captured the audiences’ romantic side with Lamb’s solo using his magical string bow causing a few audible wows from the attentive audience. This was followed by Lamb once again stretching out on a solo piece of “Yesterday,” a Beatles tune.
By now, one could see that the sparks created by the trio were beginning to ignite bringing drummer Loomer to the forefront during the trio’s rendition of the Ellington tune, “Caravan.” His fiery drum solo was all that was needed to completely set this brand new venue on fire. It was at this time that I sat back in my chair realizing I was witnessing jazz history being made in the quiet little town of Ruskin.
The Firehouse Cultural Center’s location is 101 1st Ave. N.E., Ruskin. For tickets and info: (813) 645-7651. The next concert in its jazz series takes place on Fri., Dec. 13, starting at 7:30 p.m.. Visiting to perform “Joyful Jazz for the Holidays” will be the Spring Hill Jazz group Haferhouse Jazz Quartet.
Remember to “Keep Jazz Alive” by “Supporting Live Jazz!”
Jazz fans – do you have any feedback? I would like to hear from YOU! You may visit my website at: www.rickgeesjazzjamm.com or email me at firstname.lastname@example.org
By JESSICA HERNDON
AP Film Writer
BEVERLY HILLS, Calif. (AP) -- When portraying South African revolutionary Nelson Mandela in the biopic, "Mandela: Long Walk to Freedom," Idris Elba embraced the harsh realities of Mandela's life and was determined to stay in character even when the cameras stopped rolling.
But the British actor knew his latest movie wouldn't be believable unless his fellow actors could deliver a performance as raw as his own - so he pushed them to embrace uncomfortable realties, too.
Elba recounted one such instance when he was shooting scenes that focused on Mandela's 27 years in jail under white minority rule. During the filming, he sensed that a couple of white actors were struggling to portray the brutality in which Mandela was treated
"They felt bad. ... I could see it in their eyes. I spoke to director (Justin Chadwick) and I said, `I need these guys to go back to their core. If there is any sense of racism in them I need them to bring it up. If there is a black person that they don't like let me hear it and feel it,'" said Elba intently, leaning in during a recent interview in a dim Hollywood bar.
"That was important because it would come through in the performance and suddenly it becomes the biopic that's safe."
Safe would not be the word to describe Mandela the man, or the movie. While it shows him as the genial peacemaker that the world embraced when he was freed from prison and became South Africa's first black president, it also shows him as a fiery and flawed revolutionary who sought to abolish apartheid through any means necessary as leader as the African National Congress.
Chadwick called Idris brave and lauded his portrayal of Mandela.
"There are not many people who would step into the shoes of Mandela, particularly the way I was making the movie," he said. "There was no room for any untruth. When you are standing in front of thousands of people portraying their leader that they know so well you'd better be on it, and Idris was on it."
Elba did not have a chance to speak to the 95-year-old icon because of his failing health. But he drew on the mannerisms of his late father to help him with his interpretation of Mandela. He also spoke to a few of Mandela's daughters and his second wife, Winnie, who was also a powerful figure in the anti-apartheid movement.
"Winnie said it's all good to see a guy who is waving and smiling," said Elba. "But she needed to see the complex man."
Based on Mandela's autobiography, the film, which opens Friday, has been in the works for years. Denzel Washington was the original choice for the role.
"But at some point the DNA changed and it didn't work for him to do the film, so my name was thrown in that mix," said Elba. "In actuality it was really easy to get the job, but I didn't believe that I had gotten it."
Once reality set in, so did Elba's nerves. "I was like, `Damn, do I have this performance in me?'" the 41-year-old actor said. "Everyone knows what Mandela looks like and sounds like and I'm not like any of that. It was a massive challenge, but it was time to grow up and really put my acting chops out there."
Amidst the stormy relationship between Mandela and his first wife, Evelyn Mase, Elba was determined to depict the man beyond the saint.
"I was surprised he was such a playboy," Elba added. "But he was one of the first black lawyers in Soweto (South Africa). This was sexy. We wanted be honest about that."
Bringing sexy to the role was likely the easiest part for Elba - considered not only a brilliant actor, but a sex symbol as well. Even President Barack Obama joked about his lure with the ladies when the White House hosted a special screening of the film earlier this month, Elba recently recounted.
"He is hugely charismatic," said "Mandela" co-star Naomie Harris, who plays Winnie in the film. "He is one of those guys who comes in and lights up a room. He's very charming and makes everyone feel special."
Elba's magnetism is one reason why he's been so popular in recent years. Besides starring in the BBC series "Luther," he's played key roles in blockbusters like "Prometheus" and the "Thor" superhero series, as well as films such as "American Gangster."
"He's incredibly versatile," said "Thor: The Dark World" director Alan Taylor. "He brings an incredible weight to everything he does. There is so much behind his eyes."
Elba's breakthrough role was as Stringer Bell in the critically acclaimed "The Wire," playing the role of the ruthless Baltimore drug dealer so authentically that some found it hard to believe he is British.
Yet when Elba arrived in New York from London in his mid-20s, he struggled to find work with his British accent. He began hanging out in Brooklyn barbershops and at barbeques in the Bronx to pick up the dialect.
"I'd talk about basketball and be right in the mix," he said. "I peeled back American culture and tried to understand it. Every moment was about rehearsing."
Elba said he reached a turning point in his career when he was 29, and he found out he had a daughter on the way.
"Then it was sink or swim," Elba said about the birth of 11-year-old Isan, whom he calls his "foundation."
"That was the hardest time," he said. "There are all kinds of things that happen to you at that age as a man. You feel like you should be somewhere and you're not."
Luckily, things began to look up when he landed the gig on "The Wire."
There's no question he has arrived. Next up for Elba is "The Gunman," opposite Javier Bardem and Sean Penn, who recently presented Elba with a Britannia humanitarian award.
"There are moments in an actor's life where you feel like `Wow I've made it,'" said Elba. "Sean Penn introducing me ... that was one of those moments.'"
BY JESSICA HERNDON
AP Film Writer
BEVERLY HILLS, Calif. (AP) _ Even though Jeffrey Wright has won a Tony, Emmy and Golden Globe, and appeared in more than 35 films as one of the most versatile actors of his generation, he's far from a household name.
But he could care less.
Portraying painter Jean-Michel Basquiat in Julian Schnabel's 1996 biopic set the stage for other distinct performances for the 47-year-old Wright, like playing Colin Powell in ``W,'' Muddy Waters in ``Cadillac Records'' and operative Felix Leiter in ``Casino Royale.''
And his varied dramatic skills prompted the makers of HBO's ``Boardwalk Empire'' to cast the Washington, D.C. native in the role of sinister Dr. Valentin Narcisse this season.
With his latest film, ``The Hunger Games: Catching Fire,'' setting box office records worldwide, Wright examined his career choices in a recent interview with The Associated Press.
AP: How was it joining the established ``Hunger Games'' cast?
Wright: It's easier for me because I didn't have to take the risk on the first one. I didn't have to do the hard work of winning over this intensely passionate fan base. I got a chance to come in and surf their success. But that is a little concerning too because you want to come into a situation and add to the recipe. You don't want to be the guy who puts too much salt in this really wonderful dish.
AP: Some feel you are underrated and underexposed. What's your response?
Wright: I don't mind that I am not necessarily a household name because I think my characters have outshined me. That was by design. And I'm not wanting for appreciation. But for the past 10 years or so I kind of pumped the breaks on acting and have been intentionally doing smaller roles that didn't take me away from home for three months because I wanted to be with my son and daughter (Elijah, 12, and TK, 8, with wife Carmen Ejogo). Over the last couple of years I've started to go away and work a bit more.
AP: Do you feel people are re-discovering you through your character on ``Boardwalk Empire?''
Wright: Yeah. They started writing one of the most interesting stories for me that I've ever been a part of. Then they started tailoring this madman to suit what I could bring to it. It's awesome, and we shoot most of it about five blocks away from my house in Brooklyn.
AP: What struggles do you face as an African-American man in Hollywood?
Wright: I don't really consider myself a black man in Hollywood. I live in Brooklyn ... and on purpose. At the most base level, what an actor represents to the film industry is an investment. Depending on the risk profile, an investor needs 1,000 reasons to commit and one reason not to. That means you've got to do more work on your own and that the machine is not going to necessarily do the blocking for you. The machine rarely accepted my code. That can be frustrating, but you just have to be aware.
AP: Out of all of the characters you've played, which is most like you?
Wright: I would probably say, although I am older now and I hope this doesn't sound pretentious, but Basquiat because I was that wild child in the city at one point who was trying to tell my story too.
AP: The bright orange socks you're wearing show you've still got edge.
Wright: I try to keep it lively! I consider Basquiat a kindred spirit, which is part of the reason I wanted to share some part of his story with a larger audience ... even though Jay-Z likes to say that he is the new Jean-Michel, we were telling that story 20 years ago. But I'm glad that he and folks who might not otherwise have taken a look at his work are now doing it.
By FRAZIER MOORE
AP Television Writer
NEW YORK (AP) -- It was 30 years ago when he last filmed a concert special.
Now he's gone and done it again. "Bill Cosby: Far From Finished" finds this king of comedy onstage in Cerritos, Calif., where he rules for the 90-minute special airing Saturday on Comedy Central (8 p.m. EST).
Still, it's fair to ask: Why so long a break, and why now for his return?
"There's a gap," says Cosby during an interview this week, "between people knowing what I do and really believing that I still do that - and wondering what it is I really do."
This audience-awareness gap, he believes, is among the younger demo drawn to Comedy Central. He aims to school those viewers in the principle established by his 1963 debut album: "Bill Cosby Is a Very Funny Fellow ... Right!"
Since the early 1960s, Cosby has had a stellar career, including records, books, films and social advocacy. And, of course, television, where he broke the color barrier in the first of his many series, "I Spy," in the `60s, and scored stratospheric success with "The Cosby Show" (1984-92).
Now, at age 76, he keeps up a busy itinerary doing the thing that got him started: being onstage saying things all sorts of people find funny and true.
So, another question: Why keep up this grueling pace?
"I don't do anything," he contends in his meandering style. "I go to the airport and people come up to me while we're waiting for the flight: `May I take a picture?' Click, click."
And then, just like that (or he would have you believe), he takes the stage somewhere and it's show time.
"I take a bow. I grab the mic and I begin to put it on. And we're in show business! It is wonderful and I just enjoy it!"
On his new special, as always, Cosby frames life in universal terms, albeit now from the perspective of a septuagenarian with a solid if sometimes trying marriage, plus kids and grandkids, a sweet tooth he shouldn't indulge, and a habit of losing things.
"I'm telling you now, I'm not afraid to say it, I lost my key," he tells the audience with leisurely yet manicured pacing: "It was given to me. I lost my key to the house. That was 48 years ago. I don't have a key."
The audience eats it up, rewarding Cosby, he says, with "a sense of how much they understand and trust" him.
"With that, it raises the self-esteem," he goes on, as if at this phase of his storied career self-esteem were ever at issue, "and I am now driving as a coachman would, with some horses that can really moooove out.
"But you don't want to go TOO fast," he cautions, "because you have the carriage you're on, the wheels, the balance."
Meanwhile, what you don't have, if you're Cosby, is jokes.
"NO jokes! I tell stories," he declares. "Because I believe you can do things that joke tellers can't do, and that is, bring your audience along."
That's what he discovered at Temple University in 1960, when, as a lad from a downtrodden Philly neighborhood, he rose to the challenge of his Remedial English professor. The assignment was to write a theme about the first time he'd ever done something. Cosby wrote an account of having pulled one of his own teeth. The professor gave him his first-ever A.
Not too much later, Cosby had vaulted to New York's Greenwich Village as a burgeoning stand-up. He speaks of consorting with the likes of Richie Havens, Richard Pryor and Peter, Paul and Mary - "people who were going to be somebody someday."
He landed a gig at a club on MacDougal Street "where I came on at 8 and left at 4 in the morning, and my job description was to break up the monotony of the folk singers.
"And over the club," he goes on, savoring the memory, "was a store that sold very cheap beads, things like that, and was run by a retired ventriloquist, an alcoholic. The story on him was, he had become jealous of his dummy and one night, in a drunken rage, he shot the dummy, then retired." Cosby is wearing a mischievous grin. "I'm serious!"
Soon he was a star, having soared after making a key decision as he surveyed other rising black comedians, who typically tailored their acts to their identity and experiences as black men.
"I figured, if Godfrey Cambridge does this, if Dick Gregory does this, there's no need for ALL of us to do it," Cosby says. "So I decided a very simple thing: I'm not going to tell you what color I am. If you're unsighted, your friends will tell you!"
But whatever your color, "you can identify with what I'm talking about. It goes all the way back to freshman Remedial English: I never said, `And I looked at my black face and my tooth was white.'"
Cosby chuckles again at that messy self-extraction and adds, "There WAS a lot of red."
By ANTHONY McCARTNEY
AP Entertainment Writer
LOS ANGELES (AP) -- A judge ordered Chris Brown on Wednesday to spend three months in rehab after reading a report that said a facility discharged the R&B singer because he threw a rock through his mother's car window.
Superior Court Judge James Brandlin also added additional rules for Brown in the coming months, requiring him to perform at least 24 hours of community labor a week and to submit to drug testing as he deals with anger management issues.
Brown and his attorney agreed to the terms, which were suggested by probation officials who are overseeing Brown's sentence for his 2009 beating of then-girlfriend Rihanna.
The Grammy winner threw a rock through his mother's car window Nov. 10 after a joint counseling session in which she suggested the singer remain in treatment, according to a letter submitted by the rehab facility. The facility's name was not included in court filings.
"Mr. Brown proceeded to walk outside and pick up a rock and threw it through his mother's car window and it shattered," the letter states. Brown was discharged because he had signed a contract agreeing to refrain from violence while in treatment.
The singer voluntarily checked into rehab for anger management treatment Oct. 29, just days after he was arrested in Washington, D.C., after a man accused Brown of punching him after he tried to get in a photo with the singer.
The incident and the resulting misdemeanor assault charge could still trigger a probation violation that could lead to more sanctions against Brown.
Brandlin ordered probation officials to collect more details on the Washington arrest and report back to him before a Dec. 16 hearing. A prosecutor did not seek any revocation of Brown's probation at Wednesday's hearing but said she was awaiting more details.
Brown is due to appear in a Washington, D.C., court Monday. Brandlin allowed the singer to travel for the hearing, but his ruling makes clear that the expectation for the singer for the next few months is to receive treatment and perform community labor such as graffiti removal or roadside cleanup.
Brown's probation report states the singer has said he wants treatment for his anger management issues. He reported being depressed after being ordered to re-do 1,000 hours of community service earlier this year after a hit-and-run incident. Prosecutors had raised questions about whether he performed his sentence as instructed.
Brown has performed 20 hours so far, according to the report. An officer expressed concern that the singer wouldn't complete his assignment if Brown was not required to perform at least 25 hours of work per week.
The singer appeared in court Wednesday with his girlfriend Karrueche Tran and only spoke once to acknowledge he agreed to the terms imposed by the judge. His mother, who has attended many of her son's court hearings, did not attend Wednesday's proceedings.
At the request of Brown's attorney, Mark Geragos, Brown was also ordered to take any medications his doctor prescribed.
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