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Interview recorded on February 15, 2012

As one-third of the groundbreaking group Labelle, Sarah Dash provided the right combination of amazing vocals and eye-catching imagery to leave an indelible mark on, not only soul music, but rock & roll in general.
As she reflects back on her past and looks ahead to her future, she shares with Darnell Meyers-Johnson, her feelings about inspiring generations of entertainers.

Darnell Meyers-Johnson: This is Darnell Meyers-Johnson for Today I’m speaking with someone who was one-third of one of the most innovative groups in music. Their strong, powerful images and their stadium-sized sound redefined what it meant to be a girl group in the ‘70s. With groundbreaking albums like NIGHTBIRDS and enduring singles like “Lady Marmalade,” Labelle continues to influence today’s music-makers. One of the ladies behind it all is back with a new single, a one-woman show, and a forthcoming album. Today I’m speaking with Miss Sarah Dash. How are you, Miss Dash?

Sarah Dash: I’m fine, Darnell. How are you?

DMJ: I’m good, I’m good. I just want to say we do appreciate the time you’re taking out to speak with us today.

SD: Thank you so much. It’s an honour to be able to have a voice in the media with someone like you.

DMJ: Thank you. Well, we have a lot of ground to cover—I want to talk about all those things I just mentioned in the introduction—but first I want to start with the thing that we have in common: you and I are both from Trenton, New Jersey, so I want you to tell me a little bit about what it was like growing up in this area, and how your interest in music began.

SD: I grew up in Trenton, I was the first-born here in my family—I come from a family of thirteen. And I actually started singing in the church, a church called Trenton Church of Christ, which still exists, and at age nine I was in the youth choir. I started out singing in the choir and in the church, and then, as I became a teenager, I started to hear more secular music and became more involved in that. Then I won a singing contest, and the prize was to sing in a club, and with that, of course, I was excused from the church choir. But I was educated here in the Trenton school system until I was in 10th grade, and then I was educated with a tutor on the road as we became Patti LaBelle and the Bluebelles. Because growing up in Trenton was, I guess, like most small towns in New Jersey--I always stuck my chest out knowing that I came from the capital of New Jersey.

DMJ: And just for the few people who may not be familiar with the area, Trenton is literally right in between New York City and Philly. And can you describe what the music scene was like in this area back when you were starting out?

SD: Well, in Philadelphia it was really one of popularity, because you had Cameo-Parkway Records, which had DeeDee Sharp, Chubby Checker, Bobby Rydell. You had also, at the time that we were beginning, Gamble and Huff were just starting up—they just celebrated their 40th anniversary. So I was more attached to the Philadelphia music scene, more so than New York. But as we began to play the Apollo Theatre, we began to familiarize ourselves with people like Murray the K, and a few other popular DJs that we could listen to on our radios here. And that was the benefit of being in this hub, because we could get the New York stations, and also the Philadelphia stations, so we had the best of two worlds. We had the Uptown Theatre in Philadelphia, as well as the Apollo Theatre in New York, and both were goals that we set as a singing group to appear in, so we had the advantage of both regions.

DMJ: You mentioned that you started in church, and you eventually started moving over into secular music. I know your father was a pastor, and I understand he wasn’t too crazy about that. Were you ever able to win him over and get his OK about that?

SD: As the group began to progress and formulate into more popular notoriety around the world, my father realized that the rumours that he had heard did not exist with his child, because my mother and father—my father was the late Elder Abraham Dash, and my mother’s name was Elizabeth—when we were out on the road, of course, I was under 18, and I had to have a chaperone; our group had to travel with a chaperone.

In fact, we set a precedent for most underage girls at the point that we came into the industry, because of what our parents insisted upon: we set a precedent for all other female groups coming out after us, when record companies began to realize they would have more longevity if they took care of the young, female girls, and not just send them out there without any protection. So my father, being a minister--he did not accept it. but my mom was always there, and very supportive. And he did, finally, when we started to make some real history by playing the Metropolitan Opera House.

After a few threats from family members saying, “This is very important for Sarah, Nona, and Patti, and you should be there,” he decided to come, and he came to the best place. We always teased him after that: “You didn’t want to come to Carnegie Hall; you had to wait until we came to the Metropolitan Opera House.” But he did come, and he was very impressed, and I think that was the highlight in his moment of sharing my music career.

He came another time afterwards, he and a few ministers--he brought them with him, and then shortly after that my father got sick. I was so glad that he did come. He was in the Pentecostal church. And sometimes, if you realize that you raised your child well, you don’t really have to worry about it, because your standards are set. And they set some very high standards for me. They never had to come get me out of jail. There’s so many things they didn’t have to deal with with me--negatively, because of what they instilled in me and what I got from the Bible and the prayers.

If I ever thought about doing something wrong, their faces would come right before me. And being a minister, he helped establish a few churches in this state [New Jersey]—with the guidance of Bishop Bonner—my father did a lot for the church. The legacy that he left with me—is that you can have a good time: you don’t have to have a bad time doing bad things, but you can still have a good time doing good things.

DMJ: Tell me, at which point did you and Patti LaBelle and Nona Hendryx—who’s also from Trenton—get together to officially form your own group?

SD: You mean to come together?

DMJ: Yeah.

SD: In the beginning, we were called The Bluebelles, but there was another group in the union by the name of The Bluebelles, so the record company actually gave Patti her name—because her real name was Patricia Louise Holte—and we became Patti LaBelle and the Bluebelles. But getting back to your question, we were, in the beginning, two groups: Patti and Cindy were in a group in Philadelphia called The Ordettes; Nona and I, along with a few other members—Shirley Newkirk and Sandra Mingo —we were called The Del-Capris.

But we had the same manager, so when some of the people from Patti’s group decided to leave, and same thing from our group, the manager put us together and that’s how we became one facet under one name. We were Patti LaBelle and the Bluebelles, and then we were four. Cindy [Birdsong] decided to go off and be a Supreme, taking Florence Ballard’s place, which left us with three members. But that’s how we became one.

DMJ: Right. And as you were just saying, you guys were initially known as Patti LaBelle and the Bluebelles. You didn’t actually make your debut as simply Labelle until 1971. Do you recall whose idea it was to change the group’s name, at that point, to just Labelle?

SD: Yes, I do recall; there’s a story behind that as well. After a while, Nona, Patti, and myself--we were playing the same circuits over and over again, and we realized that the music industry places to play were getting a little stale, and we wanted to branch out and do other things. So a while back before that, we had been in London doing a television show called Ready, Steady, Go, and we kept in touch with Vicki Wickham, and I wrote her a note saying, “Oh, God, we’re getting stale; we don’t know what to do. Management is a little crazy. We still have some gigs to do. I don’t even know if we’re going to complete them."

So she wrote me back and asked, “Where are you playing in the next couple months?” One of the gigs we were playing was the Apollo Theatre. She said, “Do the Apollo; I’ll bring some people with me. She brought the group called The Who with her, and they were like, “Wow, we haven’t seen any females singing like that. Okay, tell them to finish up their gigs and we’re taking them to London.” We got to London--they said, “No more same wigs, no more same gowns; you’re gonna come back as individuals with your own individuality.”

So they didn’t like Patti LaBelle and the Bluebelles—it seemed a little bit dry and stale--the name. And Pat didn’t want to change the name. It was more of benefit to her by the group being called Labelle because … that was that. The management, Vicki Wickham and The Who’s management, were actually responsible for the name-change. They said, “Labelle is reminiscent of Patti LaBelle and the Bluebelles; your name is Patti LaBelle,” so they just called it LaBelle. And that’s how it came about.

DMJ: At about the same time, you guys did an album with Laura Nyro that was produced by Gamble and Huff. Nyro passed away in ’97. What are your memories of working with her on that project?

SD: Working with Laura Nyro was one of the most unique and musical experiences that we had. She was a very eclectic kind of person, and when she came up with these songs, she said, “I’m going to have some females with me to sing,” and we thought if we were going to join forces with a pop star, let’s go around that process.

So singing with her was just a beautiful, beautiful experience. And just to know that she had written so many wonderful songs and had such a beautiful style of writing: she wrote “Stoned Soul Picnic,” “Girl, I Love You So”… she did a lot of the 5th Dimension songs. And she was just a beautiful, beautiful spirit. Beautiful.

DMJ: And speaking of Gamble and Huff, I want to clear something up, because I’m not sure if it’s true or not true, but there are some reports out there that Labelle was first offered the chance to record “If You Don’t Know Me By Now.” Is that true?

SD: Yes, that’s true. In fact, we learned it around the piano at the same time that Gamble was producing that, the coming together of the two of us recording together. They had us around the piano singing it, and we just knew it was going to be our next single. We learned the chorus and we sang it, and they went off and gave it to someone else (Harold Melvin & The Blue Notes), but that’s fine, because we weren’t signed to them. We just knew it would be our next song.

DMJ: But you guys didn’t actually record it; you were just rehearsing it at the time?

SD: That’s as far as we got with it.

DMJ: If we can, I want to talk about image for a minute. Because right now everybody’s talking about Lady Gaga and her various looks, but even before she was born, Labelle … you guys were out there with the outlandish outfits. Whose genius was it for you guys to—I think you talked about it a little bit—but to step away from that more typical girl group look, with everybody with the same evening-type gowns, on to the unique looks that you guys were doing at that point? Whose main idea was it to go in that direction?

SD: Well, it was a concerted effort. Like I said, The Who’s management and Vicki Wickham--they decided, why look like a traditional female group when we weren’t? We were all three distinct personalities. And they said, at first, “Let’s put them all in pants,” because gowns are always associated with girl groups, but I didn’t like singing in slacks. I’m a skirt and dress girl, Nona was more on the pant kind of look, and Patti’s just the funky-elegant look. So we did that, and then we met these two guys, Larry LeGaspi and Richard Erker.

Larry came up to us with some clothes; he said, “This is how I see you all.” It started with funky strings and ribbons, and then it went to more solid clothes, and then he said, “You know, you’re spacewomen.” And he started with the epaulettes and the cording and the pipings and stuff like that. So Larry LeGaspi was responsible for the clothes, and Richard Erker designed all of our jewelry and headpieces, and he actually designed the silver bra that I wore with the sterling silver skirt.

And my look was more of the Lady Gaga look. If I was born in … how old is she? Doesn’t matter--I would still have that look. So my look actually started the Madonna look too, with the bra—only she went extreme and made it pointed—but I was actually the first in our time and era to start to dress like that, so that’s where the look came from.

DMJ: Another thing that set you guys apart from all the other girl groups of the time, and even since that time, is that in many of your songs you were speaking about the social issues of the day, probably most notably on your PRESSURE COOKIN' album. Was it important for you guys to make social statements, or did it just happen that way?

SD: Well, it was really a thought process of what we went through. When we came back from London, the record companies looked at us like we had twenty-five horns on our heads: “You mean you’re not wearing the same gowns?” And some of our fans' faces were like that too. They were like, “They took off their wigs—what!?” and I share that part, in my one-woman show. I share that story, because all over town … we had friends that lived in Harlem and they were like—one of our friends was like—“You all don’t wear no wigs no more?” And I’m like, “No, we don’t wear wigs any longer.” And, “What, no gowns?”

So it was a different kind of feeling, unless you were interested or saw what the other groups from London were doing, like The Who and The Rolling Stones; none of them wore suits like the black groups. Not to say that that was wrong, but we picked up that style of individuality based upon who we were as individual women.

So that whole look and the process of development in terms of even the staging … when we did the Metropolitan Opera House, we came up on risers and Patti flew from the ceiling. We were innovators of the whole entertainment process. Next thing we knew, Rolling Stones were swinging across Madison Square Gardens. Elton John was being misted up with smoke; here comes George Clinton and Funkadelic with the smoke and the eggs.

So when I look back on that part of our lives, I can really feel special to know that we gave other entertainers another way of presenting their music-- Because you would go to Broadway and you would see that on a stage on Broadway, but never in a music production. So when I see the enormous productions now that are happening, I can sit back and smile, and say, “You know what? We were the innovators of that.”

DMJ: Right, exactly. Your 1974 album NIGHTBIRDS was probably your biggest one, commercially speaking. Of course, everybody knows that the huge song from that album was “Lady Marmalade." Did you think that we would still be talking about that song almost forty years later?

SD: I had not a clue. Because in the beginning, it was first picked up in France by the French--they thought we were French, and they thought that we were some black girls who happened to be born in France. The record took off there immediately.

And then when we got to America, we were banned by some black nuns in Seattle—they marched on our concert because there were various FM stations and AM stations alike running contests--if you knew what we were saying—what did “Voulez-vous coucher avec moi?” mean.

And there were French teachers passing out in America, going, “What are they saying? Will you sleep with me tonight? That has to be wrong.” And then when we went on to do the Cher show and some other national TV shows, we were asked to say, “Voulez-vous danser avec moi,” meaning “Would you dance with me tonight” instead of will you sleep—coucher—with me tonight. So the controversy behind that …

And then the question you asked me, the longevity of the song. It is such a blessing to know that you’re right up there with the Johnny Mathises and the Tony Bennetts, whose songs have lived forever: “Left My Heart in San Francisco,” “It’s Not For Me To Say.” I had not a clue. Many films put it in there; there was a Samuel Jackson film, there was "Jacob’s Ladder," and then right up until the time of "Precious." We had two songs in "Precious": “System”—you don’t hear my voice, you hear Nona and Pat’s voices on “System”—and then the song from the NIGHTBIRDS album, “It Took a Long Time.” The song that ends the film--that’s LaBelle.

DMJ: I never paid attention. I’ll have to watch that movie again and listen.

SD: [Sings] “It took a long …” you’ll hear it. You’ll hear it, yes.

DMJ: One of my favourite Labelle songs is actually from that album, also. What do you recall about making “What Can I Do for You?”

SD: “What Can I Do for You?” was written by two band members—it wasn’t written by Nona, it was written by Bud Ellison and someone we call Red—they wrote that song. We published it, but they wrote it. It was like they had been tired, too: “People want truth or nothing at all/people want sincerity and nothing more.”

What you asked me, originally--what were we doing to create a thought process about society, and what was going on--like I said, the way we were treated, the way record companies and people were accepting black women—women period--because we came up with Gloria Steinem and the women’s movement.

And there were so many things that were going on that just didn’t fly with us. We’d gotten a taste of living. I don’t know if I mentioned, during the time of our resurgence, we lived in London for a year, and we rehearsed there. We went there with our keyboard player, and we just learned music and different ways to sing, and approaching each note as if you were a lead singer, a background singer.

And then coming back to America and see the shock of what they were trying to fight: they didn’t want women to have a voice, but women were having your children. So the social standards were at the brink of change. They weren’t accepting people’s lifestyles: “Don’t go over there because they’re this--don’t go over there because they’re black.” That’s where Nona wrote “I Believe I Finally Made It Home.” I questioned in my mind, you know?

DMJ: You guys made such a strong impact on music, on society in general, but in ’77 you decided to call it quits. From your perspective, why did you guys decide to disband at that time?

SD: Well, it had gotten to be out of control. Our musical tastes were becoming different, because now when you open that door, that window, and you go, “Oh, okay. I can do this, I can do that,” how do you bring all that process back together? How do you bring that together? We were going in different directions. We weren’t strong or smart enough to say, “Let’s bring each piece individually and still have it collectively,” so that’s what happened.

DMJ: And it took you guys thirty years before you would record again, and that was 2008’s album BACK TO NOW. My only question, moving forward, is will we have to wait another thirty years before we get another Labelle album?

SD: I’m not sure if we will do another Labelle album together. No, I’m not too sure of that … I’m not sure. I’ve learned to say “never say never,” but I can’t answer that. I really can’t.

DMJ: Would you like to, just speaking only for yourself? Would you like to do another one if all the factors fell in line?

SD: I’d like to give myself a chance to be Sarah Dash.

DMJ: I understand.

SD: Because during the time that we split, I had a lot of success with my disco music, and then I experienced the loss of my father—that kind of took me back. And then after I got myself together, I started doing clubs, like in the Fairmount Hotels and things. Then I had a terrible accident which prevented me from working: I couldn’t walk without the aid of a cane or crutches.

DMJ: When was that? When did you have your accident, I mean?

SD: That was in the late '90s, so from ninety-something to almost 2005 I had surgeries and things like that. So I’m not saying I don’t enjoy singing with Nona and Pat; I do enjoy it a lot. But now I’ve started writing and I’m working on my one-woman show, and my one-woman show is a biographical piece: it tells of the anecdotes and stories of my time on the stage and off, so it’s like show business and personal life.

I get to exercise the kind of music that I love doing, which is jazz and blues and pop standards. And with that, there is a ninety-minute piece—it’s a theatrical piece that I put together, and I do it once a month in New York City at a theatre. it’s an intimate dinner theatre called the Laurie Beechman Theatre in New York City.

DMJ: Where is that?

SD: That’s in New York City on 42nd Street.

DMJ: And it’s once a month?

SD: Once a month. In fact, I’ll be doing it this Saturday, I’ll be doing it March 24th … I don’t have the April or May dates. I’ll be doing it right up until May, and then the next step will be into another, smaller theatre, which I can’t really talk about at this moment, but by the time we get to April, everyone will know where that will be.

DMJ: I understand. And I want to, in just two seconds, talk about your new music you have coming out, but right before I do that, when you guys broke up everybody pursued their solo careers—each person had their own degree of success. What do you consider to be your greatest achievement as a solo artist?

SD: My greatest achievement was realizing and recognizing that music is the only thing that has not changed in my life. My greatest success, to me, is being able to wake up every day, give God thanks for who I am and where I am. I measure my success by being able to do the things I want to do, and the freedom of having that, because a lot of people don’t have … I can’t say a lot of people: some people don’t enjoy the freedom of doing what they want to do.

Some people are dominated by other folks. There was a saying that came across my screen the other day: “I can’t give you the formula for success, but I can surely give you one for failure: try to please everybody.” Right now, my greatest success is pleasing me and following my spirit. I have a group around me, which we call ourselves Team Dash; we come together on a lot of situations, different opportunities for Sarah Dash. And that’s a blessing; that’s the success I look at—having true hearted supporters that rally around you with the press, with picking out places you’ll play.

Robert Risco, who’s from Vanity Fair, created my image. I have a producer here from Trenton, who coproduced my inspirational CD: his name is Donald and we coproduced the inspirational CD which is called THE SEVENTH CHILD, which is what I am. So that, to me, if I were to measure success by any means, it is what I do and having the ability to still continue to do it.

DMJ: So let’s talk about that for a minute. The CD is called THE SEVENTH CHILD. You described it as inspirational, but I also heard you say in a previous interview that it’s not necessarily focused on the Bible. So I was wondering if you can explain what means.

SD: Did I say that? Are you sure?

DMJ: Not verbatim, but I think you just said something to the effect, “It’s inspirational, but you don’t have to pull out your Bible,” which made me think it wasn’t necessarily focused on Bible verses per se. Why don’t you just explain what it is, and that way we will know and I won’t have to guess. [Editorial Note: Ms. Dash's direct quote from an interview posted on YouTube last year said her album would "leave the Bible stuff alone and just come from the heart."]

SD: Okay. I call it an inspirational CD because it’s inspiring, and the gospel of it is a message. It has house gospel songs in it; it has traditional songs—“His Eye Is On the Sparrow,” “The Lord’s Prayer,” “This Light of Mine,” and then some original songs that I cowrote. Yes, it’s reminiscent of the word that you learned from the Bible; I speak about my father’s last sermon, which was based on the 23rd Psalm. So I have one song on there where I have all the children from the Dash family singing behind me—all the young ones; the oldest one singing on that tune is twenty-seven years old, right down to the three-year-olds.

We have a message song in there that I wrote called “Don’t You Know He’ll Take Care of You,” which my mother came to me and gave to me when I was really sick—I almost died at one point. I had galloping pneumonia, and the Lord spared me and saved me from that down time in my life. And I call it inspirational because each part has someone else’s definition of the Gospel.

I take no credit for how it came to me, because it all is spiritual. And when I say inspirational, I say inspirational just because it can inspire every person, not just black, white, gay, straight, or what-have-you … everyone is inspired; there’s something in there that can inspire you, and that’s why I don’t call it a gospel CD.

DMJ: I understand. Your new single is called “I’m Still Here”; I understand that you cowrote that. Talk to me a little bit about the meaning behind that song.

SD: That song was originally written for the Labelle reunion CD. It was rejected; I’ll just say that. To me it was a message that was saying to anyone who’d gone through anything in their life, any kind of experiences of letdown and getting lost along the way … to me, it’s a testimony. The words come out in the beginning verse with: “Been through so much in my life/Every day a different fight/Been down the road of broken dreams/And they told me I was weak/But somehow I got back on my feet by overcoming my fear/I survived through the worst of times/Take a look at me now ’cause I’m still here.”

DMJ: Can you tell me—and you may have mentioned it already—but can you just tell me what personal struggles you were reflecting on as you were putting this song together?

SD: The personal experience came down to “His Eye Is On the Sparrow”; that was the first song that my mother taught me, and demanded that I sing. A friend of mine had passed, and it was just her and her sister—her mother only had two daughters—and they requested that I come to the funeral and sing a song. And I was like, “Oh, no, I can’t do any spiritual stuff,” and they were like, “Your father was a preacher. You were raised in the church.” And I’m just panicking.

Well, my mom got word of it and she called me up and she said, “What you talking about, you’re not going to sing for this family? You have all your sisters and brothers, and this woman is left with one child. You are going to sing; you get out there and sing ‘His Eye Is On the Sparrow’.” I said, “Mom, I only know the melody!” She said, “Get a pencil and a piece of paper [laughs]. Then “This Light of Mine”-- that was a song that we all sang together at the table and in the living room before my father gave us prayer in the morning. “The Lord’s Prayer” is a natural.

And so the songs and the message come through every part of my life. And then when we get down to “Something Inside of Me,” which is house gospel, it reminds me of in the Bible where …”David, dance!” You know? Dancing was created in the spiritual sense before it moved to the nightclubs; that’s why I appreciate those spiritual dances in the church. But dance was created from freedom, a sense of expression of just loving the Lord. Yeah, dancing started in the Bible. In “Song of Songs” you hear--first came the dancers and the tambourine players and the musicians beating the tambourines … all that is in there. I’m done with my little spiel.

DMJ: Well, before we wrap up, I want to get back to our Trenton, New Jersey connection one last time, because I understand you were working on starting a music academy here. Is that something that you're still working on?

SD: Yes, we are working on that and developing the Sarah Dash Music and Arts Academy. I have a vision of Trenton producing the best singers and dancers, with legitimate backing, and I want it so that the children in Trenton will not be counting bullets, but music notes. There is so much talent inside of children … and also, one can experience it as being seniors—it will be diverse. That is my vision; I want it to happen.

The mayor here … we talked about it with the last round of mayors and we’re still talking about it. We’re trying to bring that here so that also, I want to leave something with my fellow Trentonians. They don’t have a street named after me; they don’t have anything named after me, but I went out into the world and made a name for myself with three other women, and this is my town.

I would like for them to honour that by the work that I do for the children, bringing music into a formula just to have something that will help these children. Music--it bridges the gap. You can set music down in Italy, Japan, and it will be played the same. I don’t care what language you speak--music is universal. And I’d like to see that happen.

DMJ: Well, I think that’s a great way to end our conversation here. I do appreciate your time. But before we go, is there anything you would like to mention that we haven’t talked about?

SD: I would like for everyone to come together as a unit, and respect each other: respect the properties, respect life. When you feel anger, just stop, take a moment, take a deep breath, say a prayer, and I promise you, you will look at things so differently--because that is from a higher power.

I’m not trying to be a preacher, but I am a motivational speaker, and I’ve spoken at juvenile homes. I’ve had the opportunity to speak at churches for women’s groups, and I do know that when you share the goodness of God … whoever you may perceive Him to be, because we have different religions, and I don’t curse any because it’s all of the One. I say, let’s come together as a unit of people across the board. We all bleed and go to the bathroom the same way. And that’s what I want to leave Trenton with.

Because we have to love one another. Pull up those pants, tie up those shoes. Girls, put some clothes on. If you choose not to, that’s still up to you, but at least have some good, strong character inside of you. become role models for your future, because as it goes now, some young people don’t feel that they have a future; everything is so doom and disaster. They’ve seen so much. But trust me, children, you do have a future, and you are our future, and we want to look at you and say, “Wow, they know what they’re doing.” Have faith and hold onto the right hand of God.

DMJ: Well, let’s put some information out there before we leave. Just let everybody know when the album is going to be available for them to purchase.

SD: You can get “I’m Still Here” on CD Baby, on Amazon and iTunes—it’s “I’m Still Here.” I have a website that you may visit to see photos, information about where I’m going to be, and that’s—that’s Sarah Dash dot net. I’m on Facebook, I’m on Twitter, and I’m still on MySpace.

DMJ: And what’s your Twitter name?

SD: Sarah Dash … all is Sarah Dash.

DMJ: Great, that’s easy.

SD: Yeah, I wear my name out. LinkedIn, Sarah Dash. And you may Tweet me there, you may Facebook me. And again, my most prominent part of entertainment that I’m doing now, most current, is look up the Laurie Beechman Theatre—that’s B-e-e-c-h-m-a-n Theatre in New York City—and get the dates.

What makes me proud is that Joan Rivers plays there as well. In fact, she is one of the influential people who encouraged me to be at the Laurie Beechman, along with promoter, Chip. So that’s why I’m doing it. She said, “You have to work your craft,” and when she saw the show, she loved it. She said, “Keep working at it.” I also have a fragrance for both men and women called Just a Dash, and we’re developing a skin line. And Just a Dash is available in April, and you’ll be able to find that on my website, which is

DMJ: Well, Miss Sarah Dash, it’s been a pleasure. And anytime that you have a project coming up or anything that you want to discuss, our doors at are open to you. I appreciate this more than I can express. Thank you so much for your time.

SD: Thank you, Darnell.

About the Writer
Darnell Meyers-Johnson is a New Jersey based music journalist and creator of The Meyers Music Report ( Previously, he served as Entertainment Editor for the now defunct publication Nubian News and as Editorial Coordinator for When not conducting interviews or writing liner notes, Darnell hosts a weekly radio show, Vocal About Jazz, which streams online every Saturday from 12-2pm, EST on and iTunes.
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Sarah Dash January 1979 Interview
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